Visualizing Oral Histories: Comics and Graphic Novels/Digital Humanities Lab, is a new model for digital humanities scholarship that other librarians can follow to create and teach similar DH labs attached to humanities courses at other institutions. The model includes a preliminary syllabus and preliminary assignment rubrics designed to integrate the Association of College and Research Libraries (ACRL) “Framework for Information Literacy for Higher Education” (ACRL Framework) into course assignments. Incorporation of a DH lab into a humanities course curriculum reimagines librarian roles and creates a pedagogical strategy that explicitly incorporates information literacy standards into the undergraduate course curriculum.
The authors consider an approach to visual literacy instruction that is rooted in the philosophies and practices of critical librarianship and feminist pedagogy. They explore the extent and limitations of existing standards, frameworks, and pedagogical models to support an idea of critical visual literacy, particularly in the context of art and design schools and creative career-focused institutions. By examining practices and examples from other disciplines, the authors identify strategies for teaching critical visual literacy in context. These pedagogical models inform the design and revision of two workshops for art and design students.
This article discusses the potential and challenges of teaching a second‐semester German class with Simon Schwartz’s graphic novel drüben! (2009) alongside a traditional textbook. While the class explored linguistic, literary, and cultural‐historical aspects of drüben!, a GDR‐themed family memoir, the focus here is on those pedagogical interventions which dealt with the training of visual literacy.
Sequential art is a unique storytelling medium that combines visuals and content in a deliberate, specific delivery in order to engage audiences on emotional and cognitive levels. Consequently, graphic novels, comics, and comix are a rich educational medium for undergraduate credit instruction in academic libraries, precisely because this alternative delivery of content can effectively educate many learning styles. This article documents the development and implementation of an undergraduate, upper division credit-bearing course in an academic library that examined multiple types of literacy through the medium, with commentary on instructional strategies for other academic librarians and professors.
Chen adopts an intercultural perspective in her Shakespeare classes and online courses. She emphasizes collaborative activities and student participation, while drawing extensively from manga and Taiwanese Shakespearean productions housed in the Taiwan Shakespeare Database.
In response to the growing call for authentic learning and content creation in the information literacy setting, librarians at Emporia State University have created assignments and activities that utilize an iOS app called Comic Life to create photo comics. Students in a for-credit course created photo comics as information literacy narratives, while First Year Seminar students worked to build library guides. These activities encourage honest, meaningful reflection by students and allow them to demonstrate metaliteracy skills in an engaging and creative manner and can allow for both individual and group-created content. Students at Emporia State University have expressed high levels of satisfaction and engagement when participating in these activities.
When faculty were asked to use online assignments to make up the class time lost due to Hurricane Sandy, librarians at Lehman College’s Leonard Lief Library spotted a new opportunity for the Library’s Web comics. This article describes the partnership between the Library and the College’s Art Department that led to the development of the Web comics, provides readers with a model for responding to circumstances creatively, and puts forward an approach for combining digital learning objects with writing assignments to meet faculty needs.
“This paper provides a brief history of women and independent comics, tracing the medium’s development from the 1970s underground comix movement to the present day. Individual creators and their works are discussed. Guides to collecting graphic novels exist; however, the vast majority of the artists included in these guides are men. This paper fills a gap by introducing librarians to several women graphic novelists who have been overlooked thus far.”
“Many libraries and librarians have embraced graphic novels. A number of books, articles, and presentations have focused on the history of the medium and offered advice on building and maintaining collections, but very little attention has been given the question of how integrate graphic novels into a library’s instructional efforts. This paper will explore the characteristics of graphic novels that make them a valuable resource for librarians who focus on research and information literacy instruction, identify skills and competencies that can be taught by the study of graphic novels, and will provide specific examples of how to incorporate graphic novels into instruction.”