Medthics is an online graphic novel series comprising of six issues . What is often viewed as pop culture escapism, this "comic book" series tackles the complex world of medicine and its moral/ethical intricacies. From topics about physician identity formation to humane patient care, Medthics brings to the forefront subject matter essential to clinical practice. The art of medicine is depicted through stylized characters as they live their lives through a fictional world inspired by true events.

In recent years, many school librarians have been scrambling to build and expand their graphic novel collections to meet the large and growing demand for these materials. For the purposes of this study, the term graphic novels refers to volumes in which the content is provided through sequential art, including fiction, nonfiction, and biographical material. As the library field has not yet arrived at a set of best practices or guidelines for institutions working to classify and catalog (...) graphic novels, this study seeks to record the ways in which school librarians are handling these materials as well as issues and questions at the forefront of their minds. A survey of school librarians in the United States revealed that almost all of them collect fiction and nonfiction graphic novels, while 67% collect manga. Most respondents indicated that they are partly or solely responsible for the cataloging and classification decisions made in their media centers. For classification purposes, most have elected to create separate graphic novel collections to house their fictional graphic novels. Some include nonfiction graphic novels in this section, while others create a nonfiction graphic novel collection nearby or shelve nonfiction graphic novels with other items that deal with similar subject matter. Many school librarians express uncertainty about how best to catalog and classify longer series, adapted classics, superhero stories, and the increasing number and variety of inventive titles that defy categorization. They also struggle with inconsistent vendor records and past practices and suffer from a lack of full confidence in their knowledge of how to best classify and catalog graphic novels so that they are both searchable in the library catalog and easily accessible on the shelves. (shrink)

Beyond securing exam results and opening the door for career destinations, teachers of STEM subjects have the broader (and almost certainly more daunting) responsibility of developing a young perso...

The author reviews two adaptations of Anthem as a graphic novel and a third book, The Age of Selfishness, that combines a biography of Rand with an account of the financial crisis of the early twenty-first century and her putative responsibility for it. The graphic novels are both enjoyable versions of Rand's thought-provoking science-fiction novella, to different degrees; the nonfiction book is filled with distortions, polemic, and caricature.

Transformation of the sparrow and the butterfly -- Meeting the gods of poverty in a dream -- The greatest joys of the cicada and its cast-off shell -- The owl's understanding -- The centipede questions the snake -- The toad's way of the gods -- The mysterious technique of the cat -- Afterword by William Scott Wilson.

Non-fiction graphic novels about illness and death created by patients and their loved ones have much to teach all readers. However, the bond of empathy made possible in the comic form may have special lessons for healthcare providers who read these texts and are open to the insights they provide.

This essay studies Edie Fake’s award-winning graphic novel Gaylord Phoenix from the perspective of Queer Theory and Transgender Studies. Nikki Sullivan’s use of the term transmogrification from her work on somatechnics provides a critical lens through which to examine Fake’s exploration of the transgender body in his narrative. Fake includes multiple images of bodies undergoing radical transformations through a combination of magic and surgery, blurring the distinction between modern science and the occult. The essay also explores Fake’s status (...) as an innovator in the world of comic books and graphic novels as he creates an idiosyncratic verbal and visual vocabulary largely unprecedented in the world of sequential art. (shrink)

The study explores the use of Graphic Novels as an innovative form of training that may improve an individual’s ethical efficacy. A quantitative comparison of the graphic novel method and the traditional written case study is analyzed. The literature on ethics, graphic novels, and training are brought together from theories of narrative and literature perspective to formulate a study. The study uses a 2 × 2 repeated-measure MANOVA to analyze the participant’s reaction to bribery situations based (...) on varying levels of ‘grayness.’ The overall study finds that ethical efficacy increases with the use of the graphic novel method. The greatest improvements are in the individual’s level of self-efficacy and understanding of principle-based ethical issues. In addition, the participant’s level of industry experience may play a factor in applying the graphic novel technique. Finally, guidelines on how to effectively utilize the graphic novel method are stated. Improving ethical efficacy through business ethics training may help improve an individual’s self-efficacy, involvement and principle-based understanding. The study explores the use of Graphic Novels as an innovative form of training that may improve an individual’s ethical efficacy. A quantitative comparison of the graphic novel method and the traditional written case study are analyzed. Literature on ethics, graphic novels, and training are brought together with theories of narrative and literature perspective to formulate a study. The study uses a 2 × 2 repeated-measure MANOVA to analyze the participant’s reaction to bribery ethical situations based on varying levels of ‘grayness.’ The overall study finds that ethical efficacy increases with the use of the graphic novel method. The greatest improvements are in the individual’s level of self-efficacy and understanding of principle-based ethical issues. In addition, the participant’s level of industry experience may play a factor in applying the graphic novel technique. Finally, guidelines on how to effectively utilize the graphic novel method is set forth. (shrink)

