Graphic Novels as Pedagogy in Social Studies: How to Draw Citizenship (Palgrave Studies in Global Citizenship Education and Democracy) 3030442519, 9783030442514

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PALGRAVE STUDIES IN GLOBAL CITIZENSHIP EDUCATION AND DEMOCRACY

Graphic Novels as Pedagogy in Social Studies How to Draw Citizenship Angelo J. Letizia

Palgrave Studies in Global Citizenship Education and Democracy

Series Editor Jason Laker San José State University San José, CA, USA

This series will engage with the theoretical and practical debates regarding citizenship, human rights education, social inclusion, and individual and group identities as they relate to the role of higher and adult education on an international scale. Books in the series will consider hopeful possibilities for the capacity of higher and adult education to enable citizenship, human rights, democracy and the common good, including emerging research and interesting and effective practices. It will also participate in and stimulate deliberation and debate about the constraints, barriers and sources and forms of resistance to realizing the promise of egalitarian Civil Societies. The series will facilitate continued conversation on policy and politics, curriculum and pedagogy, review and reform, and provide a comparative overview of the different conceptions and approaches to citizenship education and democracy around the world.

More information about this series at http://www.palgrave.com/gp/series/14625

Angelo J. Letizia

Graphic Novels as Pedagogy in Social Studies How to Draw Citizenship

Angelo J. Letizia Notre Dame of Maryland University Baltimore, MD, USA

Palgrave Studies in Global Citizenship Education and Democracy ISBN 978-3-030-44251-4 ISBN 978-3-030-44252-1 (eBook) https://doi.org/10.1007/978-3-030-44252-1 © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG, part of Springer Nature 2020 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland

This book is dedicated to all those students who are doing cool things which are not graded or recognized. Keep working at them.

Preface

I love comic books. I have always loved comic books for as long as I can remember. This should not come as too much of shock since I am writing this book, but the important point is that I have loved comic books way longer than I have been a supposedly respectable academic researcher. (The respectable part is still up to debate.) As such, this type of research has been very different for me. I am researching something I loved as a child, and still love as an adult. Perhaps mostly importantly, the research and scholarly interpretation of comics has drastically changed how I see comics. For most of my life I have read comics as a fan, primarily as a diversion and to be entertained. Now as a researcher, after reading interpretations and theories on many characters and the medium itself, I have new tools and ideas to understand comics. I do not simply see comics as entertainment anymore, rather, I see them as a medium rife with pedagogical possibility. This book will expound on this central idea, that comics and the mechanics of the medium are well suited to pedagogy, specifically social studies pedagogy and the teaching of citizenship. More on that in a moment.1 1 A note on terminology. Comic books are generally serial in nature, whereas graphic

novels are usually longer and the subject matter is considered more serious. Graphic novels are also bounded into book form and sold at book stores. The term graphic novel is usually deemed more respectable. However, many graphic novels are simply a number of smaller comics bounded together into book format (Duncan, Smith, & Levitz, 2015; Fish, 2010; Gabilliet, 2010; Maslon & Kantor, 2013). Furthermore, some comics theorists

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Yet, I think both sides of this are important. On the one side is the 13-year-old kid in me who rode his bicycle to the comic shop and bought Batman and X-Men comics. On the other side is the professor with the Ph.D. Both sides bring a unique perspective to this topic. While the researcher may seem the more respectable, we should listen to the kid— in all fairness he was here first. It was the kid who first recognized the ability of comics to convey a range of ideas and emotions. I distinctly remember reading Batman #520 (1995) written by Doug Moench and drawn by Eduardo Barreto. In this comic, both Batman (Bruce Wayne) and gruff detective Harvey Bullock, experience a type of loss. Wayne recalls the death of his parents, and reaffirms his oath, in fact he screams it at the top of a building in a raging lightning storm. In the same issue, Bullock has a date with a nurse who he cares tenderly for, only to watch her be gunned down by a criminal. Then there was the little mutant girl in Busek and Ross’s (1994) Marvels. She has large eyes and looks visibly different, but she huddles in the closet and is petrified. The prejudice the mutants are subjected to is unrelenting and all too life-like. You cannot help but feel her pain. I read both of these comics as a teenager. More than just powerful stories, the characters resonated with me. As a moody and lonely teen, I saw a little of myself in Batman, the Dark Knight who forsakes human contact, as well as the marginalization of the little girl. The point here is that even as a teenager, I recognized how comics could be powerful things, even if I was just looking to be entertained. Looking back now, I think what I felt was a visceral raw connection to a wild and fantastic story. Even as a form of escape, comics always had a practical function for me—imagination. I know this can be done with prose or television, but at least for me, there was something special about the fantastic worlds and situations that comics asked you to accept as natural. Comics force you to expand your thoughts, your point of view, they demand that you stretch your mind. Aliens, monsters, robots all become integral to the stories. While I have no empirical test to prove this, I truly believe that my love of comics helped to foster my imagination.

are not comfortable this label (Duncan et al., 2015; Maslon & Kantor, 2013). In this work, I will usually refer to “comics and graphic novels” to be as inclusive as possible. However, as Duncan and colleagues (2015) point out, the internet has opened up new avenues for comics as well, and those webcomics and internet comics could plausibly be used in the assignments that I propose as well.

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Fan hat off. Researcher hat back on. As noted before, one specific aspect that I believe comics can help us with is citizenship. I do not claim that comics can make us better citizens. My goal is much more modest. All I argue in this book is that comics may help students (as well as their professors) grapple with some thorny citizenship issues in new ways. As a social studies teacher by trade, and now a social studies methods instructor (among other classes as well), teaching critical thinking and citizenship has always been close to my heart. Moreover, as I will discuss at length in the book, citizenship is a complex phenomenon which is only further complicated by the bewildering state of reality we find ourselves in. I will argue that comics, both the analysis of them, as well as the creation of them, may help us find our way as citizens and people in this volatile age where truth is in question. However, I do not just limit this to social studies teachers and those who instruct social studies teachers. I think all professors and teachers can utilize ideas of citizenship. In addition to my role as fan and researcher, I am also an artist. As a child, one of the reasons I gravitated toward comics was because comics gave me the fodder I needed to create my own heroes and alternate universes. My early drawings, from elementary school into high school were mostly rip offs of existing heroes. I prized faithful reproduction of existing drawings. My main goal was to see how much I could get my drawing to look like Jim Lee’s or whoever. Art for me was always ornament, eye candy. However, as I began to delve into the research on comics, I came to quickly realize that art and text are partners. Both aspects help tell the story in conjunction with each other. Moreover, not just the art, but the panels, word balloons, and other devices all help to tell the story. So, this got me thinking, could art and text also be used to grapple with citizenship? Could art, text, the combination of the two, and all the devices in comics help students convey unique ideas about citizenship? I believe so. This book is my answer to that question. All the while I have gone down the researcher path, part of me wondered if I was overthinking, or if I somehow stamped out the sheer joy of comics that I felt as a kid. Did I overanalyze Batman? Should I just enjoy the story? I wrestled with this thought for a while, but in the end, I concluded that my love of comics has been infinitely enriched by scholarly knowledge. However, I am also careful to never extinguish that pure love of comics that I felt as a child and teenager, that visceral connection with the stories and characters. Wright (2003, xi) notes something similar “And while the years of research and analysis have made it difficult for me

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to ever simply ‘enjoy’ reading a comic book again, this scholarly inquiry has ultimately confirmed what I first realized as a young boy: comic books are cool!” I agree. Comics are cool and fun. But at the same time, they can be made to serve a higher purpose (perhaps precisely because they are cool and fun?). I think the pleasure of comics can be harnessed and joined to the academic (and dare I say it—sometimes dry and boring) theories of citizenship to create something truly spectacular. I also think it important to note here that many of the features of comics (e.g., word text combinations) can be found in other venues (Miodrag, 2013). While this book focuses on the comics medium, I would be remiss if I did not note that some of what I argue may be accomplished with other media. However, I do believe the comics medium is uniquely suited to achieve the tasks laid out in this book.

Structure of the Book The first chapter of the book serves as the introduction. Here, I try to weave together various strands of thought to show why the reading and creating of comics is a good fit for teaching citizenship in the present age. I tried not to scare away teachers. I wanted to create assignments that teachers could actually use and modify. I struggled with the theory— practice divide. I did not want to create a theory-dump. This book is meant to be practical. I know a number of colleagues who disdain what they see as abstract theory. With that said, a total disdain of theory I think is shortsighted. Theory is vital to progress—as is action. Here, I invoke Freire’s (2000) notion of praxis. Praxis holds that action without reflection is largely ineffective and vice versa. We need both to truly progress. So could a teacher skip the first chapter and still implement the activities? Probably. But I think the theoretical context frames the comic activities and shows why they are suitable and I would argue necessary, to the age we live in, and not simply fun diversions from normally boring classroom practice. Moreover, the first chapter forms the foundation and inspiration for all the activities in the later chapters. The next four chapters consist of two larger components—reading and writing comics. The first component, which encompasses Chapters 2 and 3, is the student reading component. These two chapters will explore how students can read comics and graphic novels in a number of ways that may help them grapple with citizenship. Chapter 2 is comprised of a wide variety of assignments that deal with reading comics and graphic

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novels, while Chapter 3 also contains reading activities, but this chapter specifically centers on leadership and symbolism. Some of the reason for this pairing was due to organizational concerns of the book. Structurally it made sense because of the amount of leadership and symbolic assignments combined made for a good chapter length. However, I also chose to put these two topics together because of what I believe to be the importance of symbolism in the act of leadership (Bolman & Deal, 2017; Pfeffer, 2000). While all the symbolic exercises do not specifically pertain to leadership, in a wider sense, all leaders may need to be cognizant of the symbolic nature of their actions. Also, for brevity, I have utilized the term symbolism in the title for both Chapters 3 and 5, but I explore symbols, imagery, and other pertinent ideas as well. Chapters 4 and 5 comprise the second component of the book, which is student comic creation. Chapter 4 offers a number of creation exercises. Chapter 5 centers on leadership and symbolism in students’ comic creation. In Chapters 4 and 5, students must use the features of the comic’s medium, such as panel size, sequencing, and symbolism to name a few, to convey ideas related to citizenship. I provide these frameworks not as immutable doctrines, but rather rough guides for teachers and professors to utilize and adapt to their own purposes as they see fit. There are approximately 50 activities in this book. These activities are diverse and require different types of tasks for students to perform. One of the reviewers of the book noted that this wide array could be problematic. I needed a way to join these disparate activities under one umbrella. So I turned to an old friend: Bloom’s taxonomy. My teacher education program utilized Bloom’s taxonomy, which seems to be fairly common for many teacher prep programs (Argawal, 2019). The revised taxonomy enumerates six cognitive functions (see the table below) and four types of knowledge. The original taxonomy looked not only at the cognitive dimension, but also at the psychomotor and affective dimensions, with frameworks for each. I am focusing here on the cognitive dimension, but as Woolfork (2016) points out, most activities in learning embody all three dimensions. Further, Bloom’s taxonomy can be used to stimulate higher order thinking in the social studies in a variety of ways (Banks, McGee-Banks, & Clegg, 1999; Chapin, 2015; Larson, 2017). Chapters 2 through 5 align with certain cognitive functions in the taxonomy. The reading component, contained in Chapters 2 and 3, calls for students to understand, apply, analyze, and evaluate comics and graphic novels. Chapter’s 4 and 5 promote the creative function of the taxonomy.

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The four chapters will also have a continuity to them because I draw on many of the same ideas in each of these sections. For instance, the framework in Chapter 2 has students look at graphic novels to identify emotional responses, but I also have students drawing emotional responses in Chapter 4 as well. So, I believe these two components, while disparate, can be joined together. Of course, as Boslaugh (2019) recounts, there have been a number of criticisms of the taxonomy; such as: the taxonomy presents learning as a linear activity when in fact learning is compared to a web, the “taxonomy is overly precise and that the distinct categories make the process of learning seem more organized than it really is,” and the taxonomy places too much emphasis on the individual. Case (2013) vehemently argues that the taxonomy (or at least the ways in which the taxonomy has been used in classrooms and instruction) is actually destructive because among other flaws, the taxonomy may lull educators into thinking they are stimulating enough critical thinking by simply employing some magic verbs. I grant all of these criticisms. Nevertheless, I still think the taxonomy has value (maybe old habits just die hard). For one, it has an organizational value, it allows teachers to conceive of different cognitive tasks (even if these tasks are not as discreet as they appear in the taxonomy). Secondly, even if the levels are too artificial, I think they embody what good citizens must do. Citizens must evaluate information, they must apply and analyze it, and they must create new information. Chapters 2 and 3 are built around the taxonomy, with an emphasis on levels 2 through 5. Chapters 4 and 5 will focus mainly on the sixth level, creation. However, Krathwohl (2002) notes that there is also an overlap between the six levels as well. Below is a condensed version of the cognitive processes (Krathwohl, 2002, 215). Table 1

This is a condensed version of Bloom’s revised taxonomy

Level

Cognitive process

Subdivisions of process

6 5 4 3 2 1

Create Evaluate Analyze Apply Understand Remember

Generating, Planning, Producing Critiquing, Checking Differentiating, Organizing, Attributing Implementing, Executing Summarizing, Interpreting, Comparing, Inferring Recalling, Recognizing

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My aim is not to pigeonhole every framework and rubric I make into one of the levels of Bloom’s taxonomy. Rather, I think the functions enumerated on the chart above can give teachers a rough approximation of some of the tasks they might perform in regards to the activities in this book. In the end, I think Bloom’s taxonomy can help to unify the disparate tasks the activities in this book require. Of course, anyone using this taxonomy should take heed of the criticisms and realize that learning is messy and complicated. The final chapter tackles a few issues. First is assessment. Assessment is obviously of crucial importance. The methodology of this entire book is aligned with many tenets of action research, where teachers perform the research themselves in their classrooms and monitor the results and use this information to continually re-implement the assignments (Mertler, 2020; Schwarz, 2013). I have assigned many of the activities in this book to my classes, I monitored the results and used the various feedback (student comments, course, evaluations etc.,) to help me implement the assignments the next time I taught. My goal is admittedly difficult to measure: to allow students to navigate our volatile age where no one is really sure what is true. So, I figured the best way to assess this was simply to do it. These results I think give some evidence of what I was aiming for and show how teachers can evaluate these types of assignments. Assessment of these types of citizenship concerns work to link the activities in this book more closely to the ideas of citizenship in our volatile age and to give some evidence how students come to grapple with those ideas. Obviously, this will look different in different classrooms and with different students, but examples from real life I think are illustrative how the frameworks and exercises actually might work. This chapter will also deal with questions of suitability and justification. Namely, I will examine how the use of graphic novels in the classroom, both the analysis of existing graphic novels and the creation of mini-comics, may be justified in the face of time constraints and testing pressures. I also include a list of comics and graphic novels which I believe can be used to teach about citizenship. Finally, the book will conclude with a short appendix which includes excerpts from my own attempts to create a graphic novel. Thompson (2018) and Carter (2013) both argue that teachers may want to create their own comics if they assign them to students to truly understand the process. Creating a comic allows the teacher to work through the creative process with the students. I followed their advice and have created

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my own graphic novel. In this creative work, I try to achieve what I am asking my students to do. I wanted to basically put my money where my mouth was and dive into the creative process myself to show students and readers exactly what I am advocating. Okay—let’s do this! Baltimore, USA

Angelo J. Letizia

References Agarwal, P. (2019). Retrieval practice & Bloom’s taxonomy: Do students need fact knowledge before higher order learning? Journal of Educational Psychology, 111(2), 189–209. https://doi.org/10.1037/edu0000282. Banks, J. A., McGee-Banks, C. A., & Clegg, A. A. (1999). Teaching strategies for the social studies: Decision-making and citizen action (5th ed.). New York: Longman. Bolman, L. G., & Deal, T. E. (2017). Reframing organizations: Artistry, choice, and leadership (6th ed.). San Francisco: Jossey-Bass. Boslaugh, K. (2019). Blooms taxonomy. Salem Press Encyclopedia. Busek, K., & Ross, A. (1994). Marvels. Marvel Comics. Carter, J. B. (2013). What the—? Pre-Service teachers meet and grapple over graphic novels in the classroom. In C. Syma & R. Weiner (Eds.), Graphic novels and comics in the classroom (pp. 58–72). Jefferson, NC: McFarland & Company. Case, R. (2013). The unfortunate consequences of Bloom’s taxonomy. Social Education 77 (4), 196–200. Chapin, J. (2015). A practice guide to middle and secondary social studies (4th ed). New York: Pearson. Duncan, R., Smith, M. & Levitz, P. (2015). The power of comics: History, form and culture (2nd ed.). New York: Bloomsbury. Fish, A. (2010). How to draw graphic novel style. London: Quintent Publishing Limited. Freire, P. (2000). Pedagogy of the oppressed. (M. Ramos, Trans.). New York Bloomsbury. Gabilliet, J. (2010). Of comics and men: A cultural history of American comic books (B. Beaty & N. Nguyen, Trans.). Jackson, MS: University of Mississippi Press. Krathwohl, D. (2002). A revision of Bloom’s taxonomy: An overview. Theory into Practice, 41(4), 212–218.

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Larson, B. E. (2017). Instructional strategies for middle and secondary social studies: Methods, assessment and classroom management (2nd ed.). New York: Taylor Francis. Maslon, L., & Kantor, M. (2013). Superheroes! Capes, cowls, and the creation of comic book culture. New York: Crown-Archetype. Mertler, C. A. (2020). Action research: Improving schools and empowering educators (6th ed.). Thousand Oaks: Sage. Moench, D., & Barreto, E. (1995). Batman, 520. DC Comics. Pfeffer, J. (2000). The ambiguity of leadership. In C. Brown II (Ed.), Organization & governance in higher education, (5th ed, pp. 205–213). New York: Pearson. Schwarz, G. (2013). Graphic novels and teacher research in the knowledge society. The Educational Forum, 77, 151–160. Thompson, R. (2018). Writing through comics. In A. Burger (Ed.), Teaching graphic novels in the English classroom: Pedagogical possibilities of multimodal literacy engagement (pp. 43–66). New York: Palgrave Macmillan. Woolfork, A. (2016). Educational psychology (14th ed). New York: Pearson.

