Susan E Kirtley – författare

Contributions by Bart Beaty, Jenny Blenk, Ben Bolling, Peter E. Carlson, Johnathan Flowers, Antero Garcia, Dale Jacobs, Ebony Flowers Kalir, James Kelley, Susan E. Kirtley, Frederik Byrn Køhlert, John A. Lent, Leah Misemer, Johnny Parker II, Nick Sousanis, Aimee Valentine, and Benjamin J. Villarreal More and more educators are using comics in the classroom. As such, this edited volume Sets out the stakes, definitions, and exemplars of recent comics pedagogy, from K-12 contexts to higher education instruction to ongoing communities of scholars working outside of the academy.Building upon interdisciplinary approaches to teaching comics and teaching with comics, this book brings together diverse voices to share key theories and research on comics pedagogy. By gathering scholars, creators, and educators across various fields and in K-12 as well as university Settings, editors Susan E. Kirtley, Antero Garcia, and Peter E. Carlson significantly expand scholarship.This valuable resource offers both critical pieces and engaging interviews with key comics professionals who reflect on their own teaching experience and on considerations of the benefits of creating comics in education. Included are interviews with acclaimed comics writers Lynda Barry, Brian Michael Bendis, Kelly Sue DeConnick, and David Walker, as well as essays spanning from studying the use of superhero comics in the classroom to the ways comics can enrich and empower young readers.The inclusion of creators, scholars, and teachers leads to perspectives that make this volume unlike any other currently available. These voices echo the diverse needs of the many stakeholders invested in using comics in education today.

Contributions by Bart Beaty, Jenny Blenk, Ben Bolling, Peter E. Carlson, Johnathan Flowers, Antero Garcia, Dale Jacobs, Ebony Flowers Kalir, James Kelley, Susan E. Kirtley, Frederik Byrn Køhlert, John A. Lent, Leah Misemer, Johnny Parker II, Nick Sousanis, Aimee Valentine, and Benjamin J. Villarreal More and more educators are using comics in the classroom. As such, this edited volume Sets out the stakes, definitions, and exemplars of recent comics pedagogy, from K-12 contexts to higher education instruction to ongoing communities of scholars working outside of the academy.Building upon interdisciplinary approaches to teaching comics and teaching with comics, this book brings together diverse voices to share key theories and research on comics pedagogy. By gathering scholars, creators, and educators across various fields and in K-12 as well as university Settings, editors Susan E. Kirtley, Antero Garcia, and Peter E. Carlson significantly expand scholarship.This valuable resource offers both critical pieces and engaging interviews with key comics professionals who reflect on their own teaching experience and on considerations of the benefits of creating comics in education. Included are interviews with acclaimed comics writers Lynda Barry, Brian Michael Bendis, Kelly Sue DeConnick, and David Walker, as well as essays spanning from studying the use of superhero comics in the classroom to the ways comics can enrich and empower young readers.The inclusion of creators, scholars, and teachers leads to perspectives that make this volume unlike any other currently available. These voices echo the diverse needs of the many stakeholders invested in using comics in education today.

Best known for her long-running comic strip Ernie Pook's Comeek, illustrated fiction (Cruddy, The Good Times Are Killing Me), and graphic novels (One! Hundred! Demons!), the art of Lynda Barry (b. 1956) has branched out to incorporate plays, paintings, radio commentary, and lectures. With a combination of simple, raw drawings and mature, eloquent text, Barry's oeuvre blurs the boundaries between fiction and memoir, comics and literary fiction, and fantasy and reality. Her recent volumes What It Is (2008) and Picture This (2010) fuse autobiography, teaching guide, sketchbook, and cartooning into coherent visions.In Lynda Barry: Girlhood through the Looking Glass, author Susan E. Kirtley examines the artist's career and contributions to the field of comic art and beyond. The study specifically concentrates on Barry's recurring focus on figures of young girls, in a variety of mediums and genres. Barry follows the image of the girl through several lenses--from text-based novels to the hybrid blending of text and image in comic art, to art shows and coloring books. In tracing Barry's aesthetic and intellectual development, Kirtley reveals Barry's work to be groundbreaking in its understanding of femininity and feminism.

Best known for her long-running comic strip Ernie Pook's Comeek, illustrated fiction (Cruddy, The Good Times Are Killing Me), and graphic novels (One! Hundred! Demons!), the art of Lynda Barry (b. 1956) has branched out to incorporate plays, paintings, radio commentary, and lectures. With a combination of simple, raw drawings and mature, eloquent text, Barry's oeuvre blurs the boundaries between fiction and memoir, comics and literary fiction, and fantasy and reality. Her recent volumes What It Is (2008) and Picture This (2010) fuse autobiography, teaching guide, sketchbook, and cartooning into coherent visions.In Lynda Barry: Girlhood through the Looking Glass, author Susan E. Kirtley examines the artist's career and contributions to the field of comic art and beyond. The study specifically concentrates on Barry's recurring focus on figures of young girls, in a variety of mediums and genres. Barry follows the image of the girl through several lenses--from text-based novels to the hybrid blending of text and image in comic art, to art shows and coloring books. In tracing Barry's aesthetic and intellectual development, Kirtley reveals Barry's work to be groundbreaking in its understanding of femininity and feminism.

Since Marvel launched Ms. Marvel in 1977 with the tagline "This female fights back!", the hero has spent nearly five decades battling enemies both external and internal. She's traded blows with a rogues' gallery that includes M.O.D.O.K., Mystique, Hecate, Ronan, and Tiger Shark—all while contending with an unforgiving costume, a sexist boss in J. Jonah Jameson, and the anxieties of being marketed as "This Woman, This Warrior" in an era of second-wave feminism. Yet for all these outside threats, Ms. Marvel's most persistent foe has always been herself. Carol Danvers wrestled with a fractured psyche before facing down alternate-dimension versions of her own identity and the Dark Avenger imposter Karla Sofen. Sharon Ventura battled between two bodies—one she wanted, one society approved of. And when Kamala Khan took up the mantle, she inherited this same war with the self, confronting doppelgängers, the entity Stormranger, and even her own reanimated corpse. This book traces the evolving history of the Ms. Marvel title—from its complicated debut as a feminist icon who often undercut her own feminist and heroic ideals, through its passage from Danvers to Khan—arguing that the character's deepest and most enduring conflict has never been with a supervillain, but with herself.