This article discusses a case study that explored the potential of nonfiction graphic novels to develop pre-service teachers’ understanding of agency in a social studies methods course. White pre-service teachers were aske'd to read one graphic novel and then add frames, re-narrate frames, and reflect on their decisions. The positionalities of researchers, who are White males, and participants were part of our analysis. The researchers found that pre-service teachers made revisions to the graphic novels to change (...) the historical actors’ decisions: within the constraints of the historical situation's circumstances; to better fit their own ethical framework; and to critique the author's interpretation of the historical event and the amount of agency assigned to certain historical actors. We also reported findings related to shifts in understanding related to positionality. The pre-service teachers’ revisions demonstrated their understanding of historical actors’ ability to make choices; however, for most pre-service teachers those decisions were limited by, and insignificant in comparison to, the constraints of societal structures. Most pre-service teachers viewed these structures as operating outside of the realm of ethics that they used to articulate and identify agency, and thus, these structures were not responsive to changes in individual or collective agency. Implications are provided for social studies teacher educators. (shrink)

This paper introduces a hermeneutical approach to graphic novel representations of punishments inflicted on women accused of collaboration with the German occupant during the French purge in 1944- 1945. Since the study aims to determine to establish links between graphic novels and the evolutions of the historiography of the Occupation and Liberation of France, it includes a historiographical component. Drawing on other cultural medias who have dealt with this theme (novels, movies, poems, songs), the aim is also (...) to identify the meaning given by artists to their portrayals of shorn and assaulted women. The paper eventually introduces a broader philosophical reflection on the emancipation from authoritarianism. It is the study’s contention that graphic novelists are offering a feminist discourse and are using the theme of shorn and assaulted women during the liberation as a reminder of the late emancipation of women from male domination. (shrink)

Resumen La imagen de Moby Dick de Herman Melville, novela fundacional de la narrativa estadounidense, tiene su origen en las costas del sur chileno. El repertorio precedente de la obra literaria propuesto por Wolfgang Iser presenta un proceso en el que se producen diferentes versiones del mito. La novela gráfica Mocha Dick, con textos de Francisco Ortega y dibujos de Gonzalo Martínez, es una de esas versiones. La historieta chilena plantea un diálogo con los textos precedentes y propone una revisión (...) de Melville y de los orígenes de la legendaria ballena blanca.The image of Herman Melville’s Moby Dick, foundational novel of the American narrative, is originated in the southern chilean sea. The repertory that precedes the literary work proposed by Wolfgang Iser presents a process in which different versions of the myth are written. The graphic novel Mocha Dick by Francisco Ortega and Gonzalo Martínez is one of these versions of the myth. The chilean comic dialogues with the previous texts and proposes a review of Melville´s and the origins of the legendary white whale. (shrink)