Acknowledgments

Writing the acknowledgments is difficult for me. It is not simply a thank you list. Rather, the acknowledgments represent the tangled and sometimes obscure web of influences that have helped me write a work. I read a lot of books, comics, and graphic novels. I am an avid consumer of movies, television shows, and animated features. I listen to a lot of music. I visit historical sites. I talk with people of all different stripes from other college professors, to park rangers, to manual laborers in an effort to learn something. I love good conversations with friends. My teachers in elementary, middle and high school, my undergraduate professors, and my graduate professors, both in my master’s programs and my doctoral program, have taught me so many things. Even my own children’s teachers have taught me things. I have taught almost 1500 students at both the high school and college level, and I have learned so much from them. My colleagues, both current and former have taught me so much, as well as my classmates at all levels of my education. I have also learned a great deal from faculty and other presenters at academic conferences that I attend. I cannot possibly name all of the influences on me. There are some specific people I would like to mention. First and foremost is my brother-in-law Randy Perison. Our relationship I think demonstrates how comics can bring people together. In early 2005, my wife (at the time she was my girlfriend) brought me as a guest to her brother’s wedding. It would be the first time I met her extended family. I was obviously nervous. To assuage my fear, she told me that her brother

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loved comic books like me so we would have that in common. Sure enough, there was a Superman statue at his table. We spoke briefly about our love of comics, especially Superman. Since then, comics have brought us together. He has let me borrow a number of important comics from his very large collection of comics. His encyclopedic knowledge of comics has been a boon. Most importantly, his insightful analyses and critiques of comics, and our subsequent discussions over the years, led me to see that comics are more than just child’s entertainment. He is currently a middle school math teacher and he has created a “hero club.” This is an after school club where he invites students to talk about comic books and character issues. He told me that our discussions, at least in part, helped him to create this club. In turn, our discussions over the previous decade no doubt inspired me to create this book. I could not have completed this project without the help of the staff of the Loyola Notre Dame Library (LNDL). A special thanks goes out to Meghan Darmour, Matthew Treskon, and Yolanda Halterman. Megan was able to secure for me all the books and articles I needed for my research. Matthew worked with my undergraduate class to set up their WordPress sites. He also assisted with the makerspace technologies. Yolanda trained my students on the various makerspace technologies. Their assistance helped to make this project possible. I would also like to thank Jessica North, my former colleague and current library media specialist at Gloucester High School, for her recommendations on pertinent graphic novels for this book. In addition, I would also like to thank Danny Anderson, the founder of the Sectarian Review podcast. I have been on his show discussing my ideas of Batman and pedagogy, as well as Buddhist interpretations of selected Alan Moore works. Going on his show and engaging with his analyses allowed me to pursue new avenues of thought and I am grateful. Special thanks goes to Pamela Eddy, my former dissertation advisor and the one who first introduced me to the ideas of Baudrillard, as well as for her helpful insight on postmodernism. I would also like to thank Steve Stemler and Liu Mingyang for their useful feedback on the notions of assessment and evaluation. All errors are my own. This project was also made possible by my students. I implemented the various projects in this book beginning in Fall 2018. I implemented the projects in a variety of classes, including Social Studies Methods, Education Law, Human Development and Learning, The History of American Education, and The History of Higher Education. I wanted to thank of all

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my students in the classes below for participating in the various exercises and being willing to see comics as legitimate pedagogical tools: EDU 539/Social Studies Methods (Fall 2018) EDU 402 American Education in Historical Perspective (Spring, 2019) EDU 519 Human Development and Learning (Spring 2019) EDU 760 Education Law (Spring 2019) EDU 760 Education Law (Summer 2019, class 1) EDU 760 Education Law (Summer 2019, class 2) EDU 539 Social Studies Methods (Fall 2019) EDU 402 American Education in Historical Perspective (Spring, 2020) Sara Few and Samantha Miguez Tolliver (Fig 4.1), Eddie Sauer (Figs 4.2 and 4.3), Jen Silva (Fig. 4.4), Heather Strube (Fig. 5.2), Jennifer Whitfield (Fig. 6.1), Zach Williams (Fig. 6.2), Amirah Arafat (Fig. 6.3) and Summer Stevens (Fig. 6.4) allowed me to use their artwork in the book. They all showed me that the ideas in this book can work. Thank you. I also wanted to acknowledge the support from my administration and colleagues who usually do not make fun of me for seriously researching comic books. I do, however, have to endure a Batman joke from time to time. Also, the contribution of the two anonymous reviewers of this project, as well as anonymous reviewers from other iterations of this project proved to be invaluable. I also wanted to thank some of my closest friends, Jason “Sully” Sullivan, Brian Dodier, Warren Zuger, and Rob Schmidt for always engaging with me in lively and spirited conversation. I know that those conversations have impacted my work. My family always serves as an inspiration to me. I would like to thank my wife, who, as social studies teacher many years ago, seriously integrated art into her lessons way before I did. My daughter Cecelia and I always draw together and I think she is better than me. My son Troy and I love pop culture, attend comicon’s together and always discuss our favorite movies and comics. Finally, I would like to thank my daughter Rosalie. She agreed to complete the leadership comic assignment for me, on her second day of summer vacation no less. This assignment, which is meant for high school and college students, was a little difficult for her, but she did an awesome job and I am proud of her (Fig. 5.1).

Contents

1

1

Comics and Hyperreality

2

Reading Comics for Citizenship

39

3

Reading Symbolism and Leadership into Comics

79

4

Drawing Citizenship

109

5

Drawing Symbolism and Leadership

145

6

Conclusion

183

Appendix

217

Index

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List of Figures

Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig.

4.1 4.2 4.3 4.4 5.1 5.2 6.1 6.2 6.3 6.4 A.1

Fig. A.2

Fig. A.3

Student example of multilinearity assignment Student example of visit to a local attraction assignment Student example of museum comic Student example of museum comic #2 Student example of leadership field trip assignment Student example of sequence metaphor Student example of VOR assignment Student example of illustrating the law activity Student example of creating an ethical spectacle activity Student example of creating an ethical spectacle activity #2 Page 2, Toward the Real, Book I. In this page, we see an interaction between Michael, a custodian, and the employees at the company Page 8, Toward the Real, Book I. In this page, we see the rigidity of Michael’s life by the use of regular panels. This is also evidenced in Fig. A.1 Page 12, Toward the Real, Book I. In this page, we see how different Marie is from her classmates. She cares for larger ideas (she is contemplating Buddhism while her classmates only care for partying)

115 128 140 141 155 163 196 198 199 202

220

221

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LIST OF FIGURES

Fig. A.4

Fig. A.5

Fig. A.6

Fig. A.7

Fig. A.8

Page 17, Toward the Real, Book I. This page features the notion of multilinearity, or when two simulations stories are told at once. Here, I have two narratives. The official narrative given by the media, and the more clandestine narrative by the leaders with actual power Page 4, Toward the Real, Book II. Here I used connected, circular panels to try and portray the noosphere or connectedness of humanity Page 5, Toward the Real, Book II. On this page, I played with speech bubbles and surrounded them with logos to show how out very thoughts and speech are impacted by corporate and propaganda interests Page 6, Toward the Real, Book II. On this page, the panel borders are logos. The purpose was to give a sense of how these things divide citizens Page 7, Toward the Real, Book II. On this page, the logos are broken by knowledge and ideas

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228

229 230

List of Tables

Table Table Table Table Table Table Table Table Table

2.1 2.2 2.3 2.4 2.5 2.6 3.1 3.2 3.3

Skills, dispositions, and citizenship assignment NCSS standards assignment Mythology assignment 1 Mythology 2 assignment Prior knowledge assignment Buddhism political assignment Leadership chart assignment Buddhist leadership assignment Political symbol typology assignment

47 51 61 63 65 72 85 91 102

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CHAPTER 1

Comics and Hyperreality

This book is about comic books and citizenship. These may seem to be an odd couple at first, but this book will show how they might not be such strange bedfellows after all. This coupling depends on a vastly changed notion of society and citizenship, described below.

Society and Citizen Citizenship is at the heart of this book, but the term needs explication. A brief definition that I will offer at the outset, and which I explain more sufficiently later in the chapter, is as follows: citizenship can be thought of as living in and participating in, indeed refining, continuously and in response to new obstacles, governments by the people and for the people. This constant refinement of governmental structures should always be centered on justice and fairness, and for advocating for vulnerable and wronged populations and individuals. It is probably an understatement to say society has changed rapidly over the last few decades. Changes in transportation, communication, as well as ideas such as diversity and postmodernism (in its various forms) have restructured how we as citizens go about our lives and how we relate to each other as citizens (Bloland, 2000; Kellner, 2019; Kincheloe, 2001). Suffice it to say that teaching citizenship is now extremely difficult and complex for social studies educators (Banks, McGee-Banks, & Clegg, 1999; Kuhn, Feliciano, & Kostikina, 2019). One pertinent © The Author(s) 2020 A. J. Letizia, Graphic Novels as Pedagogy in Social Studies, Palgrave Studies in Global Citizenship Education and Democracy, https://doi.org/10.1007/978-3-030-44252-1_1

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concept derived from postmodernist thought which I think can help call attention to these changes Jean Baudrillard’s (1994) notion of hyperreality (Kellner, 2019). In hyperreality, what is considered real has no origin. Rather, there is only simulacra and simulations. Simulacra do not represent an underlying truth, rather, they only represent themselves, and there are no referents anymore (Baudrillard, 1994; Kellner, 2019; Poster, 2001). Kellner (2019) asserts: The realm of the hyperreal (e.g., media simulations of reality, Disneyland and amusement parks, malls and consumer fantasylands, TV sports, and other excursions into ideal worlds) is more real than real, whereby the models, images, and codes of the hyperreal come to control thought and behavior.

Baudrillard (1994, 19) bluntly states that “the real is no longer possible” (Hatch & Cunliffe, 2018). A word of caution is in order for Baudrillard however. Kellner (2019) argues that Baudrillard should be read more as a “provocateur” of ideas rather than offering any concrete plans. Following Kellner, I use Baudrillard’s idea not as a plan to pursue, but as a way to question and provoke change. Hatch and Cunliffe (2018) utilize Baudrillard’s ideas to examine organizational theory. As an example, they cite the practices of the now notorious Enron Corporation. Enron essentially created a simulacrum to hide its unethical practices. Enron created fake partnerships and set up fake offices (Hatch & Cunliffe, 2018). This was a simulacrum with no corresponding truth. Hatch and Cunliffe (2018) go on to note that although these types of unethical practices are not new to our age, they are becoming the norm. Further, Bloland, a higher education scholar also (2000) noted how hyperreality calls into question what is real. Kincheloe (2001, 4) describes the hyperreal as a state with “so much input” from electronic media that the ability to make meaning may become difficult. He argues that social studies teachers in hyperreality must help their students understand signs and images, especially their political meanings (63). Kincheloe (2001) goes on to critique positivist thought and the supposition that there is one right answer, one uncontested immutable truth. Rather, there are a number of different ways of comprehending, multiple ways of seeing issues all of which offer some insight. We must transcend our limitations and examine our own thinking (and teachers must help students do this) to see these multiple frames.

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If not “we are unprepared to meet the demand of citizenship in hyperreality” (Kincheloe, 2001, 270). In hyperreality, we must see beyond simple cause and effect thinking and embrace complexity and holism in the causation of events (587). The notion of bullshit is pertinent as well, it is a concept which really seems to epitomize the age we find ourselves in (Duncombe, 2019; Frankfurt, 2005). As Frankfurt (2005) argues, bullshitting is not lying. The honest man tells the truth, the liar knows the truth but chooses not to tell it. The bullshitter however has no regard for the truth, he just says whatever. The bullshitter is unconcerned with the truth, and that makes bullshit “a greater enemy of the truth than the lies are” (Frankfurt, 2005, 61). Plainly put, citizens have to wade through a good deal of bullshit (Drew, Lyons & Svehla, 2010). Illig (2020) notes how citizens are now just flooded with bullshit and misinformation. He (2020) argues that this is an age of “manufactured nihilism” where people stop seeking truth because it is too difficult and people are exhausted by the process. Moreover, Illig (2020) notes how this strategy is a deliberate one, for example by Steve Bannon and Vladimir Putin—it is meant to confuse and overwhelm people. Of course, while there are no doubt powerful individuals who influence the process, this is a systemic issue that goes beyond any individual, it is how media works now (Illig, 2020). Roberts (2017, 2019) similarly argues that we are facing an “epistemic crisis”—we just do not know what to believe. And in that confusion, people may simply drop out of the process or turn to a strong leader for security and order in the chaos. Needless to say, this does not bode well for democracy (Drew et al., 2010; Duncombe, 2019; Illig, 2020; Roberts, 2019). So where does this all leave us as a society and as a republic? Should we resign ourselves to a state of uncertainty? A more productive route may be to embrace the notion of the ethical spectacle or dream. Duncombe (2019) suggests that the vaunted notions of scientific truth, derived from the Enlightenment, and so appealing to progressives, are outdated. Duncombe (2019, 18–19) points out that while there may not be a “Truth with a capital T” such as many of the Enlightenment thinkers envisioned, there are “small “t” truths,” which have to be presented as “convincing” cases. The truth has to be told, it does not just appear (Duncombe, 2019). Duncombe (2019, 20) asserts: we need to learn how to tell the truth more effectively. It must have stories woven around it, works of art made about it…It must be embedded in an

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experience that connects with peoples dreams and desires, that resonates with symbols and myths they find meaningful.

What society wants, and what Duncombe (2019) argues that progressives need to adopt, is a politics of the ethical spectacle or the dream. The notion of spectacle can scare people however because it harkens back to the Nazis, as well as modern advertising (Duncombe, 2019). And both the Nazis and modern advertisers believe their spectacles to be ethical. So, for an ethical spectacle, Duncombe posits some parameters, such as realism but with an eye to changing reality, diversity, and nonhierarchical organization to name a few ideas. While these are abstract, they are at least a start (Duncombe, 2019). Ultimately, Duncombe (2019, xvii) calls for an ethical spectacle which is participatory and open which means that people must help to create it (unlike Nazi spectacles which were created by the government), and it must be adaptable and open to change. Further, ethical spectacles are always known to be a fantasy, but are grounded in real dynamics of power, and they allow participants to think of a better world (Duncombe, 2019). In contrast, Fascist spectacle was presented as the immutable and uncontestable truth (Duncombe, 2019). Some examples of ethical spectacles are the Zapatistas in Mexico and the “Billionaires for Bush” project. The Zapatistas make bold claims and put forth political dreams meant to inspire people, even if these dreams seem impossible (Duncombe, 2019). The Billionaires for Bush project saw people dressed up as mock billionaires and pretend to laud in a very public fashion what they saw as the corrupt policies of the Republicans (although they started out criticizing both parties), for instance, by holding a Million Billionaire March (Duncombe, 2019). In a personal email, Duncombe (April 25, personal email communication) told me that ethical spectacles can do a number of things. They can unmask an existing truth (e.g., Rosa Parks unmasking racism) or they can help to point to a new reality that does not exist currently (e.g., Jesus’ eating with pariahs to posit a new world where the first will be last). In his book (2019, 168) he notes that an ethical spectacle “must always root itself in the real,” but can offer a dream (even if it cannot be realized) for people to work toward and to inspire people and bring them together. These dreams are meant to “inspire and guide” and not be the new reality (Duncombe, 2019, 169). Duncombe (2019, 174) again: “the ethical spectacle is the dream put on display. It is a dream that we can watch, think about, act within, try on for size, yet necessarily never

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realize.” Duncombe’s (2019) notion of the dream also calls attention to the notion of human agency and what we as individuals and a species are capable of accomplishing. Ackerman (2014) extols the agency of human beings, referring to the current era as the Anthropocene—the human age, due to our potential to remake the world. While she does recognize that “our mistakes are legion” she goes on to assert that “our imagination is immeasurable” (Ackerman, 2014, 309). But this is no easy task when truth is in question. Many times, it can be downright disheartening. Despite this, I think we need to keep trying. That is the purpose of this book, it is my attempt to help teachers confront and create truth through agency and imagination. Obviously the internet and digital systems of communication such as social media platforms play a prominent role in society at large and in our political relations as citizens. These elements will also play a prominent role in the creation of new truths and dreams. Runciman (2018, 164) asserts that while “the digital revolution promised much for democratic politics” it has “so far delivered little.” He does go on to note however that the digital revolution still holds potential to transform politics and society (Runciman, 2018). Some have vehemently argued that digital communications will democratize society by creating networks of people which can effect change beyond governments (called horizontalism), while some have argued that these same digital technologies will facilitate authoritarianism due to their potential for surveillance and political strategies are largely impotent to stop this (what is termed verticalism) (Brym, Slavina, Todosijevic, & Cowan, 2018). Brym and colleagues (2018, 631) see this question not as preordained or as an “iron law,” but as a political battle, because any preordained state would negate human’s ability to act. The question hinges on resources—monetary and organizational resources, but also creativity or how people can creatively use these technologies (Brym et al., 2018). This political battle is important because our students, and their navigating of hyperreality, is situated right in it. Admittedly, I threw a lot of ideas at you, but I think they are important to understand the time we live in. I believe that the age we find ourselves in defies any true and accurate description. I did not want to pigeonhole our age with specific academic descriptions, rather, I wanted to create a sort of placeholder by using the ideas above. I call it hyperreality for short, but it could by other names as well. I also think the comics medium may be excellent to begin to navigate this terrain. Later in this chapter, I link some functions of comics such as visual literacy,

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multimodality, multidirectionality, multilinearity, and how students will interact with those functions, either by reading comics or creating them, to hyperreality. Again, I want to stress that my notion of hyperreality is a placeholder of sorts to contain all of these ideas examined above. And I do not claim that the comics medium is a perfect or foolproof means to navigate this terrifying and exciting new terrain, but I think it is a start. Essentially, I see hyperreality as a state of affairs where there is a question of what is true. The true state of affairs, the actual correspondence of an actual occurrence, and how that occurrence is represented in language, thought, speech, or image, is not totally accurate. Of course, there may never have been a time in history where truth flourished, governments and powerful interests in societies across time and geographic regions have always put their spin on truth. Nevertheless, this process may have become accelerated by the mid-twentieth century, and it is not just the province of governments. Hyperreality is marked by a cacophony of stimulants, many of which are ideologically charged. These stimulants take many forms, from 24-hour news sites, social media posts, advertisements, the actions of mega corporations, fluctuations of the stock market, and government actions to name a few. Images (mainly on screens) and words are important and convey meaning (Burmack, 2008; Frey & Fisher, 2008). Competing and contradictory narratives are spewed forth ad nauseam by these entities simultaneously about almost everything we encounter in our daily lives. And some might contain a germ of truth which citizens must evaluate and discern. This is crucial—there might not be an immutable truth to cling to, no savior, no security. Truth is complex, contextual, and dependent. I am not simply saying that there are people lying and there is a truth underneath, I think it is more complicated than that. Truth is now a fickle thing. And whatever the truth(s) may be, it is tied up in spectacles and bullshit. Yet, these are many times unethical spectacles. There is also such a high level of noise and bullshit (e.g., political pundits, idiots on social media posting blogs, etc.), and underneath that noise and bullshit, may simply be more noise and bullshit. When I speak a sentence, and draw from ideas that surround me (e.g., government, media) to make a political argument, how can I ever be sure the ideas I am using represent what I think they represent? This prospect haunts me. It keeps me up at night. Of course, like Duncombe (2019), I do believe there is a real world. But the real world is almost meaningless because reality must be “refracted through the imagination” (Duncombe, 2019, 18). And I would

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add, through more noise and bullshit. In this situation, the notion of the real, and the truth are in flux. How does one act, work with others, pursue fairness, and refine and create democratic structures in the volatile situation described above? Further, how will this be done on the political battle ground that is digital media? There is so much change, organizational complexity, there is so much volatility and creation of knowledge, it can be almost bewildering (Bolman & Deal, 2017; Fullan, 2001). This is the situation we find ourselves in. To add even more confusion, how is this done not just in a local or national context, but now in a global context? How can we utilize our imagination and agency as human beings to make the world better? These prospects pose deep and challenging questions for educators, especially educators tasked with teaching citizenship. I want to use comics to tap into the amazing imaginative capacities described by Ackerman (2014) to make a better world as we move forward. But first, a word on the role of social studies in this process.

Citizenship and Social Studies Social studies as a school subject emerged in 1916 with the 1916 Report on Social Studies (Jorgenson, 2014). It is made up of a number of disciplines from history, geography (and later), anthropology, economics, psychology, political science, and economics (Jorgenson, 2014). Jorgenson (2014) also notes the scope of social studies has also enlarged from its inception to incorporate new ideas and subjects, such as multicultural education and environmental education for instance. Social studies is a unique discipline, but controversy over the content and goals of the social studies has persisted to the present (Jorgenson, 2014; Ross, Mathison, & Vinson, 2014). Generally, the purpose of social studies education is to help foster citizenship, to help students become citizens who actively participate in the life of the republic (Banks et al., 1999; Chapin, 2015; Larson, 2017; Ross et al., 2014). In order to accomplish this, students are supposed to gain knowledge, critical skills, dispositions, attitudes, or values, and partake in civic participation (Banks et al., 1999; Chapin 2015; Larson, 2017; NCSS, 2006). Importantly, Chapin (2015) notes that the knowledge, skills and dispositions, and civic participation of the social studies are not separate entities. Rather these phenomena are connected.

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Yet, what exactly is good citizenship? This is where disputes arise (Chapin, 2015; Ross et al., 2014). As Ross and colleagues (2014, 26) note, while “there has been at least superficial agreement that the purposes of social studies” centers on citizenship, there have been plenty of battles over what to teach and how to teach it. Ross and colleagues (2014) survey some of these different methods to teach citizenship. One viewpoint holds that citizenship can be conceived of as the transmission of “discrete, factual pieces of information drawn primarily from the canon of Western thought and culture” (26). Another viewpoint sees citizenship resting with the social sciences. In this view, students must come to understand the intricate workings of the social sciences and “how they produce, use and disseminate disciplinary knowledge” (27). A third viewpoint, which derives in part from the massively influential work of John Dewey, holds that citizenship “stresses relevant problem solving, or meaningful decision making within a specific sociopolitical context” (28). Here, students must reflect on content. Another viewpoint of citizenship rests on criticism. The purpose of citizenship is to allow for students to critique ideas, practices and ultimately lead to transformation (29). Citizenship has also been viewed as personal development, as the development of self-concept and self-efficacy (29). Leahey (2014) asserts that there is an ongoing debate between those who argue that social studies should be a vehicle for imparting historical knowledge and praise for American values and institutions, and those who argue that social studies should be a means for students to question existing conditions and advocating for change. As you probably could have surmised by now, I opt for the latter formulation. Like Leahey (2014, 52), I see students as “citizens-in-the-making.” One particular framework I find helpful is Westheimer and Kahne’s (2004) tripartite framework of citizenship. Westheimer and Kahne (2004) offer three ways to conceptualize citizenship; the personally responsible citizen, the participatory citizen, and the justice oriented citizen (Westheimer & Kahne, 2004, 240). The responsible citizen follows the laws, the participatory citizen participates in government, and justice-oriented citizen challenges the wrongs of society. The justice-oriented citizen works to modify systems that produce social problems (Westheimer & Kahne, 2004). Westheimer and Kahne (2004) note that while these categories are not necessarily mutually exclusive, they can contradict. A responsible citizen, with a focus on obedience, may conflict with the idea of justice-oriented citizen who challenges the status quo. Westheimer and Kahne (2004)

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note that even totalitarian leaders would be happy if their citizens followed the dictates of the personally responsible citizen (e.g., refraining from drugs, giving blood, etc.). Westheimer and Kahne (2004) posit this: a responsible citizen donates to a food drive, a participatory citizen organizes the food drive, and the justice-oriented citizen asks why people are going hungry and then works to remedy this issue. Following this line of thought, the concerns of social justice and the “critical examination of existing social, economic and political inequities” are crucial to democracy and to teaching democracy (Ross, 2014, 380). Larson (2017) argues that both the knowledge of the social studies (e.g., history, geography) and the civic dimension of the social studies are crucial as well. Citizens need this knowledge help them make important decisions, but if there is no focus on civic competence, this knowledge remains inactive (Larson, 2017). Leahey (2014) and Banks and colleagues (1999) also assert that values also impact knowledge and how we study history and what we act on. A value can be thought of as something that guides one’s actions and helps one make judgements and are typically learned through a socialization process (Banks et al., 1999). Society holds values like equality, and students should be made to reflect on these larger societal values. However, values are never that easy—many people in society hold conflicting values and students must grapple with these conflicting values (Banks et al., 1999). These are important points. I always stress to my students (especially the future social studies teachers) that they are not simply knowledge givers, social studies is not a knowledge dump (I love that phrase). Knowledge is only part of what we do, and perhaps the less important part. Social studies teachers, and really all teachers, must get their students to use their knowledge for the public good and understand the role of values in the process. Mansbridge notes that the notion of the public good defies any real definition. Most western theorists throughout history have opposed public good to private goods, while some, since the time of Plato and through Adam Smith, have seen a congruence between the two. Mansbridge (1998) asserts that all of these conceptions have value. Moreover, the public good can be thought of as an aggregate of what is good for a majority of individuals, it can be thought of in procedural terms (such as the outcome of a democratic process), it can be thought of as what is good for a larger organization and not necessarily the people in it, or it could be nested with self-interest (Mansbridge, 1998). The notion of the public good is also dangerous and “contested” (Mansbridge, 1998, 3).

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Contested because consensus must be “forged” between different groups of citizens and by deliberation (Calhoun, 1998, 26; Mansbridge, 1998, 12). Sometimes, this takes time and changing conditions, other times, there is no consensus (Mansbridge, 1998). The public good is also dangerous because it can and has been used to stir up hatred as well as promote visions backed up by powerful interests. In many societies, many different groups of people were also excluded from the public good. Despite these concerns, Mansbridge (1998) argues that we must work to minimize these dangers through deliberation and “some reduced version of those dangers ultimately must be accepted as part of the cost of cooperation” (Mansbridge, 1998, 17). Similarly, Ross (2014, 380) argues that “the primary responsibility of democratic citizens is concern with the development of shared interests that lead to sensitivity about repercussion of their actions on others.” Relatedly, Parker (1996) also examines the notion of multicultural democracy. In this vision of democracy, the diversity of citizens is paramount. The fundamental question is: “Who is and is not participating and on whose terms?” (Parker, 1996, 192). Parker goes onto to posit “a new sense of citizenship needs to be forged, one that embraces individual difference, group difference and political community all at once” (Parker, 1996, 193). The public good and the shared interest and diversity of citizens and the republic in general are crucial for citizenship. We are not alone; we are in this thing together. Dewey’s vision of creative democracy is instructive here as well (Dewey, 1939; Parker, 1996). For Dewey, democracy was constructive; citizens need to expend continually energy and effort to constantly sustain their democracy (Dewey, 1939; Parker, 1996). Parker (1996, 191) argues that in this vision of democracy, “The ‘miracle of Philadelphia’ was an important step on the path, and the Civil Rights Movement another, but the work continues.” Here, we must strive to “close the gap between the real and ideal” (Parker, 1996, 191). Perhaps the idea of a non-static conception of citizenship is best epitomized by Vinson (2012, 68) who argues that citizenship is dynamic, unstable, contextual, and “impossible to standardize.” I think these ideas resonate with hyperreality and citizenship education. Democracy and citizenship are not static things, and comics may be a way for us to help direct this constant fluidity. Another component of citizenship and public action may be the notion of leadership. Leadership practice must meet the rising complexity of society (Fullan, 2001). Further, Banks and colleagues (1999) posit leadership as key concept for the study of history. Pressing social problems require

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the expertize and work of elected political leaders and the leaders of public and private organizations (Bolman & Deal, 2017). Leadership is not simply the purview of formal leaders however. Many people in many different positions and situations, can and usually do exercise leadership capabilities (Northouse, 2018). Northouse (2018) distinguishes between assigned and emergent leaders, assigned leaders are those with a title, emergent leaders do not have an official title, but garner influence anyway. As citizens work with each other and refine their republic, and as citizens relate to and work under the aegis of their assigned leaders (e.g., bosses, presidents, etc.), and emergent leaders, the consideration of different types of leadership and the analysis of various leadership actions is a significant component of citizenship. And yet, a strictly American or Anglo view of citizenship may not be enough. One of the reviewers of this book argued that I must not only confine myself to ideas of American and Western theories of citizenship. Educators in the United States cannot only just be concerned with the affairs of the United States, there should be a larger, more worldly focus (Collins, Hess, & Lowery, 2019). It is not a stretch to say that the welfare of the entire world depends on “informed, engaged citizens” (Kuhn et al., 2019, 207). Chapin (2015) notes that global education is the recognition of the interdependence of humankind, and a shared obligation for solving global issues. These arguments call for students in the United States and Western world to think beyond it. So, this book specifically focuses on Buddhist political theory, because it may offer a unique contrast with more Western conceptions of citizenship and many of the ideas discussed in this chapter (Moore, 2015). Various exercises in this book draw on Buddhist thought which will be explained in more detail in later chapters. While this book is written primarily from an American view point and for English speaking audiences, the point is America does not have a monopoly of citizenship and a diversity of citizenship models and ideas can only enrich us as we, the citizens of respective countries, work together to create a better life for ourselves and posterity. Emotions are another salient part of the political context today. Specifically, Mason (2016) notes that anger (toward the opposing party) and enthusiasm (toward one’s own party) are helping to drive political action. Sugden (2018) notes part of Donald Trump’s appeal is an appeal to the emotional. Trump appeals to people’s “shared rage.” Sugden (2018) however, similar to Duncombe (2019), does not dismiss an appeal to

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emotion, but calls for an appeal to hope and optimism. Anger and emotion in the political process however can spurn action or hinder our ability to effectively reason (Mason, 2016). Whatever their role and reason for emergence, it makes sense to examine emotions as part of the political process. As has been made clear above, there is no one definition of citizenship. Further, citizenship encompasses a multitude of phenomena. To wrap up this admittedly long winded argument, citizenship, in the barest sense of the word may be living in and participating in, indeed creating, continuously and in response to new obstacles, governments by the people and for the people. Citizens in the west now may also need to consider other citizenship models from across the globe and across time. Assigned and emergent leaders, and all citizens, as well as the most vulnerable and those marginalized, all must work together. Citizens need certain skills, knowledge (including knowledge from the social sciences) and values to accomplish this task. The emotional context can also not be ignored. Citizens must continually work toward and forge the public good, whatever that may be. The above actions are not a static process able to be completed. Rather, the study of and requirements of citizenship evolve. This evolution now takes place in the bewildering state of hyperreality where truth is fickle and where bullshit abounds. The question becomes how do we, as a collection of citizens from different social classes, upbringings, political leanings, etc., create something together that is better than what came before and that will enrich the lives of our children and posterity in hyperreality? I think graphic novels can be part of the answer. There is volatility and constant motion in hyperreality, truth is fickle and citizens must continually reassess and create the structures and ideas anew, or at least be able to modify them. Duncombe (2019, xxx) eloquently notes: “The political terrain of today is largely one of signs and symbols, stories and spectacles.” Following this sentiment, citizens must deploy stories and signs to help others interpret the truth. Wow. So much for the view that citizenship equates simply with picking up trash and voting. The question of citizenship may be more complex than brain surgery or quantum mechanics. We need cutting edge methods to match this complexity, and the comics medium, which employs symbols and stories (as well as a host of other important elements) may be one of those methods.

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Comics and Citizenship in Hyperreality While this book is focused on social studies grades 6–12 (the subject as it is taught in high schools as well as social studies methods courses), this actually brought me to a small conundrum. I wanted the book to be geared toward social studies teachers, but I wanted the book to have broad appeal. (A reviewer also echoed this concern.) When it came down to it, I thought to myself: Who is actually going to read this book? I would hope that social studies teachers and social studies methods professors would read it. But then I thought about how this book may have a broader appeal. For one, while the activities in this book are geared mainly toward secondary social studies teachers, I believe the activities could really be modified and used with any grade level (and there are times when the activities have been adapted for elementary students which will be detailed in the book). Further, I would bet that most teachers and professors have an interest in fostering citizenship. (Some professors may not really be interested in this, some professors may simply want to teach their discipline. This book might not be for them.) These teachers and willing professors may not have the desire to wade through the dense social studies literature, but they presumably care about the development of their students and how their students can become active and contributing members to this very complex society and how this participation can be fostered through educational programs and curriculums. I have personally utilized many of the frameworks in this book in my own college classrooms to show how this can be done. I teach undergradute, masters and doctoral students at a small Catholic university in Baltimore Maryland. Further, the classes I teach align in many ways with the social studies. Besides teaching social studies methods, I also teach (or have taught) Education Law, the History of Education, Human Development and Learning (which is similar to educational psychology), Leadership, and Strategic Planning classes at the college level. Many of these courses overlap with disciplines and elements in social studies at the high school level as well (e.g., psychology and civics). The point is that anyone wishing to promote citizenship, either in a social studies class or in humanities or social science course, can utilize the ideas in this book. The use of comics in the K-12 and college classroom has been growing (Burger, 2018; Missiou & Koukoulas, 2013; Tabachnick, 2009; Weiner, 2012; Weiner & Syma, 2013). Duncan, Smith, and Levitz (2015, 91) note that there has been a “greater comfort with the use of comics in

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classrooms,” and cite a number of examples of comics in different fields and disciplines used in classrooms. The push for comics is not new however. Tilley (2013) notes that educators have recognized the potential of comics in the classroom as far back as the 1940s. In regards to comics and American society, Gabilliet (2010) argues that comic books have gradually risen in cultural prominence since their inception. Moreover, many have used the comic form as a means of political and social critique and questioning, such as EC comics in the 1950s, the underground comic movement as well as some Marvel and DC comics during the 1960s and 1970s (Gabilliet, 2010; Wright, 2003). The rise of the graphic novel in the 1980s also signaled a sophistication of the form (Gabilliet, 2010). As such, the ideas put forth in this book regarding the potential of comics to aid in the practice of citizenship do not occur in a vacuum, rather, they must be situated in this growing acceptance of comics in the classroom and wider society, and similar uses of the comic form in the past. Nevertheless, Chapin (2015) specifically argues that despite the benefits of comics, there may be hesitation on the part of high school social teachers and administrators due to the perceived appropriateness of comics, as well as some of the violent and sexual images used in comics. Nevertheless, many scholars have given recommendations and evidence for using graphic novels in the social studies classroom which offer an excellent start (see Aiken, 2010; Carano & Clabough, 2016; Christiansen 2006; Cromer & Clark, 2007). Specifically, Cromer and Clark (2007, 583) argue that “graphic novels that are rich and multilayered are one means to appreciate the complexity of history.” In addition, a number of other scholars have utilized comics to teach about issues related to citizenship, at both the college and high school level, such as exploring issues of history, critical geography, historiography, gender, race and ethnicity, disability, leadership, feminism, sexual identity, ideology, propaganda, journalism, philosophy, social justice issues and cultural diversity, and multiculturalism to name a few, as well as provided analyses of comics through different disciplinary lens (see Barr, 2009; Chambliss, 2019; Chaney, 2009; Cook & Frey, 2017; Dong, 2013; Horn, 2009; Kavaloski, 2012; Krusemark, 2015; Marrall, 2013; McLaughin, 2012; Murray, 2012; Nyberg, 2012; Rhett, 2013; Ricca, 2012; Ricketts, 2013; Rifas, 2012; Royal, 2012; Sherif, 2019; Stuller, 2012; Van Dyne, 2012; Vizzini, 2009; Whalen, Foss, & Gray, 2016). Bitz (2006, 2) examines how student created comics allows “children

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to interpret- and contribute to- democracy, leadership, and civic engagement.” Meyer and Jimenez (2017), in their study of how students read comics, found evidence of what they call an “interrogator.” The interrogator must “critically analyze the sociocultural aspects” of the comic (2017, 158). I utilized many of these ideas in creating the frameworks and activities for this book. From a pedagogical standpoint, Chapin (2015), Woolfork (2016) and many others have also stressed that having multiple methods of instruction is greatly beneficial for students. Wojcik, Heitzmann, Kilbride, and Hartwell (2013) in their study of social studies methods textbooks spanning fifty years, found that social studies scholars have always routinely called for employing a diversity of pedagogical approaches and methods in the social studies classroom. By employing multiple methods in the classroom, from small group activity, more teacher centered work, and writing to name a few examples, student learning is enhanced. I think the study and creation of comics can be added to this mix. The rest of the section focuses on the actual features of the comics medium which may allow students to grapple with citizenship in hyperreality. Multimodal literacy skills can be developed through the use of comics. Multimodal literacy calls attention to various methods of meaningmaking: from words, images, and word–image combinations, spatial considerations, and in some cases tactile and olfactory considerations (Bitz, 2010; Brugar, Roberts, Jimenez, & Meyer, 2018; Burger, 2018). Reading a comic forces a reader to utilize visual, spatial, and linguistic components and thus comics and graphic novels can be considered multimodal (Brugar et al., 2018; Burger, 2018) Moreover, multimodal literacies are crucial for the twenty-first century (Bitz, 2010; Burger, 2018; Brugar et al., 2018). Burger (2018, 2) asserts: “Our contemporary culture is one of dynamic multimodal and interactive texts, a trend which extends well beyond the classroom, and for which the graphic novel reading will serve our students well.” Chisholm, Shelton, and Sheffield (2017, 290) argue that due to visual and linguistic components, comics may allow readers to “see more and think differently.” Bitz (2010, 39) similarly argues that comics should be seriously considered in ELA instruction because the use of multimodal literacies is increasingly required of citizens and workers. I extend this sentiment to the social studies classroom. Frey and Fisher (2008) specifically argue for the importance of visual literacy in the educational process. Frey and Fisher (2008, 1) define visual literacy as “the complex act of meaning making using still or moving

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images.” They go on to note that the teaching of communication is one of the foundational aims of the educational process. Students must learn how to understand messages from all sources “verbal, written or pictorial” (Frey & Fisher, 2008, 1). Frey and Fisher (2008) argue for the use of comics as one means to teach visual literacy in the classroom. Abel and Madden’s title Drawing words and writing pictures, help to capture the idea that we use pictures to make meaning, just like we use words (Abel & Madden, 2008; Duncan et al., 2015). There is some argument however that graphic novels may be less difficult to understand and interpret for students, but this belief may be misleading precisely because graphic novels challenge students visually and textually (Brugar et al., 2018). Brugar and colleagues (2018), drawing off a number of scholars, note how the illustrations in graphic novels carry their own messages and to truly understand a graphic novel, students must learn to understand the messages of the illustrations. In short, visual images are not simply additions to prose, visual images have their own specific messages (Kelly, 2010). The use of images has been an important component of human communication for millennia (Saraceni, 2003). In Western cultures however, the word has been elevated over the image in many respects (Bitz, 2010). Yet, visual literacy and the use of the image to make meaning is now paramount (Bitz, 2010; Burger, 2018; Burmack, 2008). Students will need to make meaning from visual and textual elements and from a combination of the two in order to act as a citizen and make informed decisions within the republic. In addition, the creation of student comics can be a way for students to utilize a number of different elements to create new ideas regarding citizenship in the hyperreal. I deal with both reading and creation comics next.

