Doing Qualitative Research

The Act of Reading

Focalization, the !ltering of a story through a consciousness prior to and/or embedded within its narratorial mediation, is a fundamental analytical concept in narrative theory.1 It allows researchers to di\"erentiate between the narration of a story on the one hand and the mental processing of that story by a character—or by the narrator— on the other, thereby providing crucial insights into the representation of consciousness in !ction. Yet focalization remains one of the most problematic and contentious narratological concepts. As testi!ed to by a recent handbook devoted to focalization (Hühn, Schmid, and Schönert), discussions continue to be very much geared toward principled dogmatic questions (such as whether narrators can be focalizers) and typological distinctions, to the detriment of proving the concept’s usefulness for actual analyses. Some of the questions regarding focalization that have not yet been satisfactorily answered include: (1) #e scope of the concept. Even though Shlomith Rimmon-Kenan proposed to include aspects of cognition and judgment as well as of sense perception in the category as early as 1983, there has since been a trend to revert to older concepts of “perspective” (Herman, Basic Elements, “Beyond Voice,” and “Multimodal Storytelling”)2 and “point of view” (Simpson), both of which are more narrowly concerned with visual perception.3 Other scholars, while referring to “focalization” rather than “perspective,” have nevertheless spoken out against including “other types of thinking such as cognition and the emotions” in the category, advocating its use for phenomena of sense perception exclusively (Palmer 49; see also Herman and Vervaeck; Margolin; Prince).4 So far, then, no agreement has been reached as to whether cognition should be included in focalization; whether the concept ought, conversely, to be restricted to instances of (optical) perspectivation; or whether one might resolve these issues by

Focalization in Graphic Narrative

Art of Darkness

https://scholar.dickinson.edu/cgi/viewcontent.cgi?article=2219&context=faculty_publications

Comics Against Themselves: Chris Ware's Graphic Narratives as Literature

This book explores the connections between comics and Gothic from four different critical angles: historical, formal, cultural and textual. It identifies structures, styles and themes drawn from the literary Gothic and discusses the presence of these in British and American comics today, paying particular attention to the emergence of the DC Vertigo imprint. Part One offers a historical approach to British and American comics and Gothic: summarising the development of their respective creative content and critical models. It identifies parallel points including censorship, allusion, self-awareness and developments in criticism and audience. The second section brings together some of the narrative strategies of Gothic and comics. It uses Gothic to reinterpret established critical approaches to the comics medium, arguing for a holistic analytical model based around the symbols of the crypt, the spectre and the archive. Part Three then combines cultural and textual analysis: discussing the communities that have built up around comics and gothic artifacts and concluding with case studies of two of Gothic's most famous archetypes in comics: the vampire and the zombie.

Gothic in Comics and Graphic Novels: A Critical Approach

Despite the proliferation of online forums for the discussion of literary texts, very little has been written to date on the management of these spaces and how this helps frame the kinds of discuss...

/pdf/moderating-readers-and-reading-online-i0kdiqhjhq.pdf

Moderating readers and reading online

Visual Perspective and Narrative Voice in Comics: Redefining Literary Terminology

This article analyzes the representations of rock singer Alice Cooper in comics, focusing on his debut in ‘From the Inside’ (Marvel Premiere #50, 1979) and the three-part miniseries The Last Temptation by Neil Gaiman and Michael Zulli (Marvel Comics, 1994–1995; Dark Horse Comics, 2000), alongside his albums of the same names. After offering a brief background of rock music and comics, the article analyzes Cooper's representation in ‘From the Inside’: arguing that, rather than using the medium to offer a thematically consistent depiction, this comic subsumes Alice Cooper's persona into its idiosyncratic style. It proceeds to contrast this with Gaiman and Zulli's interpretation, arguing that The Last Temptation instead privileges the performative elements of Cooper's character, which is created through aesthetic excess (makeup, clothing and exotic stage props) and subversion (of gendering, authority and naturalism). It then analyzes the different strategies Gaiman and Zulli use to convey Alice Cooper, with ...

Reconstructing Alice Cooper: ‘From the Inside’ to The Last Temptation

Comics and Graphic Novels

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