Graphic justice and the law of aesthetics have in very recent years successfully brought law, aesthetics and comics scholarship into the same space. The culture of copyright infringement within comics (including in the Marvel, DC, and Disney universes) has been extensively in the literature by scholars including Saval. How copyright law is portrayed within the graphic novels and comics themselves is the focus (and contribution of) this article. This article will explore several comics and graphic novels, as (...) well as included this author’s reflections of portraying copyright visually within zines for public dissemination. Throughout this article, the discourses of ghosts and spectres that are interwoven with copyright law and haunt the texts will be seen, as will the discourses of oppression and warfare that are involved for anyone seeking to make use of copyright works. As Gómez Romero and Dahlman note, comics offer “an alternative legal discourse” and we can see these alternative legal discourses through their aesthetic graphic form. This article will consider: the aesthetic portrayal of copyright law in A Gift for a Ghost and Josie and the Pussycats No. 6; as well as Bound by Law, Theft! A History of Music, and Pictures within Pictures. These comics and graphic novels have been chosen as they aesthetically portray copyright law and copyright infringement (referred to in some of the comics as “plagiarism”), and others aesthetically portray the public domain and fair use. In viewing these aesthetic manifestation of copyright law, the reader understands the limiting nature of copyright on creative freedoms, and that copyright law’s power is absolute. This article will explore the following: (i) copyright’s aesthetic portrayals and the impact of this; (ii) comics haunted by copyright law, considering A Gift for A Ghost and Josie and the Pussycats; (iii) comics about the necessity of the public domain and fair use, considering Bound by Law, Theft! A History of Music, and Pictures within Pictures; and (iv) self-reflections on portraying copyright aesthetically in publicly disseminated research zines. This article has not set out to determine that certain visual aesthetic portrayals are “correct” or “better”, but rather to explore how legal discourses and narratives about copyright law are circulated through the comics medium. These visual depictions hold considerable weight, and it is striking to see similar narratives used across a range of comics works, with different intended audiences. What is clear is that the visual depiction of copyright law enables a greater ability to convey the multiple copyright law discourses that can be felt at once, and also to highlight that some of these discourses are contradictory to one another. (shrink)

The present paper describes the story of the development of a graphic novel—a story about superheroes—written by adolescent cancer patients on the Youth Project at the Istituto Nazionale Tumori in Milan. Nineteen patients from fifteen to twenty-five years old participated in a four month creative writing laboratory managed by a professional teacher. The output from the writing laboratory was a written text that was used as the script for a graphic novel drawn by professional cartoonists and (...) working together with the patients. Through their story, adolescent patients succeeded in voicing their dreams and fears. It was the adolescent patients themselves who explained how they had each tried to bring out the superhero inside them. This project describes the amazing powers of adolescents with cancer and opens a precious window on their inner world, enabling us to gain a better understanding of what they are really thinking and feeling through their own words. (shrink)

Jessica Deutsch is a New York based artist. She earned her BFA in illustration at Parsons, & has also studied at Midreshet Harova & Bezalel Academy. She loves sharing her passion for Jewish spirituality through creative practices. Deutsch has worked with the New Shul, and was an artist in residence at the Brandeis Collegiate Institute.

Literary narratology has rightly devoted much attention to analysing the source(s) of verbal information about the story world, usually discussed under the label “narration”, and to any agent(s) that present(s) non-verbalized perspectives on it, usually discussed under the label “focalization”. Assessing the identity of narrators and focalizers is crucial for understanding what is going on in the story world. Which narrative agent is in charge? Is the narration and/or focalization layered? If the latter, is there any “colouring” by the higher-level (...) narrative agent of anything said, thought, or experienced by the lower-level agent? Is the information provided trustworthy? Nuanced? Prejudiced? Narration and focalization have supra-medial as well as medium-specific dimensions. Over the past years, the issue of how these concepts function in the medium of comics, which combines visuals and language, has begun to be systematically addressed. This paper aims to show how the visual mode can, on its own or combined with the written-language mode, signal the sources of narration, focalization, and joint narration-and-focalization, as well as distinguish between different levels at which these take place. (shrink)

Human nature and cooperation -- Tucson knows all about that -- Featuring interviews with Curtis A., Renø M., and Alanna C. -- Democracy and Sproul Plaza -- The people's library -- Featuring interviews with Zachary L. and Jaime T. -- Barcelona to Greensboro -- Student loan debt -- Featuring an interview with professor George Caffentzis -- Solidarity.

Curricular design that addresses residency physician competencies in communication skills and professionalism remains a challenge. Graphic Medicine uses comics, a medium combining text and images, to communicate healthcare concepts. Narrative Medicine, in undergraduate medical education, has limited reported usage in Graduate Medical Education. Given the time constraints and intensity of GME, we hypothesized that comics as a form of narrative medicine would be an efficient medium to engage residents.The authors created a novel curriculum to promote effective communication and (...) professionalism, focusing on empathy, compassion and cultural competency. A four-week curriculum was delivered in a neurology residency program. Excerpts from non-fiction graphic memoirs about neurological conditions were read, discussed, and paired with prompt-driven drawing exercises. Qualitative surveys were used to assess acceptability of comics, usefulness of comics to convey patient illness experience, and perception of patient needs for physician-patient communication.Ninety-seven percent of residents reported the sessions were a good use of their time. Residents identified new symptoms of neurologic disorders, articulated patient communication needs, and expressed increased empathy after participation. Residents participated in drawing exercises, but these were not formally analyzed. Graphic medicine is a well received format that may build communication skills and increase empathy. (shrink)

The article explores the demands that the conflictual dimension of globalization poses for a cosmopolitan education. Such an emphasis seems necessary in times where the populations who undertake inter- and intra-national border crossings are increasingly those who are forced to: those trying to escape unbearable poverty, atrocious wars, the disenfranchised and victims of racist, sexist or religious persecution. Reflecting on the experiences articulated in the two graphic novels, Persepolis and American Born Chinese, the dimension of the globalizing world and (...) its impact and demands on its future world citizens which comes to the fore is one that highlights the necessity for learning how to take a critical and political stance rather than the search for how education can facilitate a smooth adaptation to a new mobile order. Stanley Cavell’s examination of the relationship between autobiography, philosophy, and the founding of a self-reliant voice will be reconsidered in light of its contribution to re-thinking the meaning of a cosmopolitan education between critical self-appropriation and developing a transformative political vision of a new societal order. (shrink)

Background: Empirical ethics inquiry works from the notion that stakeholder perspectives are necessary for gauging the ethical acceptability of human studies and assuring that research aligns with societal expectations. Although common, studies involving different populations often entail comparisons of trends that problematize the interpretation of results. Using graphical model selection—a technique aimed at transcending limitations of conventional methods—this report presents data on the ethics of clinical research with two objectives: (1) to display the patterns of views held by ill and (...) healthy individuals in clinical research as a test of the study's original hypothesis and (2) to introduce graphical model selection as a key analytic tool for ethics research. Methods: In this institutional review board (IRB)-approved, National Institutes of Health-funded project, data were collected from 60 mentally ill and 43 physically ill clinical research protocol volunteers, 47 healthy protocol-consented participants, and 29 healthy individuals without research protocol experience. Respondents were queried on the ethical acceptability of research involving people with mental and physical illness (i.e., cancer, HIV, depression, schizophrenia, and posttraumatic stress disorder) and non-illness-related sources of vulnerability (e.g., age, class, gender, ethnicity). Using a statistical algorithm, we selected graphical models to display interrelationships among responses to questions. Results: Both mentally and physically ill protocol volunteers revealed a high degree of connectivity among ethically salient perspectives. Healthy participants, irrespective of research protocol experience, revealed patterns of views that were not highly connected. Conclusions: Between ill and healthy protocol participants, the pattern of views was vastly different. Experience with illness was tied to dense connectivity, whereas healthy individuals expressed views with sparse connections. In offering a nuanced perspective on the interrelation of ethically relevant responses, graphical model selection has the potential to bring new insights to the field of ethics. (shrink)

A patient arrives in the emergency room apparently in a comatose state. But is he really unconscious or just faking? The young doctors on duty are skeptical. Failing to get a reaction with a chest rub, they try a variety of methods that become increasingly sadistic—pressing on the patient's fingernail with a ballpoint pen, spraying his testicles with a skin‐freezing compound, announcing an imminent eye injection to scare the patient awake.I first encountered those chilling pen‐and‐ink images in a 2012 comic (...) book, Disrepute, authored by Thom Ferrier, the nom de plume for British general practitioner Ian Williams. Disrepute is part of a young but growing genre that Williams helped dub "graphic medicine" when he founded a website by that name in 2007. Using the graphic novel form, doctors, nurses, and patients are producing accounts that often reveal the dark underbelly of the world of medicine. From patients and their families, these include portraits of imperious and insensitive physicians or nurses; from doctors, explorations of the doubt that racks them when their treatment ends in a mistake or a patient's death. While the form is also referred to as “comics,” the work, as in Williams's strip, is bleak just as often as it is humorous. (shrink)

This paper focuses on the graphic pathogeographies in David B.’s Epileptic and David Small’s Stitches: A Memoir to highlight the significance of geographic concepts in graphic novels of health and disease. Despite its importance in such works, few scholars have examined the role of geography in their narrative and structure. I examine the role of place in Epileptic and Stitches to extend the academic discussion on graphic novels of health and disease and identify how such works bring (...) attention to the role of geography in the individual’s engagement with health, disease, and related settings. (shrink)

Music may have a strong influence on literature. Many novels have reflected this by thematizing music in many different ways. However, this engagement can also adopt the form of an imitation or a formal presence that does not actually require the text to say anything about music. This paper aims to explore some aspects of musical imitation in literature that have not been analyzed in depth. Departing from the approach developed by Werner Wolf, I propose a distinction between imitating and (...) imitated elements that applies to any case of study. Furthermore, at the core of this article, I advocate for a fourth dimension that the imitation of music in literature may have and that should be added to word music, formal and structural analogies, and imaginary content analogies. I call this fourth category “graphic analogies.” It implies an imitation whose imitating element is the graphic, written aspect of the linguistic signifier. Finally, this leads to the idea that, in the case of the imitation of music in literature, there is not a necessary correlation between imitating and imitated elements. (shrink)

The following paper examines the cyberpunk transhumanist graphic novel Transmetropolitan through the theoretical lens of disability studies to demonstrate how science fiction, and in particular this series, illustrate and can influence how we think about disability, impairment and difference. While Transmetropolitan is most often read as a scathing political and social satire about abuse of power and the danger of political apathy, the comic series also provides readers with representations of impairment and the source of disability as understood (...) by the Social Model of Disability (SMD). Focusing on the setting and fictional world in which Transmetropolitan takes place, as well as key events and illustration styling, this paper demonstrates that the narrative in this work encompasses many of the same theoretical underpinnings and criticisms of society’s ignorance of the cause of disability as the SMD does. This paper aims, by demonstrating how Transmetropolitan can be read as an allegory for the disabling potential of society as experienced by individuals with impairments, to prompt readers into thinking more creatively about how narratives, seemingly unconcerned with disability, are informed and can be understood via disability theory. (shrink)

The question ‘What is a novel?’ has received scant attention in the philosophical literature. Meanwhile, this question is important. In the light of this, in this paper, I would like to address it, suggesting a potential answer. I begin by defining what I call ‘novel in the restricted sense’ – the concept that covers all novels except the so-called nonfiction novels, graphic novels, and novels in verse. Then, drawing upon Jerrold Levinson’s approach to defining ‘art’, I provide (...) a definition of the concept that covers nonfiction novels, graphic novels, and novels in verse. Finally, with the help of this definition and the definition of ‘novel in the restricted sense’, I formulate a definition of ‘novel’ simpliciter and defend it against potential objections. (shrink)

Focusing on the ideological connotations and artistic techniques of the graphic novel The Wandering Earth, this paper discusses its adaptation from the literary work, and reveals its thoughts on the ecological problems and the sustainable development in the Anthropocene. Images in this graphic novel do not simply reproduce the externally visible objects, but let the invisible be seen by presenting a certain way for the viewer to observe the earth. This novel organically combines science fiction (...) and the art of graphic storytelling, which is worthy of in-depth discussion from the interdisciplinary perspective. (shrink)

Questions concerning mediated causal effects are of great interest in psychology, cognitive science, medicine, social science, public health, and many other disciplines. For instance, about 60% of recent papers published in leading journals in social psychology contain at least one mediation test (Rucker, Preacher, Tormala, & Petty, 2011). Standard parametric approaches to mediation analysis employ regression models, and either the “difference method” (Judd & Kenny, 1981), more common in epidemiology, or the “product method” (Baron & Kenny, 1986), more common in (...) the social sciences. In this article, we first discuss a known, but perhaps often unappreciated, fact that these parametric approaches are a special case of a general counterfactual framework for reasoning about causality first described by Neyman (1923) and Rubin (1924) and linked to causal graphical models by Robins (1986) and Pearl (2006). We then show a number of advantages of this framework. First, it makes the strong assumptions underlying mediation analysis explicit. Second, it avoids a number of problems present in the product and difference methods, such as biased estimates of effects in certain cases. Finally, we show the generality of this framework by proving a novel result which allows mediation analysis to be applied to longitudinal settings with unobserved confounders. (shrink)

The dominant discourse on dementia promotes a view that as individuals progress with the disease, they experience a neurological decline causing a loss of self. This notion, grounded in a Cartesian representation of selfhood, associates a loss of self as directly related to cognition. This paper presents an alternative anthropological framework, embodied selfhood, that challenges this representation. It then examines a potential tool, graphic medicine, to translate this theory into caregiving practice. Through analyzing three graphic novels—Wrinkles, Tangles, and (...) Aliceheimer’s—this paper demonstrates how tension exists between different conceptions of selfhood and associated implications for caregivers and patients alike. (shrink)

We discuss external and internal graphical and linguistic representational systems. We argue that a cognitive theory of peoples' reasoning performance must account for (a) the logical equivalence of inferences expressed in graphical and linguistic form, and (b) the implementational differences that affect facility of inference. Our theory proposes that graphical representation limit abstraction and thereby aid “processibility”. We discuss the ideas of specificity and abstraction, and their cognitive relevance. Empirical support both comes from tasks which involve the manipulation of external (...) graphics and tasks that do not. For the former, we take Euler's (1772) circles, provide a novel computational reconstruction, show how it captures abstractions, and contrast it with earlier construals and with Johnson‐Laird's (1983) mental models representations. We demonstrate equivalence of the graphical Euler system, and the nongraphical mental models system. For tasks not involving manipulation of external graphics, we discuss text comprehension, and the mental performance of syllogisms. By positing an internal system with the same specificity as Euler's circles, we cover the mental models data, and generate new empirical predictions. Finally, we consider how the architecture of working memory explains why such specific representations are relatively easy to store. (shrink)

Over the last three decades, the graphic novel has developed both in sophistication and cultural importance, now being widely accepted as a unique form of literature (Versaci 2007 ). Autobiography has proved to be a successful genre within comics (the word is used in the plural to denote both the medium and the philosophy of the graphic form) and within this area a sub-genre, the memoir of the artist’s own disease or suffering, sometimes known as the (...) class='Hi'>graphic pathology, has arisen (Green and Myers 2010 ). Storytelling and healing have been linked since ancient times, and the disclosure of ones story forms part of the psychotherapeutic treatment of trauma (Herman 1997 ). This paper will examine, in both graphic and textual form, whether, among the myriad reasons that one might embark upon the labour intensive work of making a graphic memoir, some artists might be seeking some form of healing or catharsis through their work. (shrink)

Lochlann Jain's debut non-fiction graphic novel, Things That Art, playfully interrogates the order of things. Toying with the relationship between words and images, Jain's whimsical compositions may seem straightforward. Upon closer inspection, however, the drawings reveal profound and startling paradoxes at the heart of how we make sense of the world. Commentaries by architect and theorist Maria McVarish, poet and naturalist Elizabeth Bradfield, musician and English Professor Drew Daniel, and the author offer further insight into the drawings in (...) this collection. A captivating look at the fundamental absurdities of everyday communication, Things that Art jolts us toward new forms of collation and collaboration. (shrink)

Many different, seemingly mutually exclusive, theories of categorization have been proposed in recent years. The most notable theories have been those based on prototypes, exemplars, and causal models. This chapter provides “representation theorems” for each of these theories in the framework of probabilistic graphical models. More specifically, it shows for each of these psychological theories that the categorization judgments predicted and explained by the theory can be wholly captured using probabilistic graphical models. In other words, probabilistic graphical models provide a (...) lingua franca for these disparate categorization theories, and so we can quite directly compare the different types of theories. These formal results are used to explain a variety of surprising empirical results, and to propose several novel theories of categorization. (shrink)

This paper argues that the graphic adaptation of Dennis Lehane’s Shutter Island utilizes the medium to evoke an affective participation and investment from the reader. It explores the ways the graphic novel overcomes problematic representations of mental illness in the popular film version. Drawing on graphic fiction theory, I contend that readers’ engagement in and construction of the story between panels, in the “gutters,” allows them to participate in the protagonist’s persecutory delusion. Additionally, I draw on (...) Foucault’s conceptualizations of the medical gaze and historical figurations of madness connected to water in order to demonstrate the mechanism by which the reader is placed in a dual subject position, becoming both observer and observed. In this capacity, I suggest that graphic fiction provides a unique experience to engender empathy for psychiatric illness. (shrink)

Typically, literature is defined ontologically as linguistically-fixed texts consisting of specific words and word order. However, some have noted that this condition is too strict for linguistically-fluid works such as the Iliad where the words and word order differ in their various instances. I argue that it is not strict enough for some works of literature, such as pattern poetry and the novels of Irvin Welsh and Mark Z. Danielewski, that have a further ontological condition. In that the graphic (...) features play an artistic role in these works, those graphic features must be reproduced in an authentic copy. Using exemplars in both poetry and prose, I define these works as graphically-fixed literature and identify a sufficient condition of such works specific to their graphic features. Finally, I examine copies of graphically-fixed works that omit their graphic features as well as audiobook and Braille editions that necessarily lack graphic components. (shrink)

Structure learning algorithms for graphical models have focused almost exclusively on stable environments in which the underlying generative process does not change; that is, they assume that the generating model is globally stationary. In real-world environments, however, such changes often occur without warning or signal. Real-world data often come from generating models that are only locally stationary. In this paper, we present LoSST, a novel, heuristic structure learning algorithm that tracks changes in graphical model structure or parameters in a (...) dynamic, real-time manner. We show by simulation that the algorithm performs comparably to batch-mode learning when the generating graphical structure is globally stationary, and significantly better when it is only locally stationary. (shrink)

The life, times, and work of Herbert Marcuse, one of the 20th century's most remarkable cultural figures.

The paper is a study of how graphic narratives (graphic novels and the comics) represent time in external visual space as well as in inner (mental) representations. Peirce’s semiotics is the main tool of research. After a survey of various approaches to the study of time in narratives in general and in graphic narratives in particular, an outline of the various aspects of the embodiment of time in space in general is given before the forms of the (...) embodiment of time in the space of graphic narratives is examined in detail. Signs of time are signs that represent time as their object and create mental representations of time as their interpretant. On this semiotic premise, the paper proposes a reinterpretation of Genette’s theory of time in narratives. A comparison with narratives in prose reveals that narrative time in graphic narratives evinces marked discontinuities in their spatial representation. The paper distinguishes between time as continuity, time as age, and points in time. It concludes that time as continuity is typically embodied in the form of spatial diagrams whereas time as age and points in time are mainly of the nature of indexical signs. The insights into the forms of embodiment of time in space derived from these premises are applied to examples from recent graphic novels and some traditional comics. (shrink)

Graphical AbstractOn the Black Swans of conventional sex determination theory: There aren't many, but when an exception to the standard model of sex determination (evolutionary turnover of genes playing the role of “master sex determiner”) arises, it certainly screams out for an explanation. In this issue, a novel one is put forward. It now awaits testing, particularly at the population level.

The consensus is that novels can be fully appreciated only through an experiential engagement with their well-formed instances. But what are the entities that serve as such instances? According to the orthodox view, these entities are primarily inscriptions—concrete texts written or printed on something or displayed on the screen of some electronic device. In this paper, I argue that this view is misguided, since well-formed instances of a novel must manifest certain sonic properties, but such properties cannot be manifested (...) by inscriptions. As an alternative, I put forward the view that the entities that serve as well-formed instances of novels are readings and sums of readings and graphic elements. (shrink)