Making and Reading Comics Duncan and colleagues (2015, 105) examine the process of creating comics or “encoding” messages in comics, as well as how comics are read and interpreted by readers. I use this distinction between reading and creating/encoding to structure the following section and the entire book. In addition, I have linked both of these processes to Blooms taxonomy (see Preface). Chapters 2 and 3 mainly deal with comic reading, while Chapters 4 and 5 deal mainly with creating/encoding. As it pertains to

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my project however, I see the reading and creation of comics as distinctive but overlapping processes. For instance, students creating their own comics can consider the use of panel size, symbolism, and images (all discussed below) and the reactions their readers might have to these items. Duncan and colleagues (2015, 105) posit four components of encoding comics; “story, encapsulation, layout and composition.” Of course, most of the time, these components are not approached in such a rigid fashion. Comic creators usually approach these components simultaneously (Duncan et al., 2015). Story entails the narrative. Narratives can be simple or complex, replete with subplots and backstories (Duncan et al., 2015). Some of the drawing assignments in this book may not lend themselves well to creating a full functioning story due to their brevity, but I will explore how narratives and story arcs can be incorporated in some assignments. The second component of encoding, encapsulation, is the act of choosing what to show in panels (Duncan et al., 2015; Eisner, 2002). Panels are the bedrock of encapsulation, creators must decide what moments of the story will be rendered into panels, and most panels are shown in a discernable and linear sequence (Duncan et al., 2015). It is important however to note that panels do not actually have to be contained by borders (Duncan et al., 2015). Panel size and shape, as well as negative space, all help to convey meaning in comics (Sousanis, 2015a). Gavaler (2018) identified eight different ways that creators can utilize a panel which helps to convey information about story. The eight different ways include: “size, tilt, shape, spacing, overlap, frame, style and position” (Gavaler, 2018, 2). Duncan and colleagues (2015) state that encapsulation entails the notions of syntagmatic and paradigmatic choice. Syntagmatic choice calls attention to the whole range of scenes that could possibly be used horizontally. Of course, panels are not always arranged in strictly linear fashion, but more on this later (Duncan et al., 2015). Paradigmatic choice is the vertical consideration. By necessity, many are left out. As Duncan and colleagues (2015, 111) note: “For the both the syntagmatic and paradigmatic choices, meaning is created by a combination of the present and the absent.” Cohn (2013) also points out that the panel can help to focus the attention of the reader on parts of a scene, such as certain characters. The panel serves as a way to regulate information (Cohn, 2013). Encapsulation usually means the composing of individual panels, but also refers to the creation of scenes (unified units of story with some sort of central idea), of sequences (related scenes) as

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well as whole stories (2015, 109). I think encapsulation can be linked to citizenship concerns in hyperreality. Students analyze why creators make certain choices, and how these choices can convey political information and messages. Further, when students are creators, they can decide what to show and how to encapsulate political ideas. Synecdoche and metonymy are important notions of encapsulation. Synecdoche is “using a part to represent the whole or vice versa” such as using a head to show a whole body (Duncan et al., 2015, 112). Metonymy, which entails the use of some details to show the whole is important as well (2015, 112). An example of metonymy is the use of physical attributes to show emotions (Duncan et al., 2015). Cohn (2019, 16) describes metonymy as the depiction of something which is “related to an event without showing the event itself.” Again, students can look for these in comics, and learn how to utilize these concepts to convey political ideas. The use of symbols in comics is prevalent as well and is important for this project. Comics employ the use of symbolism and imagery (Duncan et al., 2015; Mandaville & Avila, 2009; Schmidt, 2018). I will delve more into the specifics of symbolism and imagery in Chapter 3. In addition, I see the act of reading and creating of symbols as overlapping. Students must learn how to decipher and read symbols and images, as well as create them for their own comics. As noted earlier, Duncombe (2019) argues that we now need symbols and stories to help us convey the truth. Following this line of reasoning, there might be a natural crossover between comics and citizenship in the hyperreal. Symbolism of comics can help us tell a new type of truth. Motions and actions are also important considerations for encapsulation, as well as time. Generally, the bigger a panel is, the greater the length of the time shown (Duncan et al., 2015). Of course measurement of time in comics is not exact, and some stress the content in the panel is more important (Duncan et al., 2015). Groensteen (2007, 46) cautions that we should not succumb to any dogma on the notion of panel size and time in comics. Miodrag (2013, 121) points out that a distinction should be made between reader pacing (which is dealt with below) and diegetic time when examining panels and she notes the problems with equating panel size and diegetic time. Miodrag (2013) also notes that any panel size considerations should not be made into universal rules for all comics, rather, any question of pacing will be heavily influenced by the specific comic in question.

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The next phase of encoding is layout, which refers to the “relationship of a single panel to the succession of the panels, to the totality of the page, and to the totality of the story” (Duncan et al., 2015, 118). Duncan and colleagues (2015), point to Dave Gibbons and Alan Moore’s Watchmen as an example of effective layout because Gibbons and Moore opted to use more regular and traditional frames for most of the book (nine grids per page) which are then disrupted by irregular layouts such as splash pages toward the end. Groensteen (2007) and Potts (2013) also point out this use of framing in Watchmen, specifically how the later chapters which employ more splash pages are so jarring because of the consistency of the framing in the first chapters. As the name implies, comics work in sequenced art, where images usually build on each other, or where the sequence of pictures helps to convey the story (Eisner, 2002; McCloud, 1994; Potts, 2013). Sequential art was Eisner’s (2002) term for comics (McCloud, 1994). McCloud (1994, 9) gives a more formal definition: “juxtaposed pictorial art and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.” This sequential capability of comics may lend itself to the study of history and chronology, which I discuss throughout the book. Miodrag (2013) asserts that comics are more than linear sequencing however. Groensteen (2007) posits the notion of arthology, which is how panels are related to each other (Beaty & Nguyen, 2006). This relation can be linear, called restricted arthology, or translinear, called general arthology (Beaty & Nguyen, 2006; Groensteen, 2007; Miodrag, 2013). The linear function refers to sequence, where frames are arranged sequentially (Groensteen, 2007, 22). The translinear function refers to more distant relationships. At this point, Groensteen (2007, 2013) also calls attention to the notion series and sequence. As a series, frames depict instances that are only tangentially related and they can be discontinuous (or continuous). In a series, panels are not strictly causal. By contrast, a sequence is a more traditional narrative, the frames depict more continuous and linked scenes (Groensteen, 2007). A discontinuous series can allow for braiding (Groensteen, 2007). In braiding, reoccurring motifs or ideas strategically placed in certain panels add new levels of meaning to the story (Groensteen, 2007; Miodrag, 2013). Braiding is not necessary to understand the story, but it adds a new layer of meaning (Groensteen, 2007). Duncan and colleagues (2015) also note how braiding can entail shifting meaning between panels which are not connected; a later panel can impact meaning contained in an earlier panel.

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While sequence may be a “default” in comics, the medium is capable of disrupting sequential readings (Miodrag, 2013, 164). Miodrag (2013) asserts that Groensteen’s ideas of arthology (as well as Cohn’s grammatical theories, discussed shortly) call attention to the significance of nonlinear connections in comics. Cabero (2019, 17) similarly asserts that graphic novels, while they inherited the “linear discourse from the codex,” or the traditional linear reading pattern, nevertheless offers “other types of readings.” These types of reading include a more holistic reading where two pages are seen at once, a multidirectional reading where panels can be read in numerous directions, and a multilinear reading where two or more stories can simultaneously unfold on the comic page (Cabero, 2019, 17). Sousanis (2015b, 62), in his work Unflattening, which is in graphic novel format, argues that comics can help to open new ways of seeing and understanding the world which linear text alone cannot, comics are both “sequential and simultaneous.” We see sequences, but we also see everything all at one time (Sousanis, 2015b). The consideration of the page itself is also important (Cohn, 2009). We do not just look at panels, we also look at the entire page (Cohn, 2009). The consideration of the nonlinear capabilities of comics, as well as the page as a creative tool, can also help advance the story and provide a tool for creators to craft new meanings. Moreover, Groensteen (2013) argues that the sequencing may not be one of time, it may be one of memory, dream, metaphor, or emotion. Groensteen (2013) posits the notion of the shown, the intervened, and the signified. What is shown is what is on the page, the intervened refers to a passage of time. What is signified however refers to the inner states of a character or elements utilized by the author (Groensteen, 2013). Groensteen (2013) points to Chris Ware’s Jimmy Corrigan as an example. Jimmy is an adult in one frame, in the next, he is a child. Jimmy did not shrink, rather, he feels like a child. We get a glimpse into Jimmy’s subjective. Comics can be understood as not only as a way to convey what has logically intervened between frames, but rather, as a way to signify dreams, emotions of characters, and authorial tools such as metaphors and allegories to name a few. Again, the use of the comics form to show these things can be linked to citizenship in the hyperreal because so much our citizenship practice is now tied up with dreams and metaphors and subjective states. We need ways to show these inner states as well as ways to handle metaphors and allegories and the like.

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Encoding also entails composition which refers to the position of characters in the panels, background detail, color, lighting, distance, angle, movement, and visualized sound (Duncan et al., 2015). Duncan and colleagues also note the importance of style. “Encapsulation, layout and composition are what comics creators do; style is how it is done” (215, 129). Eisner (2008) points to how the artist’s style of drawing impacts the overall message of the story. Lefevre (2012) argues that the form (style, page layout, etc.) of a comic impacts its content and helps to facilitate interpretations. Composition and style are more tools for creators to tell their story and students can discuss which style may be suitable for certain types of stories and messages. When we draw, Cohn (2013, 26) argues that we may also be utilizing “schematic patterns” stored in our mind. Further, these stored schemas and patterns can vary by culture (Cohn, 2013). This idea of stored patterns and schemas adds another wrinkle to the creation of comics. For instance, how might certain styles lend themselves to different subject matter and different messages? Carl Potts (2013) offers a simple and pragmatic description of comics which can help students understand the form. He argues that the basis of comic books is sequential visual storytelling (SVS). Potts (2013, 14) posits the tenants of SVS which consists of comic creators deciding which visuals to depict and not depict, the angle and framing, as well as juxtaposition and sequencing of visual elements, as well as the relation of visual elements to each other on the page. The notions of reduction, encapsulation, and juxtaposition are important for SVS. Creators must reduce the story to visuals, encapsulate those visuals into panels, and then juxtapose those panels into a sequence (Potts, 2013, 34–39). Further, the position of the figures inside the panels and the angles used to show content are crucial as well (Lee & Buscema, 1978; Potts, 2013). Different poses and angles of characters and places can convey different messages (Potts, 2013). Potts (2013) details a number of shots, such as close up, medium shots, and long shots. McCloud (2006, 10) also offers pragmatic advice, when he argues that comics consists of choice of moment (what to show), frame (“distance and angle”), image (characters and environments), word (deciding which words to use), and flow (how readers are moved through panels). Each of these contributes to (or detracts from) the story in some way. In summation, the structure of the graphic novel is crucial to conveying its message and information and students can analyze existing comics to decipher messages and utilize these creative capacities to craft their own messages.

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More generally, student comic creation may entail a number of desirable outcomes and can be situated within a strong tradition of scholars calling for the use of art to understand and transform reality. Banks and colleagues (1999) call attention to the significance of divergent and creative thinking in regards to the social studies. Student created comics may help achieve this task. Comics creation can be situated in the highest level of the revised Bloom’s revised taxonomy. Chilcoat (1993), Thompson (2018) and Carter (2013) all call attention to benefits of student comic creation, such as the new representations of social studies content, familiarity with storyboarding, world building, characterization, and student pride and ownership. Pride and ownership have always been especially enticing for me as a teacher, I want students to be proud of something when they leave my classroom. Further, art is a way to process the world, to think through the world. Arnheim (1965/1997, 129) writes “drawings, paintings and other similar devices serve not simply to translate finished products into visible models but are also an aid in the process of working out solutions of problems.” Following Kincheloe (2001, 243), I would add here citizens need to find solutions, but also ask important questions and problem pose. As such, student created comics can be a way for students to think through problems that citizens must face, as well as pose relevant questions. The student created comics may also align with Barone and Eisner’s (2012) notion of arts-based research. Arts-based research utilizes the arts capacity as “illuminating vehicles” and yokes this to the research process (6). Art-based research (27), which can include poetry, painting, literary essays, plays, dance, and photography to name a few, is in contrast to what most people think of as legitimate research. This supposedly legitimate research tries to emulate the physical sciences and utilizes standardization (Barone & Eisner, 2012). Barone and Eisner (2012) do not discount the more traditional research, rather, they posit that arts-based research gives us another method to explore different phenomena. Importantly, artsbased research can be empirical in the sense that existing ideas and details can be used to help create a piece of art (47, 105). Art activism (Duncombe & Lambert, 2018) is relevant here as well. The purpose of activism is to modify and change relations of power, what Duncombe and Lambert (2018) call effect. The purpose of art is more diffuse; its purpose is usually to provide “new ways to envision the world” (Duncombe & Lambert, 2018). Art usually induces certain emotions and feeling, what Duncombe and Lambert (2018) call affect. Art

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activism then can be thought of as the new term: “AEffect: emotionally resonant experiences that lead to measurable shifts in power (Duncombe & Lambert, 2018, 3). Duncombe and Lambert (2018) further note that art activism entails people working with each other to create a new world. Laws and policies only go so far, but they don’t mean anything unless people truly believe in their purposes (Duncombe & Lambert, 2018, 7). The political is undergirded by the cultural and culture is where act activism originates (Duncombe & Lambert, 2018). Creating comics may help us tap into this cultural sphere to move people in new directions and challenge unjust power relations. The point of all of this is that citizens may need to make meaning differently in hyperreality and comics may be the perfect tool for this task due to the conjunction of word and image, considerations of the page as a unit, as well as the simultaneous, multilinear, multidirectional, nonlinear (but the linear is still there too), and translinear options of reading and making meaning. As noted earlier, Cromer and Clark (2007, 583) argue that “rich and multi-layered” graphic novels are adept at allowing students to grasp the “the complexity of history.” Following the above sentiments, one of the main purposes of this present work is to harness these capabilities of the comics medium, and make them work for citizenship in the hyperreal, where stories and symbols may be crucial for telling the truth and making meaning. I want to frame the encoding process and comic creation described above on the backdrop of citizenship and hyperreality. Students can use the encoding process to say new things about—and practice citizenship in hyperreality. I deal with how this task can be assessed and evaluated in Chapter 6. There is obvious overlap between reading and creating comics, but the processes are distinct. As for reading a comic, different people can read and experience the same comic in different ways and so any insights about reading comics are generalizations and may not hold for all individuals; ultimately, readers of comics make their own meanings from what they read (Duncan et al., 2015; Wright, 2003). Potts (2013, 18) argues that readers take in the multitude of information on a comics page unconsciously “on a gut level.” On the first reading, readers may just read the story, but on following readings is usually when readers begin to notice the details and information. This dual reading is important—on the first reading readers may not pick up all the intended details (Duncan et al., 2015).

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Comics can engender cognitive reactions which relate to the “perceiving, organizing and interpreting images on the page in order to construct meaning,” and affective responses which are “emotional reactions (e.g. excitement, pity and fear) (Duncan et al., 2015, 140). McCloud (2006) similarly notes how comics creators depict emotions and body language to tell the story and convey messages. Eisner (2002, 103) also notes how bodily gestures and movements are critical for the creator to convey ideas in comics. With all that said, another reason that comics may be well suited to the social studies is due to the raw emotion that seems to characterize much of our political debate today as sketched out in an earlier section. The prevalence of emotion in politics may align with McCloud’s and Eisner’s assertion about the potential of comics to convey emotional contexts. Students can learn how to read emotions from comics, they understand how creators use emotional contexts to construct stories (for instance with the use of metonymy, see above) and then utilize emotions to construct their own stories and produce affective responses in their readers. As noted earlier, the images, the words, and the image–word combination, all help to convey meaning (Abel & Madden, 2008; Duncan et al., 2015; McCloud, 2006; Miodrag, 2013; Stainbrook, 2016). The words and images in a comic “together create a meaning beyond what is communicated by the picture or word alone,” what Duncan and colleagues call the interanimation of text and image (2015, 140). Of course, words and pictures do not actually merge (2015). Further, words can connect to images and vice versa (Stainbrook, 2016). In one instance, Miodrag (2013) examined how the images and text created a sort of linked “web” which worked to form a type of “conceptual jigsaw” as opposed to a sequence on the page (Miodrag, 2013, 75). The point of all this is that the relationship between images and words in a comic is important to consider when reading and further, this relationship can be creatively manipulated when creating a comic. McCloud (2006) posits different word–text combinations. In some combinations, words do the work, in others, pictures do the work, in some combinations, words and image work together and convey the same idea, in another combination, the words and pictures may provide some of the same information but also convey some information separately. In some combinations words and text combine “to convey an idea that neither would convey alone.” In a parallel combination, “words and pictures follow seemingly different paths without intersecting” (McCloud, 2006,

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130). Potts (2013) also notes how the words and images can contradict each other to create interesting juxtapositions. Miodrag (2013, 89) does caution however that we should be wary of any all-encompassing rules or classification systems for all comics regarding the word and picture blend. Nevertheless, I think this classification is a nice tool for students to utilize when reading comics and deciphering meaning from words and texts. The actual shape and outline of speech bubbles, as well as the font are also important for meaning-making. All of these features also have an impact on the reader (Hutchinson, 2009). The interanimation of meaning between the images and text, and the actual language used and its relation to the visual elements are important components of how a reader may experience a story. Students can look for these elements in comics and utilize them in their own creations. Perhaps one of the most important and controversial notions of comics experience is that of closure. McCloud (1994) famously contends that the reader must fill in the blanks between panels, or in the gutter (the gutter is the space between panels). This is his well-known idea of closure. Further, McCloud contends that we as human beings perform closure everyday of our lives, by taking limited information and creating meaning out of it. As Hoeness-Krupsaw (2018, 144) eloquently put it when writing of the gutter, we “fill the gap with our own thoughts, inferences, and imagination.” McCloud (1994) than asserted different ways, or panel transitions, in which closure may take place. This foundational typology of panel transitions has been utilized by a number of scholars. Closure can also occur within panels, not just between them (Duncan and colleagues 2015, 154–155; McCloud, 1994). Also, it is important to note that sometimes there is no gutter (Duncan et al., 2015). Closure as a term is problematic and many have questioned, expanded on, and criticized it (Duncan et al., 2015; Gavaler & Beavers, 2018). Duncan and colleagues (2015, 155) assert that when reading comics readers may, in addition to making connections between panels, also add “each panel to continually evolving cognitive constructs of scenes, sequences and ultimately, a narrative.” Closure also entails readers utilizing their background knowledge (Duncan et al., 2015). Saraceni (2016) expands on McCloud’s panel transitions by integrating the notions of repetition (where elements are repeated) and collocation (similar elements are grouped together to help convey meaning). Gavaler and Beavers (2018) in their article appropriately titled “clarifying closure,” separate transition types from closure. They go on to posit 10 different types of

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closures. Instead of relying on closure, Cohn (2013, 2) asserts that comics are “written in visual languages.” Cohn’s ideas will be explored more fully in the next chapter. In the end, while closure may be problematic, I think it is an important term for any student of comics theory to engage with. In addition, closure may be used to show how people think about historical events and fill in information when that information is lacking (this will be explored in the next chapter). Overall, it is important to note that reading comics is active endeavor, and requires a high degree of reader participation (Duncan, 2012; Duncan et al., 2015; Wright, 2003). As noted earlier, readers can interpret the same text in different ways, but I think the active nature and diversity of interpretations is what makes reading comics an important citizenship activity!

Bringing It All Together The period we find ourselves in, hyperreality, may necessitate comics as a pedagogical tool for citizenship. My positing comics as a necessity in the present age is understood within the rising cultural prestige of the comic form and the prior political, moral, and social uses of the form as discussed earlier (Gabilliet, 2010; Wright, 2003). Studying and practicing citizenship in hyperreality brings special challenges and comics may offer a great tool to engage these challenges. Citizens must decipher symbols, images, text, and combinations of all these. Citizens must also be able to create symbols and images to convey meaning and understand emotions. Citizens must be able to process simultaneous and many times contradictory narratives. The features of the comics medium described in the previous sections (e.g., multilinearity, encoding, etc.) may help citizens with the tasks above. In some sense, a recognition of hyperreality may be a new type of needed disposition while the actions needed to navigate it may constitute a new type of citizenship skill. For the activities in Chapters 2 and 3, I am trying to exploit the active nature of reading comics for the teaching of citizenship. Comics may be a microcosm of hyperreality. I use the active nature of reading comics as a way for students to sharpen and refine the complex abilities needed for citizenship in the hyperreal. If comics are an active medium and readers bring their own ideas to the reading of a graphic novel, then I am providing students (with the help of their teachers) with a new type of material when they read. The comics medium becomes a filter of sort, where

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the social studies material is passed through and refined and new conversations, insights, and questions hopefully emerge which further help students and teachers grapple with citizenship in hyperreality. The many actions students will presumably take when reading comics will most likely fall into levels two through five on the revised taxonomy. I see the creation of comics as the ultimate act of meaning-making for students and aligned with the highest level of Bloom’s revised taxonomy. In the widest sense, the use of comics may actually be practical in hyperreality. Students can say new things about citizenship and practice citizenship by their use of encoding. Similar to ethical spectacles, comics can be a rallying cry, a (perhaps not realizable) dream, but one which can inspire others. Like art activism, comics can give us a way to create a new world. We can use art and arts-based research (which is empirical) to disrupt the status quo and power imbalances. The student created comics are not fantasy or deception, they are just a better form of the truth. In the widest sense, echoing Garland-Thomson (2016), comics offer an alternative method of truth telling from prose and photographs (which are usually taken as unaltered truth). This method of truth telling may be more suitable for the age of the hyperreal. Miodrag (2013, 4) does assert however that sometimes comics scholars hold an unrealistic sense of what comics can actually accomplish. While I do believe that the comics medium holds great potential for studying citizenship, I think those engaging in this medium to study citizenship must be realistic about the potential of the medium in the classroom. Sometimes, it just might not work or not be able to achieve these lofty aims. That is okay. While the assignments in this book may fall far short of the ideal I have set for them, I believe engaging in this type of medium, in the acts of reading and creating comics, may be an important first step. Further, and more problematically, comics and graphic novels in some cases may actually be culprits and help to foster misinformation and a “truth” with no basis in reality. One glaring example may be the promotion of unrealistic stereotypes and representations of the female body, which become a sort of truth and expectation for people (especially young adolescent boys). This potential must be recognized and discussed with students. I deal more with stereotypes in Chapters 3 and 5. The reading and creating of comics can be an act of justice oriented and progressive citizenship, where students use the features of the comics medium to conceptualize and challenge injustice in new ways and create a new type of truth appropriate for the hyperreal. If meaning-making

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becomes difficult in this noise of hyperreality, then analyzing and creating comics may be able to show students newer and more creative ways to actively make-meaning in a situation where there is so much stimuli (and bullshit) and where there is a question of what is actually real and where the truth is interpreted through the imagination. The citizen of hyperreality may need to learn how to encode ideas, symbols, and historical interpretations in more profound ways when articulating their messages in the republic, as well as attend to emotions in this process. Citizens must engage with multiple and competing narratives from a variety of sources, all of which may contain some truth, and something like multilinearity and multidirectionality or other devices may help them grapple with and represent these phenomena. Both the sequential nature and nonlinear considerations of comics can be used to help students grapple with the passage of time and the complexity of events in newer and richer ways. Similarly, braiding may allow citizens to think about larger motifs and themes of history and current events. Many of these considerations will take place in the political arena of social media and the internet. Hyperreality may be full of noise and bullshit, but it also may be more fun than the truth. We do not dispense with the truth; we make it better. Again, I do not claim that comics will make students better citizens, but I think they can at least be a conversation starter of how we accomplish this task in hyperreality. If democracy must be continually created by its citizens, and now created in the backdrop of hyperreality, the comics medium may give students (citizens) new and exciting creative capabilities. The adaptation to hyperreality however is not the only reason for employing comics in the classroom. I think the need is much deeper. The use of art to communicate is not new.1 Fagin (2003) argues that CroMagnon man may have seen art as a link to a higher, spiritual realm. I think it shows the power of art. Art may have been a spiritual endeavor— and we need this spiritual connection now more than ever. Kincheloe (2001, 586) notes that prehistorical people were more creative than us. He further argues that we now need to “recapture that excitement” by creating new ways of researching and seeing the world (2001, 586). Duncombe and Lambert (2018) also note that art activism, while appropriate to our age, has been used throughout history, from Rosa Parks to Jesus Christ. So, I do not see the use of comics as simply an adaption to the information age, I see it as a recognition of our creative roots. Moreover, we need this creativity now more than ever as we move forward in the

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volatility of the hyperreal. It is not enough to just have knowledge, we have to utilize it creativitly, and we can do this with graphic novels.

Note 1. I am not arguing that modern comics derived from ancient forms. For some issues with this argument, see Gabilliet (2010) and Miodrag (2013). I simply assert that art has been a communicative and spiritual tool for human beings since our days in caves and I want to situate my call for art in the classroom in the wider communicative and spiritual functions that art has played through the centuries.

References Abel, J., & Madden, M. (2008). Drawing pictures & writing words: A definitive course from concept to comic in 15 lessons. New York: First Second. Ackerman, D. (2014). The human age: The world shaped by us. New York: W.W. Norton & Company. Aiken, K. (2010). Superhero history: Using comic books to teach US history. OAH Magazine of History, 24(2), 41–47. Arnheim, R. (1965/1997). Visual thinking (35th anniversary printing). Berkeley, CA: University of California Press. Banks, J. A., McGee-Banks, C. A., & Clegg, A. A. (1999). Teaching strategies for the social studies: Decision-making and citizen action (5th ed.). New York: Longman. Barone, T., & Eisner, E. (2012). Arts based research. Thousand Oaks, CA: Sage. Barr, T. (2009). Teaching Maus to a Holocaust class. In S. Tabachnick (Ed.), Teaching the graphic novel (pp. 76–83). New York: Modern Language Publishing. Baudrillard, J. (1981/1994). Simulacra and simulation (S.F. Glaser, Trans.). Ann Arbor: University of Michigan Press. Beaty, B., & Nguyen, N. (2006). Forward. In The system of comics (pp. vii–x). Jackson, MS: University of Mississippi Press. Bitz, M. (2006). The art of democracy/democracy as art: Creative learning in afterschool comic books clubs. National Institute on Out-of-School Time. Retrieved from https://www.niost.org/Occasional-Paper-Fall-2006/the-artof-democracy-democracy-as-art-creative-learning-in-afterschool-comic-bookclubs. Bitz, M. (2010). When commas meet kryptonite: Classroom lessons from the comic book project. New York: Teaches College Press.

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novels and comics in the classroom: Essays on the educational power of sequential art (pp. 111–119). Jefferson, NC: McFarland. Ricca, B. J. (2012). History: Discovering the story of Jerry Siegel and Joe Shuster. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 189–199). New York: Routledge. Ricketts, J. R. (2013). Manga, the atomic bomb and the challenges of teaching historical atrocity: Keiji Nakazawa’s Barefoot Gen. In C. K. Syma & R. Weiner (Eds.), Graphic novels and comics in the classroom: Essays on the educational power of sequential art (pp. 174–183). Jefferson, NC: McFarland. Rifas, L. (2012). Ideology: The construction of race and history in Tintin in the Congo. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: theories and methods (pp. 221–234). New York: Routledge. Roberts, D. (2017, November 2). America is facing an epistemic crisis. Vox. Retrieved from https://www.vox.com/policy-and-politics/2017/11/ 2/16588964/america-epistemic-crisis. Roberts, D. (2019, November 16). With impeachment, America’s epistemic crisis has arrived. Vox. Retrieved from https://www.vox.com/policy-and-politics/ 2019/11/16/20964281/impeachment-hearings-trump-america-epistemiccrisis. Ross, W. E. (2014). Remaking the social studies curriculum. In W. Ross (Ed.), The social studies curriculum: Purposes, problems, and possibilities (4th ed., pp. 375–388). Albany, NY: SUNY Press. Ross, W. E., Mathison, S., & Vinson, K. D. (2014). Social studies curriculum teaching in the era of standardization. In W. Ross (Ed.), The social studies curriculum: Purposes, problems, and possibilities (4th ed., pp. 25–50). Albany, NY: SUNY Press. Royal, D. (2012). Drawing attention: Comics as a means of approaching U.S. cultural diversity. In L. Dong (Ed.), Teaching comics and graphic narratives: Essays on theory, strategy and practice (pp. 67–79). Jefferson, NC: McFarland. Runciman, D. (2018). How democracy ends. New York, NY: Basic Books. Saraceni, M. (2003). The language of comics. New York: Routledge. Saraceni, M. (2016). Relatedness: Aspects of textual connectivity in comics. In N. Cohn (Ed.), The visual narrative reader (pp. 115–127). New York: Bloomsbury. Schmidt, A. (2018). Comics experience guide to writing comics: Scripting your story ideas from start to finish. Exeter, UK: Impact Books. Sherif, A. (2019). Historiography: Incorporating comic books into historical analysis: Historiographical cross-reference and Wonder Woman. In M. J. Brown, R. Duncan, & M. J. Smith (Eds.), More critical approached to comics: Theories and methods (pp. 233–245). New York: Routledge. Sousanis, N. (2015a). Grids and gestures: A comics making exercise. SANE Journal: Sequential Art Narrative in Education, 2(1), Article 8.

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CHAPTER 2

Reading Comics for Citizenship

As noted in the last chapter, different people, due to a variety factors, can experience the same comic in different ways (Duncan, Smith, & Levitz, 2015). Indeed, as McLaughlin (2012) notes, readers of comic books can find meanings that the creators never even intended. As such, the objective of the assignments in this chapter and the next chapter is to generate conversations about citizenship and history using the comics medium and not to lead students to any predetermined ideas. The assignments in the chapter center on chronology, skills and dispositions, the ten NCSS standards, the social and behavorial sciences, emotional considerations, mythology, and Buddhist political theory. But these are my created assignments and by no means exhaustive. There are so many possibilities regarding comics and citizenship and I have only scratched the surface. Comic books and graphic novels can also be thought of as “sociocultural artifacts that must be studied as products-both physical and ideological-within the timelines and cultures they evolve from” (Ricca, 2012, 190). Essentially, all ideas in comics have some sort of meaning “within historical contexts” and this meaning can be examined with evidence (e.g., close readings of the text) (Ricca, 2012, 190). This fact should be accounted for by anyone who seriously studies comics. While it may be beyond the scope of some classes and teachers to have their classes perform a full in-depth historical analysis, the fact that comics are socio-cultural artifacts should at least be made apparent. Further, a short

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historical analysis of the comics selected for the various exercises can be integrated into any activity in this chapter or the next chapter. Something I learned very quickly from implementing these frameworks is that many students are not familiar with the comic book format. In fact, my students outright told me this and said they needed more preparation in comic reading. Students will need to be familiar with certain terms and aspects of graphic novels, such as panel, gutter, and dialogue balloon to name a few things. Before assignments I hold quick lectures and discussions on the comics’ medium explaining some of these basic terms and gauging my student’s understanding. I also started to give my classes a “cheat sheet” with helpful terms. I went through many iterations of this cheat sheet, but I have included my most recent one below. This can serve as a discussion point for class discussion. I encourage teachers to modify this as they see fit.

Comics Cheat Sheet Comics: “juxtaposed pictorial images in deliberate sequence intended to convey information” (McCloud, 1994, 9) or Sequential art (Eisner, 2002). Encapsulation: What portions of a story are depicted and not depicted. These decisions are made by the creators (Duncan et al., 2015; Eisner, 2002). Sequential Visual Storytelling (SVS): what is shown, not shown, choices of framing, angle and layout, order and sequence of visuals, “emphasis visual elements are given to one another” (Potts, 2013, 14). Series/Sequence: In a series there is not a strict causality between images. A sequence is more traditional, these are more integrated images (Groensteen, 2013). Gutter: Space between panels (McCloud, 1994). Closure: Act of mentally envisioning what happens in the gutter (McCloud, 1994). Impacts: Cognitive or affective impacts on the reader (Duncan et al., 2015). Interanimation of meaning: The use of word and text elements and the power of combining them (Duncan et al., 2015). Braiding: translinear readings, reoccurring motifs (Groensteen, 2007). Multilinearity: Two or more simultaneous stories taking place on one page (Cabero, 2019).

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The Past Chronology is “a clear sense of the order in which events occurred” and it is a crucial concept for students to master when studying history (Chapin, 2015, 219). There is always debate on what or which events to study however (Chapin, 2015). Getz and Clarke (2011) argue that historians do not simply present past events, historians must interpret those occurrences. Further, as Banks and colleagues (1999) note, those interpretations are heavily influenced by culture and the time of writing. Two different people can perceive the same event in different ways and each person’s perception of the sequence and events can then further impact how they see the world. I contend that students can utilize the features of the comics medium, particularly its sequential nature and closure, to dive into this question of chronology and past construction. This assignment points to how citizens interpret events of the past in different ways. These differing conceptions may shape the way citizens participate in the republic. They can examine how creators of existing comics think about the construction of the past, and then formulate their own ideas. There is no right answer here, rather, there is your answer and how you chose to justify it. As noted in the introduction, the notion of closure (McCloud, 1994) has been an important one for comics theory and scholarship. When we perform closure, we populate the gaps of the gutter with our imagination (Hoeness-Krupsaw, 2018). Closure also entails utilizing one’s background knowledge (Duncan et al., 2015). McCloud (1994, 70–72) identified six types of panel transitions: moment to moment (where two different moments are shown. This usually does not necessitate much closure), action to action (where one subject is shown performing different actions), subject to subject (panels show different subjects within the same scene. This requires more closure), scene to scene (where different scenes are shown), aspect to aspect (panels show different aspects of a scene, like different components of a bedroom. Furthermore, this transition is not time bound. It can show different components without a lapse in time). Finally, there is a non sequitur transition, which shows seemingly unrelated images. Students can consider closure when grappling with chronology and past events. Students can examine a historical graphic novel and think about what events are shown and what events they imagine in the gutters. Teachers could also work to integrate Saraceni’s (2016) ideas of repetition (where elements are repeated, helping to link panels) and collocation (where elements might have similarities, again, helping to link panels) as

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well and asking how these items may be present and how they impact historical meaning and understanding. The assignment below was inspired in part by Duncan and colleagues (2015, 137) experiment, where they asked readers to interpret a comic and gauged the different reactions. This exercise will require teacher discretion. Teachers may want to assign specific excerpts, ideally one page. For historical graphic novels to use in class, teachers can consult Chapter 6. Closure and History Directions: Use the notion of closure to understand how history is written. 1. Find a partner. Decide on three gutters to examine. What events might have taken place in the gutters, what events can you imagine that may have happened in the gutters, and why do you think this is the case? Without consulting each other, think about what occurred in the gutter. 2. Consider how you as an individual constructed the events. What did you use to construct these events, what informed your thought process? How might you translate this process to the construction of a history? 3. Compare answers. What similarities are there? Differences? 4. What might the similarities and differences say about how two individuals view and construct the same historical event? I utilized this assignment in my social studies methods course as well as in various undergraduate and doctoral history of education courses. There were only five students in my methods course which made for a more intimate setting. I used an excerpt from Maus and from Barefoot Gen. First I assigned Maus and we discussed our interpretations as a class so students could understand the process of closure. Next I assigned a page from Barefoot Gen (a survivor’s tale of Hiroshima) and had them go through the questions on the assignment. One group of students had very different interpretations of the excerpt from Barefoot Gen, and the other group had similar ones. I worked with the remaining student, and both she and I brought very different interpretations to the text. Some of the differences for both excerpts were: some students “heard” sounds such as the whistle of the bomb or the eerie silence

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after the gas did its work. Some students did not hear them. One student thought about her own children and what she would have done in the gas chamber. Some students thought of Hollywood movies they had seen which depicted the gas chambers and the nuclear explosions to help them see the image. An older student remembered the palpable and very real fear of nuclear holocaust she experienced in the 1980s, while I remembered my grandfather’s description of the shadow imprints of human beings that he saw when he was stationed in Hiroshima in the 1950s. I used this assignment to get my students to think about how different individuals interpret the same historical events. I think closure is well suited to facilitate this discussion. I was also very pleased when a student referenced this activity later on to show how different people process the same event. We bring our own ideas, experiences, and background knowledge to the comics page (Duncan et al., 2015) and this was on full display during our activity and class discussion. Another variation of this exercise utilizes Cohn’s (2018) use of visual narrative grammar (VNG). Cohn (2018, 2) asserts: “this ‘narrative grammar’ gives categorical roles to visual image units, and then organizes those units into hierarchic constituents.” Cohn asserts that a basic set of panels are establisher, initial, peak, and release panels. Establishers begin a sequence but are passive, initials start the action, peaks are the action, and release “releases the tension” (Cohn, 2018, 2–3). The meaning produced relies on the combinations, but is also affected by the content as well (Cohn, 2013, 73). Further, more complex types of combinations of panels are called arcs and work to advance complex stories. So, for example, Cohn (2018, 3) illustrates an arc with a larger initial and peak, but the larger initial is composed of an initial and peak panel, and the larger peak is composed of an establisher, initial, peak, and release. While Cohn (2013, 2) likens comics to a language, he stresses however that “comics are not a language,” but created with language (Cohn, 2013). Students are to take a historical graphic novel or piece of comics journalism and use Cohn’s categories to analyze it. Students can consider which depicted events might be establishers, initials, peaks, and releases. Further, students can diagram more complex linkages and story arcs. (Some introduction of Cohn’s work and visual grammar, as well as some of Cohn’s example would probably be useful here.)

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The Grammar of History Directions: This assignment calls for you to argue for a “grammar of history.” You will break depictions of historical events down into grammatical parts. 1. Find examples of establishers, initials, peaks, and releases as well as larger arcs. 2. Justify your answers to question one. 3. Pick a specific story arc. Consider your knowledge of history. What other events could you add to this story arc? What would you label these events (establishers, initials, peaks, or releases)?

Skills and Dispositions Framework Teaching the concept of citizenship is difficult due to the complexity of citizenship outlined in the first chapter. Moreover, I find teaching teachers and how to teach citizenship in hyperreality is even more difficult. One useful method I have found to convey these ideas to my prospective social studies teachers is through the use of skills and dispositions. Cohen, Pickeral, and Levine (2010) and Torney-Purta and Vermeer Lopez (2006) argue that citizens need certain skills and dispositions. Larson (2017, 8) asserts that a disposition can be thought of asthe “attitudes or mindsets that students need to learn.” Banks and colleagues (1999) similarly argue that citizens need knowledge, skills, values, and to take action. Banks and colleagues (1999) do note however that many times values can conflict (e.g., freedom and equality). Banks and colleagues (1999, 435) also note the difference between values and attitudes. They describe values as more general and “not related to any specific things, persons, or groups.” Importantly, the questions of what skills and dispositions are needed depend on the type of society that is desired (Cohen et al., 2010). Moreover, Cohen and colleagues (2010) drawing off Westheimer and Kahne’s (2004) tension between different types of citizenship, assert that it is difficult to create a totalizing vision of citizenship. Rather, there should be deliberation about what constitutes good citizenship and this should be kept in mind when discussing skills and dispositions (Cohen et al., 2010). The skills and dispositions should be organic and evolving. Moreover, hyperreality may necessitate new skills and dispositions. A recognition and

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appreciation of hyperreality, may be a new disposition, while navigating it may be a new skill. Further, the fostering of these skills and dispositions are not just the province of the social studies. Different disciplines and fields can help promote different types of skills and dispositions. The use of comics and graphic novels in the social studies, and in a variety of different K-12 and college classes may be able to help with this task. While I do not reference skills and dispositions in every single assignment in this book, I think all of the exercises necessitate certain stills and dispositions, and teachers and professors can highlight, refine and work toward these as they utilize the assignments in this book. Torney-Purta and Vermeer Lopez’s (2006, 4) notion of “the braid” is important as well: knowledge, skills, and dispositions must be “equal in importance and connected to one another.” This equivalence depicted with an interlocking braid of three strands, where each strand represents either knowledge, skills, or dispositions. I have found the notion of skills and dispositions an effective method to teach the complexity of citizenship in the hyperreal because I can actually show students how to think about citizenship. Students can conceptualize actions and attitudes associated with citizenship and promote these actions and attitudes in their students. I will caution however that I do not think citizenship should ever be made to fit into boxes. Possessing certain skills and dispositions does not automatically make you a great citizen. Citizenship is just so complex. Nevertheless, I think an understanding of skills and dispositions and values are a great start and an effective gateway into teaching citizenship in the hyperreal. Students can begin to locate these skills and dispositions (and the lack of them) in comics and graphic novels. As argued in the first chapter, comics and graphic novels may make a fecund ground to accomplish this task for a number of reasons. The use of visual- and text-based literacies, as well as the emotional context might be able to help students to further “see” skills and dispositions in action. Below is the Skills/Dispositions/Citizenship Template. Please note that I have combined all the skills and dispositions/values above into a manageable portion. My skills and dispositions list draws from a number of sources (Banks et al., 1999, 6; Cohen et al., 2010, 80–81; Torney-Purta & Vermeer Lopez, 2006, 21–23). In addition, I have also included a discussion of Westheimer and Kahne’s (2004) tripartite framework of citizenship as well as Parker’s (1996) differing notions of democracy. Students are to use the guide and look for evidence of these things in a graphic novel. Here, Meyer and Jimenez’s (2017) notion of

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“interrogator” who examines issues of power in a comic is useful, as are the notions of the gutter (Hoeness-Krupsaw, 2018). These guides do not need to be answered in their entirety, they can just be used to spark a discussion. In addition, teachers may want to highlight different skills and dispositions that I have not included. Most likely, a number of prompts and questions will not apply to any given excerpt or whole graphic novel (Table 2.1). I have used this framework in my social studies methods class. (I have also given it at an academic conference had participants in my session complete it.) This was actually the first piece of this book that I tested in my classes. I was very nervous at first because I did not know how my adult students would react. Yet I was pleasantly surprised. I gave them excerpts from The Killing Joke, the Walking Dead, Maus, and a comic dealing the Slavery and the Civil War. The students used the framework to analyze the excerpts. The framework generated some great conversation about how the features of the comics medium interacted with citizenship ideas, as well as how these were portrayed visually. Importantly, we had also been discussing skills and dispositions of citizenship, as well as the Westheimer and Kahne’s (2004) tripartite framework of citizenship since the first weeks of class, so students had some familiarity with the material. Some further questions and exercises that students can be asked in regards to the notion of the gutter, and really to the process of synecdoche and working from limited information are listed below. Please note that the second question below was inspired by Hutchinson’s (2009) assignments. Of course these are only guides. The answers will change depending on what type of material a professor or teacher selects. In addition, teachers or professors may discuss the material beforehand and establish some context or link it to something they are learning. (For instance, the last question may require some discussion and example of multilinearity.) I have given some hypothetical situations below the questions to illustrate some possible questions and answers. Consider the page. What other information would you like to know? (e.g., character motivations, historical facts, etc.) Why would you like to know this information? Would it help you come to any conclusions? Think about what certain characters may think about their own actions, how the character may describe or rationalize these actions to others, or how an outside observer may understand the actions being shown. Create a thought bubble for a single character, a conversation between two or more characters, or narrate a panel or panels.

Westheimer and Kahne (2004): Personally responsible Participatory Justice Oriented Parker (1996): Creative Democracy Multicultural Democracy

Do any of the characters exhibit any of the components of citizenship above?

Cohen and colleagues (2010, 80) and Torney-Purta and Vermeer Lopez (2006, 23): Responsibility to the republic Appreciation of our social nature/Social trust Social justice (appreciation of and involvement in) Service to others Appreciation that others do their best most of the time Banks and colleagues (1999, 6): Equality Dignity of the person

Were any of these dispositions present in any form in the piece? Justify your answer with examples. Did any characters hold any dispositions contrary to the list above? Justify your answer

Cohen and colleagues (2010, 80): Listening Critical thinking abilities Flexible problem solving Communicative abilities Collaboration Torney-Purta and Vermeer Lopez (2006, 22) Ability to articulate abstract concepts Understand relationship between self-interest and common good Analyze social injustice Ability to verify information Banks and colleagues (1999, 6): Formulation of scientific questions Evaluating claims/knowledge Applying knowledge Able to be a leader and follower in groups Did any of the characters exhibit any skills above? Justify your answer Did any characters take any actions which could be detrimental to the republic? Justify your answers

(continued)

Citizenship

Dispositions/Values

Skills, dispositions, and citizenship assignment

Skills

Table 2.1

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This is a framework for how to utilize the skills and dispositions of citizenship in reading comics

Does the comic’s form (linear and nonlinear considerations, art style, encapsulation, image and text, etc.) work to convey or hinder any aspects of citizenship above? Consider the gutter. Might there be any aspects of Kahne and Westheimer’s or Parker’s ideas of democracy that are not shown? Justify your answer

Are there any contradictions of citizenship exhibited? (E.g., does a responsible citizen actually aid authoritarian forces which are detrimental to a republic?). Is vigilante justice present, which is technically illegal and presented in the art and/or text? Justify your answer

Consider how the art (e.g., shading, facial expressions, use of black and white, coloring, etc.) and text work together to convey any information regarding any dispositions. (So, for instance, does a heavily shaded face seem foreboding when discussing human rights? Are characters drawn to highlight their inequality?) Also consider any silent panels. Justify your answer Consider how the comics form (linear and nonlinear considerations, art style, encapsulation, image and text, etc.) helps to convey any information regarding dispositions Consider the gutter. Are there any dispositions that might not be shown? Justify your answer

Consider how the art (e.g., shading, facial expressions, use of black and white, coloring, etc.) and text work together to convey any information regarding any skills. (So, for instance, does a leader’s stoic face hinder her ability to cooperate despite her words?) Also consider any silent panels. Justify your answer

Consider how the comics form (linear and nonlinear considerations, art style, encapsulation, image and text, etc.) helps to convey any information regarding any skills above. Explain your answers Consider the gutter. Are there any skills that might not be shown? Justify your answer

Citizenship

Dispositions/Values

(continued)

Skills

Table 2.1

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Does this comic offer any nonlinear readings? Are there any creative reading patterns or use of multilinearity? What types of meanings do these alternate readings convey? There is a great comic called Hunter/Prey (1994) by Dan Jurgens and Brett Breeding. This comic is a rematch of Superman and his archnemesis Doomsday, who had killed him years before in the famous Death of Superman comic. Both Superman and Doomsday returned to life. This comic gives Doomsday’s harrowing back story. Scientists deposit a baby out in the harsh environment to watch the baby die. They collect the remains, use the genetic material, and create a new baby to repeat this process. The purpose of the grisly experiment is to create a perfect being, one that cannot be killed. The scientists succeed, only to be killed by their own creation. I believe this scene could be related to citizenship questions. When I read this, I wanted to know what else these scientists were thinking. What values and dispositions did these scientists hold? What did they go home and say to their wives and husbands about their work? Was this rationalized in the name of progress and science? What would an outsider think of this? How did the art and features of the comics medium help to convey this story in ways that text alone could accomplish? A student could be asked to reconstruct a scene like this. A nonfiction comic could be used as well. For instance, students can be asked to think about what more information they would like to know about abolitionists or what Abe Lincoln was thinking to himself or told his wife in moments not shown in the comics. The questions of what is not known or cannot be seen in the comic can be an important process for grappling with citizenship.

The NCSS Standards/Disciplines of the Social Studies The National Council for Social Studies (2020) is a professional social studies organization which publishes standards and resources for schools and practitioners of the social studies. The website reads: “NCSS serves as an umbrella organization for elementary, secondary, and college teachers of history, civics, geography, economics, political science, sociology, psychology, anthropology, and law-related education.” Membership includes K-12 teachers and university professors and others. NCSS has created ten themes which help to guide social studies instruction in classrooms. Essentially, the themes articulate what should

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take place in social studies programs. Further, the standards “represent a way of organizing knowledge about the human experience in the world” (NCSS website). Some more progressive scholars have argued the NCSS themes are generic (Ross, Mathison, & Vinson, 2014). While they are generic, I like the fact that they call attention to the diverse disciplines that make up the social studies, from history to psychology, economics, political science, geography, and anthropology (Chapin, 2015). I have created assignments that aligned with the classes that I was teaching, particularly history, psychology, and law. I did this because I know these bodies of knowledge and because it was convenient. My assignments however are not exhaustive. I challenge social studies teachers and professors in a variety of disciplines to build on my work and create more discipline specific assignments that involve citizenship and the comics medium (Table 2.2). The chart calls for students to look for evidence of these themes in graphic novels. This is an example of students bringing social studies theories to bear on graphic novels. Again, the chart does not have to be answered in its entirety, its main purpose is really to spark a discussion. For instance, if this chart were to be used with the graphic novel Persepolis by Marjane Satrapi, which details the authors struggles growing up at the time of the Islamic Revolution in Iran, it could be argued that certain themes and disciplines from the chart are present. For one, the revolution itself obviously is emblematic of the sixth theme, power, and authority. The graphic novel heavily centers on Iranian culture, so the first theme is present as well. In addition, there is also some discussion of capitalism, so the seventh theme of production and consumption is also present. Likewise, different disciplines could be used to understand the events of the graphic novel, from a historical consideration of the revolution, to a geographic consideration of Iran, as well as an economic examination of the country and the relation of capitalism to the revolution. Further, teachers and students can discuss how the notions above are further enhanced by the use of a graphic novel and how the features of the graphic novel help to convey historical events in different ways. The National Council for Social Studies also published the C3 or College, Career, and Civic Life framework. This framework promotes inquiry as an important part of the social studies (Larson, 2017). The C3 framework also builds on the Common Core Standards in the Social Studies (Larson, 2017). While the exercises in this book are not necessarily inquiry based, they can help to fulfill one important component of the inquiry process: the gathering and use of evidence to make decisions.

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Table 2.2 NCSS standards assignment NCSS themes

Disciplines of the social studies

Culture Continuity Environments Identity Individuals and groups Power and authority Production and consumption Science and technology Global connections Civics Are any of the themes present in any form in the graphic novel?

History Political Science Geography Economics Psychology Anthropology Sociology *not an exhaustive list

Consider how the comics form (linear and nonlinear considerations, art style, encapsulation, etc.) work to convey or exhibit any of the themes above Is anything present in the graphic novel which may point to a theme which is not on the list above? How does this graphic novel’s treatment of any material differ from any other graphic novels you have read on our own or have been assigned? If the graphic novel is recent, is anything about the art, text, or art–text combination political or partisan? Does it seem to endorse or discredit any current political beliefs? Further, can any of these beliefs be tied into the NCSS themes?

Are any of the disciplines present in any form in the graphic novel? Think here of what comprises each discipline. Justify your answer Consider how the comic form (linear and nonlinear considerations, art style, encapsulation, etc.) works to convey or exhibit any of the disciplines above Does the graphic novel offer any different viewpoints of the material that you have learned from other sources? How might anything you read be linked to other disciplines and subjects you study in school, such as the sciences, mathematics, physical education and so on? If the graphic novel is recent, is anything about the art, text, or art–text combination political or partisan? Does it seem to endorse or discredit any current political beliefs? Further, can any of these beliefs be tied into any of the social studies disciplines?

Whenever students make an argument about a comic or graphic novel, they must provide evidence and back up their points with evidence. So, for instance, a student cannot just say that a Superman comic exhibits the skills and dispositions of citizenship, but must collect evidence and examples and show this to be the case. Teachers can highlight this evidence gathering feature of the assignments in this book.

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The social studies largely consists of the discipline of history, and the behavioral and social sciences, such as psychology, anthropology, sociology, and the study of the law (Chapin, 2015; Larson, 2017; Zevin, 2000). As Zevin (2000, 22) notes: “social studies draws from many sources to achieve its goals.” In my own social studies methods classes, we speak a great deal about the different disciplines of the social studies and the NCSS themes. I assigned this framework to my social studies methods class. I distributed a number of graphic novels and had students read through them. This activity was done on the day that we as a class discussed in detail the disciplines that make up the social studies. I think it important to focus students not just on the content of the graphic novels, but also the comics form in relation to the disciplines. We discussed in detail the graphic novels Maus, The Sacrifice by Bruce Mutard, Gettysburg, and Joe Sacco’s Safe Area Gorazade. I found one of the most insightful observations when one of my students compared Safe Area Gorazde to Maus and noted how in Maus there is a visible difference between the characters because of the animals used to portray them, but how in Gorazde, the people were drawn similar. She wondered if this was maybe the intention, to show that people in Bosnia were not that different. I thought this a very prescient remark and evidence of how not just the content but the comics form can help students in their interpretations. This remark also touched on some of the different disciplines of the social studies (psychology, sociology) and NCSS themes (groups, identity). Psychology is obviously important to the study of citizenship. The fourth NCSS theme, individual development and identity, deals in part with psychology (Chapin, 2015). I taught Educational Psychology for graduate students at my university (during the Spring of 2019) and so I have some firsthand teaching knowledge of psychological theories. Chapin (2015) notes the popularity of psychology courses in high school. A good portion of high school students participate in psychology electives. So the frameworks can be employed with a number of classes and age ranges. The frameworks could also be employed in a history class (I used historical material) to highlight how psychological concerns are present in the study of history. One critical question that psychology can help shed some light on, and which is crucial for understanding citizenship, is the process by which human beings come to hold certain beliefs and values, and how those beliefs and values lead to actions for both individuals and

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groups (Shealy, 2014). Understanding which values are right or wrong is not necessarily the point. Rather, as Shealy (2014, 3) goes on to note: Much more important is understanding the complex interactions (e.g., among affect, cognition, context, culture, and development) that culminate in a unique constellation of beliefs and values for every human being, as well as how and why these different versions of reality inevitably are linked to the actions, practices, and policies of individuals, groups, organizations, governments and societies all over the world.

This is a powerful statement and one that I think cuts to the heart of psychology and citizenship, specifically the notion of a version or reality. We as a society need to understand how beliefs and values impact human behavior and actions (Shealy, 2014). The way human beings come to hold these beliefs and values is a combination of “our unique developmental, life and contextual experiences, which interact with powerful affective and attributional processes that are neurologically mediated, and of which we may have little awareness” (Shealy, 2014, 14). Shealy then goes on to note that while psychology is important in understanding this process, that the contributions from other disciplines and fields as well as “theory, data and analyses that transcend any specific domain” (2014, 14) will be necessary to truly understand beliefs and values. I think that the comics medium can be a beneficial way to explore the notion of a VOR. This concept of a version of reality (VOR) I think lends itself particularly well to both reading and creating comics because a student can begin to see a VOR and actually chart the creation of their own VOR in visual form. The last question has students actually drawing a quick mini-comic. I present a student example of this question in Chapter 4. This is a good reminder that both comic reading and comic creating activities can be done at the same time and overlap. I have chosen to artificially divide them up for the structure of this book. In addition, when I originally gave this assignment, I did not have question three. I added this after. Prior to implementing this activity, I had given my students excerpts from Shealy’s (2014) work and excerpts from graphic novels. The first excerpt came from March, which centers on the story of John Lewis, the current congressman from Atlanta, and his association with SNCC and the Civil Rights movement. The second excerpt came from and older Marvel comic, Gettysburg, which depicts the Battle of Gettysburg.

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Comic VOR Activity Directions: Answer the questions below. 1. Try to construct the VOR for the two types of opposing characters depicted on the page. Consider how each character (and the groups they belong to) came to hold these beliefs and values, and how the character’s VOR (Shealy, 2014) may have led him or her to the actions depicted on the page. 2. Consider the actions being depicted. How did the artist depict actions? (Consider here the use of sequence, color, shading, lines, facial expressions, linear and nonlinear considerations, emotions and gestures as well as what is shown and what is not shown.) How does (might?) the art help to understand the actions on the page and perhaps the beliefs that led to those actions, for both the individuals and larger groups? 3. What bias may have been present for the creators? Do you believe the representation of the subject matter is biased in any way? Justify your answer. 4. Consider your own VOR. Try to construct it, reflect on how your own VOR impacts your behavior (try to be specific). Now actually depict this visually with sequential art. Use sequential art to show how your VOR might induce actions (see the professors example). This assignment generated what I thought was some great conversation. Of course I was not totally satisfied with its implementation. Some students felt a little bewildered and were unsure of what I was asking. I learned I need to be clear on these types of assignments. However, overall I was pleased. I had a class of about 18 students and had them work in groups of two to four people. I made sure to talk with each group privately, and then hold a class discussion. I believe this way generates more discussion because people may not open up in front of a class, but people may open up in small groups. We discussed what a VOR is and how it may be created. Admittedly, I stacked the deck a little by selecting two episodes (The US Civil War and the Civil Rights movement) which had an obvious and deadly clash of values (I also considered using Maus, but wanted to introduce the students to some comic’s series they may not have been familiar with). But that was the point. I wanted students to see this clash, not just read about it. I also felt that the VOR assignment

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aligned with the fourth NCSS theme of identity development. When I spoke with students in their groups, and then in the overall class discussion, we were able to theorize about the VOR’s of the different characters and groups in the excerpts (e.g., Civil Rights protestors and Southern police forces, or Northern and Southern armies) and how sequential art helped to depict some of these ideas. I also drew a portion of my own VOR to show the class what I wanted them to do. I believe this example helped tremendously. I greatly simplified Shealy’s (2014) complex body of work. I did not touch on a number of important points that are central to his work. My main interest was to look at how beliefs drive actions. Instructors could delve deeper into his body of work and create more detailed assignments. I believe that the assignments I created worked well for my classes. The next two assignments dealt directly with topics that we covered in our textbook (We use the text Educational Psychology, 14th edition, by Anita Woolfork, 2016). Specifically, we read about ELL and refugee students and students with epilepsy and the psychological concerns of educating each group. The two graphic novels I chose were Epileptic, by David B., and Illegal by Chris Coffer. Epileptic centers on the story of David, whose brother is an epileptic, and the trials his family faces because of his brother’s illness (Wolk, 2007). Illegal centers on the story of a young boy and his brother who are trying to escape an African nation and make it to Europe. While these topics were specific to my Human Development and Learning course, they nevertheless could be a bridge to wider topics, such as racism, ethnocentrism, and disability. The attitudes we hold toward other people and the actions we take, the ideas we hold about ourselves resulting from our own cultural orientations, and the way we interact with others are psychological and citizenship questions. As pointed out in the introduction, some excellent work has been done on related topics such as disability in comics (Whalen, Foss, & Gray, 2016), cultural concerns, and stereotypes in comics (Cook & Frey, 2017; Dong, 2013) to name a few examples. My aim here was to discuss the content of the graphic novels and how it was represented in the medium of comics. We analyzed the art and looked at how the comics form may have helped to convey these ideas in new and novel ways. We then discussed the intersection between psychological phenomena and social occurrences, as well as how teachers (since my students are current and prospective teachers) might grapple

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with these issues in their classes. Our discussion reflected many of these concerns. Read the excerpt from the Graphic Novel titled: Illegal 1. From what you can tell, what is going on in both sequences? Consider what is shown. Consider the interplay between image and text. 2. What are some of the cognitive and affective impacts of the sequence? 3. How does the material in the excerpts align with the information in the textbook? 4. How might this different, nonacademic view of this material compliment the information in the textbook? 5. What might be some implications for teaching? 6. What might be the intersection between what we know from psychology and global policies and conditions? Read the excerpt from the Graphic Novel titled: Epileptic 1. From what you can tell, what is going on in the sequence? Consider what is shown. Consider the interplay between image and text. 2. What are some of the cognitive and affective impacts of the sequence? 3. How does the material in the excerpts align with the information in the textbook? 4. How might this different, nonacademic view of this material compliment the information in the textbook? 5. What might be some implications for teaching? 6. How might epilepsy, and disability in general, be understood from a psychological and political/social frame?

Law and Civics Another area where comics can be used is in the study of case law. Case law could obviously fall into the history curriculum. In addition, as noted earlier, the NCSS “About Us” page notes the standards can be used by teachers at all levels of “law-related education.” The study of law can relate to the sixth NCSS theme, “power, authority and governance.”

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I used the activity below in my law class with doctoral students. While the main thrust of this assignment dealt with disability case law and legislation, in previous weeks we had also spent a great deal of time examining Title IX legislation. So, I thought the Barbara Gordon/Batgirl/Oracle debate was a natural fit. I first gave the students an excerpt from Alaniz (2016) who chronicled the controversy surrounding Barbara Gordon. I then gave my students an excerpt from the Killing Joke (the scene where Barbara is shot) as well as a scene from a later comic where Oracle is assisting Batman in crime fighting in her wheelchair. Barbara Gordon was put in a wheelchair after Joker viciously shot her in The Killing Joke. She then became the hero and super hacker Oracle, a powerful superhero in her own right (Alaniz, 2016). Yet, in 2011, DC updated the story for the New 52 series, and facilitated a “de-disabling” of Barbara (Alaniz, 2016, 60). She would be Batgirl, with the use of her legs, again. Some celebrated this move because of what many see as the pervasive violence against women in comics. Many thought Barbara should not be disabled. Yet, many also saw Oracle as a powerful icon, a person with disability who was a superheroine. So, I used this controversy to dissect issues of gender and disability. I was able to relate these wider ideas to our discussions of policy and case law. Title IX and Disability Assignment Directions: Read and answer the questions 1. Read the except from Alaniz (2016) and summarize the controversy surrounding Barbara Gordon/Batgirl/Oracle. a. In what ways might this controversy echo some concerns that you have read about regarding disability legislation? 2. How might the art and text on the comic pages help to portray some of the issues regarding disability legislation as well as Title IX concerns we have read and spoke about? a. Consider the panel size, line work, facial expressions, depicted actions, and/or word balloons. 3. Consider disability from a citizenship and common good perspective.

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a. What implications might disability have on our understanding citizenship and the common good (Dayton, 2012)? b. How might the Oracle/Batgirl/Barbara Gordon issue help to better illuminate these issues? One student detected eugenic strains in the comics. Another student, looking at the excerpt containing Oracle in a wheelchair, noted how it almost seemed like she was in a position of power because Batman was asking her for information. Another student was quick to point out however that she did call him boss. We were able to talk about representations of people with disabilities and stereotypes. Again, like the psychology exercises I included, this exercise was specific to my course content. However, disability in comics is a pertinent issue (Garland-Thompson, 2016) and can be used to open discussions on a wide range of citizenship issues from discrimination to policy.

Mythology I do not think it a stretch to say that most students are required to study mythology and religion. Most students probably study Greek and Roman mythology, but also perhaps Sumerian and other cultures as well. So a discussion on mythology can be very fruitful and aligns with many types of required social studies knowledge. I also think the study of mythology aligns with the hyperreal, which I will attend to shortly. Cook and Frey, drawing on a number of scholars (2017, 1) as well as Novak (2014, 8) argue that comics books and superheroes are our “modern mythology” (Halsall, 2018). Cook and Frey (2017, 1) argue that our superheroes, like Odysseus and Beowulf before them “are meant to resonate within their cultures,” and are products of the environments from which they came. Novak (2014) also posits that the most important parallel between comics and ancient mythology is the ability of comics to understand ourselves and society. But what is a myth? Vandiver (2000a, 6) offers this definition: “traditional stories a society tells itself that encode or represent the worldviews, beliefs, principles, and often fears of that society.” Typically, myths “explain, justify, instructor or warn” (Vandiver, 2000a, 23). Myths can explain the reasons for things, justify a condition, show people how to act, or warn people about something. Later scholars such as Freud and Jung

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saw myths as psychological phenomena. For Freud, myths become the “collective dreams of the human race,” and Jung saw myths as containing “archetypes or recurrent images that exist cross culturally and throughout time” (Vandiver, 2000a, 39). Vandiver (2000a) argues that while all of these theories have something useful to offer, they all may be lacking as well. Instead, she uses the theories above as tools to understand myths when appropriate (Vandiver, 2000a). Vandiver (2000a) also points to the important of understanding myths in their historical context. Vandiver (2000b) also examines the mythmaking impulse in the present. Of course, mythmaking in present America is much different than Ancient Greece or Sumer (Vandiver, 2000b). She argues that now, mythmaking is flipped. We cannot believe in fantastic races of the past because we understand our history and geography, we largely know what happened. Vandiver (2000b) argues that we now see our heroes in the future. She (2000a, b) notes that these characters are not our ancestors. Rather, they are our descendants. Modern audiences may also now have a familiarity with 2500 years of myths. In the stories of the future, we recognize mythic themes that we have seen in the myths of the last 2500 years (Vandiver, 2000b). Following this line of thought, I think certain comics can accomplish this mythmaking function. I think the potential is great for comics to act as a way to study myth and as a mythmaking vehicle (the mythmaking exercises will be examined in Chapter 4). Another question we must ask ourselves is what is the relation of ancient myths, modern mythmaking in comics’ form, and the hyperreal? If you have been paying attention this far, this question cuts to the heart of this book. Both existing myths and the creation of new myths can be important devices in hyperreality. Citizens can examine some of the ideas behind existing myths and the mythmaking impulse to truly understand myth and how to utilize them in hyperreality. The directions call for students to think critically about how the comics medium helps to convey important information in different and unique ways (e.g., multilinearity, word balloons). Teachers can begin with existing myths and then extend this to the present. Myths are not simply for ancient people or people living in the remote past. Myths are possessed by all cultures (Vandiver, 2000a). Teachers can link the study of traditional myths (which as noted above is usually on a variety of state curriculums) to the mythmaking impulse that is still alive and well, albeit which may look a little different. Below are assignments in which students analyze the traditional myths as well as modern

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myths found in comics. Students then compare them to ancient myths using Vandiver’s (2000a, b) ideas. As with most of the assignments in this book, the teacher will have to decide on certain parameters. The most obvious one is whose mythology to study. In my own experience from teaching Ancient World History, I had to cover Sumerian, Egyptian, Greco-Roman, and Aztec mythology. So, for simplicities sake, let’s stay with Greco-Roman myths. Another consideration is graphic adaptations of myths. Certain myths are now in graphic novel form. Gareth Hinds has created an excellent adaption of Beowulf and The Odyssey. Carter (2011) argues that examining the same story in two different mediums can lead to fruitful discussions about different choices different creators make in the different renditions of the story. Following this, I have students looking at the same story in different mediums (graphic novel and traditional print text). Obviously, not all myths are in graphic novel form so the first assignment can only be done with graphic adaptations. Teachers will also have to decide how much of a story (both the traditional myths and the comics) students will read. Finally, teachers will have to give some instruction on Vandiver’s (2000a, b) ideas (Table 2.3). For the second assignment, the teacher will have to decide if students will have free reign to choose what comics to study, or if teachers will select stories for students to look at. Halsall (2018) argues for reading classic texts alongside of graphic novels. Halsall (2018, 93) notes: “A graphic novel thus possesses a crossover ability to inspire deep and passionate responses from readers in the reading of canonical classics.” Halsall (2018) had students look at a traditional version of the Odyssey and Frank Miller’s 300, two different stories. The assignment below has students looking at a traditional story, such as the Odyssey, and a modern myth that either students or teacher and students as a class identify as such. An excellent starting point may be Robert Kirkman’s The Walking Dead which I use as an example. Of course all stories may not be suitable for some students, so teachers could adjust as necessary. Portions of The Walking Dead are definitely not suitable for high school students. This exercise could also be done in conjunction with the above exercise or as a standalone exercise. I have also added a question on heroes. As Vandiver (2000b) notes, the heroes of ancient myths are not always good or morally upstanding, in fact many commit some terrible actions. One conception of hero just entails that a person has done extraordinary, and not necessarily, good, things (Vandiver, 2000b). Negan, a dictator type in this post-apocalyptic world in the Walking Dead series, may be

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Table 2.3 Mythology assignment 1 Directions: Read the excerpts from Hinds The Odyssey. Fill in the chart below as you read 1. Briefly describe the historical context of the myth. From which conditions did it emerge? 2. Compare the graphic adaptation to the traditional written text. What are some differences and similarities? 3. What are the advantages and disadvantages to each medium at portraying the myth? Justify your answers 4. What purposes might this myth have served for the ancient Greeks? Myth lens

Examples

How does the features of the comic form help to convey these ideas?

Can you make a case for any aspect of the myth, especially one represented in comics form, resonating with modern audiences? Justify your answer

Explicative (Does anything in this myth explain something?) Justification (Does the myth justify a situation?) Instruct (Does the myth instruct people how to live?) Warning (Does the myth warn about something?) Psychological (Does anything in this myth tell us about ourselves or society?)

considered a type of a hero. Even Rick, the protagonist, does some very questionable things. Deciding who is a hero can be a fruitful exercise not just for the text, but also from a social studies standpoint. There are many people in the past who may have done extraordinary, but morally questionable acts. Students can get their hands dirty with this question. The last column on the chart links this exercise back to the traditional (and usually curriculum based) study of myth. Teachers may want to give students time to complete this individually, in groups and then as a class

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discussion led by the teacher (Table 2.4). In addition, I assigned a variation of the assignment below to my own children when I homeschooled them during the COVID-19 crisis.

Prior Knowledge and Emotional Context One crucial action that teachers can do to enhance student teaching is to relate new material to something students have already learned (Larson, 2017; Woolfork, 2016). Woolfork (2016, 324) asserts “we use old knowledge to understand the new.” However, as Larson (2017) also points out, student misconceptions must be addressed as well. Here, graphic novels which relate to historical topics can fulfill this function. So, if students are studying the American Civil War, specifically the Battle of Gettysburg, teachers could first present traditional material on Gettysburg such as lectures, videos, and group work. After a few lessons, teachers could introduce a graphic novel relating to Gettysburg. The point here is to be very deliberate and show the connections (or better yet, guide students to enumerate them) between the graphic novel and the more traditional material learned in class. Teachers can help students to activate their prior learning (and misconceptions) regarding the Civil War and the Battle of Gettysburg with the graphic novel. The graphic novel offers a further boon to activating prior material, the comics medium itself. The representation of the Battle of Gettysburg in graphic format is obviously very different than its presentation in a textbook. The representation in different forms can lead to another facet to this assignment: emotional and personal context. Something I try to promote with my law students is that the law, while abstract, is also very personal. The plaintiffs and defendants, while seemingly abstract entities on paper, are real flesh and blood people. Similarly, policies, while abstract and jargon laden, impact real people. Reading a graphic novel, with a focus not just on the theories and facts, but on the emotional contexts, may help to convey this aspect of policy and case law and history in general. In my education law class, we study Brown vs. Board of Education (both Brown I and Brown II) as well as the Green v. County School Board of New Kent County case, and part of the Civil Rights Act. These are obviously landmark rulings and policies which impacted millions of people and continue to impact later generations. We first study these cases and policies in a more traditional way. Students read them from a text and we discuss them in class. However, in an online module, I then assign relevant excerpts from the graphic novel March. Student’s see a different

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Table 2.4 Mythology 2 assignment Directions: Read excerpts from Robert Kirkman’s The Walking Dead and fill in the chart and questions as you read 1. How does this “myth” compare with the traditional myth you read? 2. Who would you consider heroes in this story? Justify your answer Myth lens

Explicative (Does anything in this myth explain something?) Justification (Does the myth justify a situation?) Instruct (Does the myth instruct people how to live?) Warning (Does the myth warn about something?) Psychological (Does anything in this myth tell us about ourselves or society?) Familiarity (Are there any elements in this story which resemble the myths we have read?) Historical/Modern Context (What elements of our time period may have inspired the writing of this myth?)

Examples

How does the features of the comic form help to convey these ideas?

Consider what is shown and not shown. What else could have been shown to convey these ideas? Justify your answer

Who are the heroes and how are they portrayed with the comics form?

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angle here than what they read about. I assigned this activity to my education law class. I assigned it online and we discussed it the next week in person. I think the utilization of online platforms also speaks to the importance of fostering media literacy and familiarity with digital modes of expression for students. Prior Knowledge and Emotions Assignment Directions: Answer the questions below 1. Write a brief summary of the impact of the Brown and Green decisions, as well as the Civil Rights Act of 1964 and Voting Rights Act of 1965. 2. Examine the excerpt. What new information does this excerpt convey? 3. Specifically attend to the features of the graphic novel (panel size, encapsulation). How do these features help to convey the information? What can the graphic novel not tell you, or what might be difficult to convey? (Below are some features to consider) a. Panel size b. Encapsulation c. Sequencing/sequential art d. Nonlinear considerations e. Creative reading patterns f. Multilinearity considerations. 4. Specifically concentrate on the emotional context. a. What gestures and/or emotions are represented from the various characters depicted? b. What kind of information does the emotional context convey about the situation? 5. What type of understanding do you gain by reading the graphic novel in conjunction with the traditional text?

Prior Knowledge and Emotional Context Assignment Pedagogical note: In the assignment above, I have combined two aspects into one assignment: prior knowledge and emotional context. However,

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Table 2.5 Prior knowledge assignment Knowledge of Topic

Knowledge you gained from comic

How the comic medium helps to portray this knowledge

teachers could eliminate question four and simply focus on prior knowledge if the teacher feels that the assignment is asking too much. The exercise below focuses specifically on prior knowledge. This exercise should be done with historical graphic novels. The left side of the chart calls for students to write about what they learned on a topic. The middle column has students compare this with a comic. So, if students are given a lecture and some worksheets pertaining to the Holocaust, the next week they can read selections of Maus. It may make sense to have students complete the left hand column before they read the excerpts. The last column specifically pertains to the comics medium and forces students to consider how the comics medium differs from traditional text. The cheat sheet in the beginning of this chapter can be utilized as well (Table 2.5).

Global Citizenship Many great civilizations past and present, Western and non-Western, have enumerated powerful political ideas. Kincheloe (2001, 41) notes that we have much to learn from “African insights, Asian intellectual and theological traditions and the ways of seeing of indigenous peoples.” These nonWestern perspectives can enhance Western notions which are based on rationality to the detriment of other forms of knowing (Kincheloe, 2001). Obviously, I cannot cover all of them, or even most of them. I will mainly focus on Buddhism. In this chapter I discuss notions that I believe all people can practice and pursue, and in Chapter 3 I discuss ideas that are more for policy-makers and leaders. Of course, there is a great deal of overlap between the two chapters and both sets of ideas can inform each other. Moore (2015, 36) notes that Buddhism “is distinct from Western theories and poses a plausible and attractive alternative to them.” Following this sentiment, I think Buddhism may give students and teachers new insights to utilize when grappling with citizenship, especially in hyperreality. Jacobson (1983, 4), writing in the early eighties but whose words are no less relevant now asserts that Buddhism may be “the only viable

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alternative” to the turbulence and volatility we presently find ourselves in. I agree. We as a species are currently locked into destructive modes of thought and action which threaten the entire planet (Jacobson, 1983). A study of the political ideas of Buddhism, situated in the backdrop of hyperreality and facilitated with the use of graphic novels, may offer use unique insights into this situation. Students can begin to see how Buddhism is presented or they can look for Buddhist ideas and argue for their presence. Buddhism originated with Siddhartha Gautama, who lived in India from 566 BCE until 486 BCE. Siddhartha was born into wealth and royalty, and was said to be destined to be a great political or religious leader. Siddhartha lived a comfortable life in the confines of his palace. But he became curious and ventured outside the walls where he saw “an old man, a sick man, and a corpse” (Eckel, 2010, 8). Another time, he saw an ascetic and finally vowed to be like the ascetic, against the wishes of his father. Siddhartha wanted to find an answer to the question suffering (Eckel, 2001, 2010; Kessler, 2001). He wandered as an ascetic but eventually felt that this was not the way (and almost died of hunger). Finally, Siddhartha had an awakening and realized the nature of suffering and how to free oneself from this suffering. This awakening consisted of the realization of the Four Noble Truths. These were: “the truth of suffering, the truth of the origin of suffering, the truth of the cessation of suffering and the truth of the path” (Eckel, 2010, 89). Life is marked by suffering and this suffering is caused by desire. To end suffering, one had to end desire. Once desire was fully extinguished, suffering would end in the state of nirvana, “which means literally to ‘blow out’ the fire of ignorance and desire” (Eckel, 2010, 90). Hanh (2017) also stresses that Nirvana is not something to be achieved after death, but can be achieved in the present. In addition, Buddhism adapted the notions of reincarnation and karma from Hinduism, the religion from which Buddhism was founded (Moore, 2016). A number of different schools of Buddhist thought rose after Siddhartha’s death, the Theravada and later the Mahayana being two of them (Eckel, 2001). One fundamental pillar of Western thought is the belief that society consists of “independent rational individuals whose autonomy and subjectivity must be respected by the political system for that system to be legitimate” (Moore, 2015, 43). In contradistinction to many Western theories, Buddhists posit a theory of no self, or the anatta doctrine, which does not see the individual as a discreet entity (Moore, 2015). Eckel (2010, 60)

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asserts that to be considered wise one must “see that the self changes at every moment and has no permanent identity.” Moreover, Moore (2015) argues that the individual is merely an illusion, and to cling to the self as a discrete entity is damaging. Jacobson (1983) likens the self to a prison and an illusion. The notion of a self verses a nonself is a dualism that has persisted in Western thought for centuries along with other dualisms such as mind and matter, life and death and so on (Jacobson, 1983, 7, 95). Please note that many Buddhist scholars have debated the no-self doctrine (Moore, 2015) and I have only scratched the surface here. The paticca-samuppada which is another important Buddhist doctrine, denies the substance of things. In this view, the moments in the process of life “depends upon every preceding moment for its emergence, and the passing moment with its new choices and possibilities ‘originates’ the next” (1983, 43). From this movement, the many become one (1983). Moore (2016, 8) notes about the paticca-samuppada: “Everything is related to everything…this teaching reinforces the idea that there is no self.” Further, when we cling to things we think are permanent, (even ourselves) but which really are transitory, we suffer (Jacobson, 1983; Moore, 2016). Eckel (2001) contends that while this formulation of the self as impermanent may seem pessimistic, it actually has great promise. We as humans suffer not due to change, but because we cling to things and want them not to change. Eckel (2001, 25) notes: “if everything changes, then it is possible for everything to become new.” What an insight! We want permanence in a reality of impermanence and fail to see that possibility of newness. Even our very selves, the vaunted individual, must give way to change. It should be stressed that the no-self doctrine does not diminish the concern for individual life or human rights (King, 2009). Buddhists affirm the importance of individual life. However, this view does not place a high emphasis on “a strongly individualistic society” (such as in the United States) but rather emphasizes a more communitarian conception of society and the relations of individuals to the wider world (King, 2009, 22). The ideas of no-self and paticca-samuppada can be used as a counterpoint to one of the sacred cows of Western political theory—the self and its role in a republic. What might our political discourse sound like without a preoccupation with individual rights? How might citizens utilize the optimism of the no-self doctrine in political discourse? How might the comics medium be used to showcase the idea of no-self and its political implications?

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Another area of distinction between Buddhism and most political thinkers in the West is the actual role of government and politics. Moore stresses that governmental systems and politics do have a role in Buddhist thought, but they are not central. A good political system may be able to help people come to salvation, but it is not necessary (Moore, 2015, 2016). This is the notion of limited citizenship, which Moore situates the Buddha in. Limited citizenship essentially entails participating in politics as far as necessary (e.g., doing your duties such as paying taxes and following law, and participating more actively in emergencies when necessary) but overall, “politics are largely a distraction from the important things in life” (Moore, 2016, 96). Moore stresses that neither the active political theories nor the limited citizenship theories are correct, it comes down to a judgement call. The notion of limited citizenship may offer a rich discussion piece for a social studies class, as it forms a counterpoint to much of the active political theories espoused in the West (and many of the ideas discussed in Chapter 1). As a social studies teacher, and reared in the Western tradition, especially in America, politics is at the forefront. However, the notions of limited citizenship, while not better or worse, just different, can get students thinking about the role of politics and government in their own lives and society in general. How active should we be in politics? What is the role of a political system in the pursuit of spiritual development and happiness? These questions, posed with Buddhist thought, can augment any discussion of citizenship. Of course, there is a great tradition of political engagement throughout the history of Buddhism (Eckel, 2001). There is also the modern notion of socially engaged Buddhism which emerged in the twentieth century and connects Buddhist practices to social issues (Barclay, 2019; King, 2009). It is a nonviolent, non-centralized movement which cuts across different Buddhist denominations, and it stretches to the West. There is no one single leader of engaged Buddhism. The Dalai Lama and the Vietnamese monk Thich Nhat Hanh are two prominent advocates (King, 2009). While I will briefly explore some of their ideas, The Dalai Lama and Thich Nhat Hanh, and really all major advocates of engaged Buddhism, are just too impactful and insightful to be fully represented in this short section. I have selected some nuggets of their wisdom which I think are of use to the study of citizenship. For true change to occur “shouting and complaining is not good enough” (Gyatso, 2001, 40). We cannot just blame politicians and wash

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our hands—the true change must come from within the self (Gyatso, 2001). Politicians, corporations, and UN can only achieve so much. The Dalai Lama urges individuals to act, but in the process of acting, individuals should not play “the blame game,” they should respect differences, and never coerce (Gyatso & Stril-Rever, 2017, 83). This is a powerful idea—people must act and not simply expect politicians to enact change for them. This conception of action can add a new dimension to a discussion of representative government and citizenship in a republic in general. While we place a high emphasis on government, this passage calls attention to you, and your role in the political process. If you want change, do something. What is the responsibility of individuals? What should individuals do to effect change in a positive and non-coercive manner? How might the comics medium be used to initiate and or show this change? The Dalai Lama’s notion of compassion and its relation to humanities global existence is also paramount (King, 2009). The Dalai Lama (Gyatso, 2001, 37) asserts: “I believe that at every level of society- familial, national, and international- the key to a happier and more successful world is the growth of compassion.” He stresses how we are all one community and must truly and deeply care for one another. This includes people who hold different political opinions than us. We must hold compassion for those who see the world differently than we do (Gyatso, 2001). Gyatso (Gyatso & Stril-Rever, 2017, 50) ultimately calls for a “Revolution of Compassion.” Compassion for those with different political opinions may take on new significance in our hyper partisan age as well. The discussion of compassion—and its representation in comics, can challenge citizens in new ways. I am writing this as the impeachment of Donald Trump rages in the United States. What would this process look like with compassion? How might the parties treat each other compassionately? The Dalai Lama relates a story of Chinese Buddhist monk who, after being released from a Chinese prison, confided in the Dalai Lama that his biggest fear was that he would lose compassion for the ones who tortured him! What would this level of compassion look like in the real world and comics? Thich Nhat Hanh (2017) relates a powerful teaching of the Buddha which I think can enhance any notion of critical citizenship. The Buddha urged his followers to never uncritically accept any information—not even the Buddha’s own teachings! Rather, the Buddha pressed his followers to

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question everything. There is no one immutable truth (Hanh, 2017). Later Hanh (2017, 39) cautions that we should never believe “only we have the truth.” King (2009, 60) notes that Hanh promoted this view of Buddhism during the Vietnam War because he saw the folly of two immutable ideologies (the United States and USSR) and did not want to offer any rigid truths. Is this not what a good citizen should do? A good citizen should never uncritically accept any piece of information, whether from a parent, church, president, or news source. All must be questioned; even things we take as sacred. This could be a powerful, if not uncomfortable, question: What are things we take as sacred? Are there political dogmas or creeds, on the left or the right, which we need to examine? Hanh (2017) also talks of signlessness which I think can be related to citizenship—and really challenge our notion of politics and citizenship today. We as humans need to label occurrences with signs, such as birth, death, and the like. While useful, signs can also obscure the interconnectedness of existence. Hanh (2017, 44) quotes the Buddha “Where there is a sign, there is always deception.” Understanding signlessness helps us fight the urge to “put things into boxes” (2017, 52). So let’s bring this to our current situation. Republican, democrat, liberal, conservative, CNN, Fox News, may all be boxes, our pathetic attempt to create order. What if citizens could see past these boxes? Perhaps it is far-fetched, and many people make their money by promoting these divisions, but still, what would our politics look like if citizens could see this interconnectedness? And how might this interconnectedness look in comic form? When can Buddhist political thought be utilized? My guess is that most world history curriculums have some standards related to Buddhism and Eastern religion. I had to teach a small section on Buddhism in both my ancient and modern world history classes when I taught social studies in Virginia. So, there may be ample places to integrate discussion on Buddhism and Eastern philosophy. I also taught Buddhism in my elective philosophy class. The chart below represents a distillation of the Buddhist political ideas examined above that differ from Western conceptions or least offer what I feel are different vantage points. On the left hand side of the chart are some political ideas distilled from the paragraphs above. On the right hand side, students can search comics and graphic novels to see if any of these ideas are present. Of course, many comic creators may not have Buddhist political principles in mind when creating a comic, but that is the beauty of this exercise. The intent here is to equip students with new

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understandings and meanings which they can bring to the comic page to create new interpretations of the page regarding citizenship. I actually performed this exercise. As I was writing this chapter, I was rereading the classic V for Vendetta created by Alan Moore and David Lloyd (If you haven’t read it, skip the next paragraph, there are some spoilers.) To be sure, I do not claim that my Buddhist interpretations of V for Vendetta are unproblematic or air tight. The point is not to make a perfect match between Buddhism and a specific work. I think the Buddhist lens can just get students thinking in new ways. The second part of this exercise has students go over the same graphic novel again and look for traditional Western notions of citizenship (The term traditional notions of Western citizenship may be too amorphous. But, this could be the grounds for a great class discussion comparing some differing notions of Buddhist and Western citizenship, such as the role of the self.) Again, students must think critically about how the comics medium, with its use of sequential art, word balloons, facial expressions, nonlinear features, traditional and nontraditional reading patterns, multilinearity, body language, and the like, help to convey important information. The point is not a simple comparison. I want students to become conversant with new ideas on citizenship but then apply these ideas to their own society. I also want students not only to consider content, but the comics form and how this can enhance the study and application of Buddhism. I think Buddhism can enrich Western notions of citizenship and help cope with the volatile changes of hyperreality. Students can consider these questions: How might Buddhist ideas add to our knowledge of citizenship and political action? What can we learn for our own political struggles in the spectacle? How can we apply Western and Buddhist political ideas in the spectacle to achieve justice? There are a number of logistical challenges which teachers and professors will have to consider. Presumably, high school teachers could not assign an entire graphic novel to read, and college professors probably would not want to if it was not a course specifically dedicated to comics. The teacher may want to pre-read and select some graphic novels or comics for students to choose from, at least in the beginning. The teacher may also need to give some guidance, this will all depend on the nature of the students and the class (Table 2.6). Analysis of V for Vendetta: To be sure, there are many non-Buddhist readings and things that go against Buddhism in this comic as well (I will get to those shortly). There is even an image of the Buddha in the graphic novel. On page 158 of the Absolute V for Vendetta published in 2009,

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Table 2.6 Buddhism political assignment Directions: Review the graphic novel excerpts and look for the elements listed below 1. Reconsider the excerpts. Where might traditional western theories of citizenship be present? Be specific and utilize the comics form in your explanation 2. Is there any tension between Buddhist conceptions of citizenship and Western conceptions? Do they work harmoniously or complicate each other? 3. How might the Buddhist notions help us move forward and reconsider our own political situations? What can we learn about politics from the Buddhists? 4. How might these ideas be presented in multimodal fashion? How might art and text enhance these ideas? Buddhist theme

How it appears in the graphic novel (be specific here)

How is this depicted in the comics form?

Annatta or no-self doctrine paticca-samuppada/ denial of substance/all related to all Diminished role of politics, politics of salvation Compassion for everyone, even political opponents Change from within (as opposed to relying on politicians) Critical examination of everything/question sacred ideas Signlessness Concern for ecology/environment

V is standing in front of a Buddhist statue when addressing the public. One prominent Buddhist element in the work may be the idea of the “noself.” On page 357 V tells the crowd “I would introduce myself, but truth to tell, I do not have a name.” The art work helps to convey this message. We see V’s definitive mask, locked in smile, we see his silhouette perched on a roof speaking to the multitude, and see a raucous crowd. We do not know who V really is. There is some musing in the graphic novel that V

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might be Evey’s father (which Alan Moore, in a postscript, denies). At one point, V impersonates a prison warden to torture Evey. This scene is brutal, as we see Evey almost completely break. One page 37, V is wearing a Vaudeville mask, which he wears as he tortures Lewis Prothero. And V is obviously likened to Guy Fawkes. V’s trademark mask has become his face, his symbol, which again, is driven home by the art. In the end, Evey does not unmask V after he dies, and perpetuates this no-self as she sends him off to his “Viking funeral” (Moore & Lloyd, 2009, 360). Of course, V’s use of violence contradicts complicates matters. