Words and Images
Words and images are the couple that should never be separated. As mentioned in Scott McCloud’s, “Show and Tell,” we are taught from childhood that we should mature out from using images in our writing. Comics are viewed as amateurish in the professional field of English. We are continuously told that comics and usage of images in a text are pretty “childish” and should not be tolerated by the “higher” level of English. If the meaning of a text is transferred through the employment of images and words, then it is done correctly. Readers across the nation admits that demonstration of images and words in any literary work amplifies the understanding of the work, as also mentioned by McCloud.
On page 739, Scott McCloud
…show more content…
Without the words, we wouldn’t understand what’s happening either. Withe the mixture of both components, we as readers, understand the whole concept of McCloud’s idea. McCloud’s application of the show-and-tell vignette to open the piece, shows and proves that words and images are suppose to go together. It’d be empty without the other. McCloud, has perfectly read right through his readers, and opened his piece, “Show and Tell,” flawlessly. Right off the bat, he uses such example, that shows the readers that without the implementation of both images and words, it would be near impossible for the readers to understand the meaning of these panels. After the short demonstration of the boy and his toy, McCloud appears in the comic to speak to us readers. Through his expression of ethos, McCloud gives his readers a chance to stand on a concrete ground and builds trust. He appears before his audience as if he’s the professor and we are the students. McCloud uses words like ‘duo-specific’ to show his expertise at the topic. McCloud’s diction provides an evidence of how genuine he is. He’s trying to inspire students, and telling them it’s not wrong to combine images with words. It shows his …show more content…
As novels used to be a frequent part of society that was common, but as literature changes, perspective changes as well. Comics are now seen as simplified versions of the “greater” works of literature fashioned to cater to our now more simplistic civilization. Thus, scholars suggests that comics should not be viewed as something that is a mature work of literature. However, the whole point of literature is taken away if we’re looking at solely the quality and not seeing if readers can truly understand the meaning of the literature. This is exactly what McCloud presented to his audience. Comics simply give an upright understanding of whatever it is trying to explain, without losing any sort of value. As McCloud proves this in his essay with such thorough and eye-opening examples. In example, on page 748, he shows us how unbalanced a text can be with only words. Scholars sees past this clear evidence and they still say that comics are not valuable in literature. On average, people are more
In this speech he expresses the significance of creating comics for children and how comic books have evolved into a much more sophisticated nonrelation to children industry. This is where producers and illustrators can express themselves through art and other near adult expressions. The gory and dark themes of today comics appeal themselves to a more adult audience However, in this process the audience for children has resulted in a loss. He wants the comic industry to bring it back to the children. His solution is this: to give children stories to hold on to. To let the imagination of children, soar to new heights with stories
Having such an image before our eyes, often we fail to recognize the message it is trying to display from a certain point of view. Through Clark’s statement, it is evident that a photograph holds a graphic message, which mirrors the representation of our way of thinking with the world sights, which therefore engages other
different styles of imagery and the diction, can change the way the reader interprets the
Though people can look into color and composition, others can still even look into the source of the art itself. Cole goes deeper, delving into the source of the art, looking in particular into the idea of cultural appropriation and the view a person can give others. Though it is good for people to be exposed to different opinions of a group or an object, sometimes people can find it difficult to tell the difference between the reality and the art itself. Sometimes art can be so powerful that its message stays and impacts its audience to the point where the viewer’s image of the subject of the art changes entirely. Cole brings up an important question about art, however. Art has become some kind of media for spreading awareness and even wisdom at times, but in reality, “there is also the question of what the photograph is for, what role it plays within the economic circulation of images” (973). Cole might even be implying that Nussbaum’s advertisement can sometimes be the point of some media, and that sometimes the different genres of art can just be to make someone with a particular interest happy. One more point that Cole makes is that “[a]rt is always difficult, but it is especially difficult when it comes to telling other people’s stories.” (974) Truthfully, awareness and other like-concepts are difficult to keep going when a person or a group is not directly involved.
In a world dominated by technology, reading novels has become dull. Instead of immersing into books, we choose to listen to Justin Bieber’s new songs and to scroll through Instagram posts. We have come to completely neglect the simple pleasures of flipping through pages and getting to finally finish a story. Sherman Alexie and Stephan King’s essays attempt to revive this interest in books that has long been lost. They remind us of the important role that reading plays in our daily lives. “The Joy of Reading and Writing: Superman and Me,” for instance, demonstrates how being literate saved the narrator from the oppressive nature of society. The author explains that even though he was capable of reading complex books at an astonishingly young
When a novel is adapted into a graphic novel, a spectrum of possible interpretations allows for new meanings. Due to the intermedial character of the graphic novel, the translation from text into a graphic novel differs from an adaptation from text to text. Graphic novels have a medium-specific language that consists of a combination of words and images, both following their own rules and conventions. These two channels of the graphic novel, the visual and the textual, enable the author of the adaptation to express her- or himself not only through words but also through images and make them decide what is expressed in images, what is left in words, and what is left out altogether.
Chris McCandless always felt held back and restricted, either by parents or by an indifferent society in general. An abhorrence against the powers that be and against what he saw as an unfulfilled life led him to embark on a great adventure of solitude and self-discovery.
In the essay “Kids’ Stuff” Michael Chabon argues that comic books have become too centered around adults and need to be more focused on youth readers like they were during his childhood. Chabon claims that the authors goal audience has changed over the years.Comics that were once written for children are now written to appeal to adults. Throughout the essay, Chabon disagrees with the authors choice to aim comics toward adults instead of children. He feels that authors should write children stories for children.
Jon Krakauer, author of Into the Wild, once claimed that “nothing is more damaging to an adventurous spirit within a man than a secure future” (Krakauer). Christopher Johnson McCandless epitomises the adventurous spirit and escaped from his secure future to live in the wild Alaskan terrain to escape from reality. In the year 1990, Chris burned all of his money, abandoned his car and changed his name to Alexander Supertramp to go on an Great Alaskan Adventure where he could escape from his responsibilities and all that awaited him back home. Likewise, George, from Of Mice and Men by John Steinbeck, Montag, from Fahrenheit 451 by Ray Bradbury, and Finny from A Separate Peace by John Knowles, all wanted to escape from the world that they were
In Fun Home: A Family Tragic Comic, Alison Bechdel uses the graphic novel technique of bringing visuals and concise text to her audience to reveal the relationship with her father in a perspective that can not be modified through the readers perspective and interpretation. Bechdel employs this type of writing style to help visualize a better interpretation of how she describes the differences in both her and her fathers’ gender roles throughout the novel. This tactic helps discuss and show how these gender roles were depicted as opposite from one another. But, in this case being opposite from one another made them gain a stronger relationship of understanding and reviling that these differences were actually similarities they also shared.
Life is a form of progress- from one stage to another, from one responsibility to another. Studying, getting good grades, and starting the family are common expectations of human life. In the novel Into the Wild, author Jon Krakauer introduced the tragic story of Christopher Johnson McCandless. After graduating from Emory University, McCandless sold of his possessions and ultimately became a wanderer. He hitchhiked to Alaska and walked into the wilderness for nearly 4 months. This journey to the 49th state proved fatal for him, and he lost his life while fulfilling his dream. After reading this novel, some readers admired the boy for his courage and noble ideas, while others fulminated that he was an idiot who perished out of arrogance and
In the article, “Blue-Collar Brilliance” by Mike Rose, he begins with an anecdote of his mother working her blue-collar job at a diner as a waitress. Rose vividly describes her common day that is packed with a constant array of tedious tasks she has to accomplish to make her living. The authors goal appears to be making the reader appreciate the hard work of blue-collar workers because society places a stereotype on them as being less intelligent than someone with more schooling or even a white-collar job: “Our cultural iconography promotes the muscled arm, sleeve rolled tight against biceps, but no brightness behind the eye, no inmate that links hand and brain” (282). I agree with Rose’s conclusion that if we continue to place a stigma on
My intention here is to acknowledge two problems that I believe all scholars of "the visible" will encounter at some point in their work. Both showed up early in my research on commemorative artworks, but I suspect that they crash everyone's party at some point. I have no "solution" to these problems, but I believe they should, actually must, be addressed in work on visual rhetoric. The first, "readability," is both a practical and theoretical problem having to do with the possibilities of interpretation in visual culture. The second, which I'll simply label "materiality" for the moment, has a presence in numerous arenas beyond the study of visual culture, but remains nearly unaddressed and nearly unacknowledged in rhetorical work on visual images.
Piper’s use of imagery in this way gives the opportunity for the reader to experience “first hand” the power of words, and inspires the reader to be free from the fear of writing.
When students learn how to read in elementary school, teachers would teach students how to read comic books and as students we see that the comics would give the animals multiple human traits. Many comic books substitute animals and give them human-like characteristics, such as the ability to talk and walk upright. However, the debate rages on as to what type of animal makes a good character and what type of animal makes a bad character. Comic writers would often use different types of animals that are naturally seen in the real world and they would determine what type of role they would have in the comic book. Also the cartoonist would determine who should prevail, who should not, and their emotions towards one another.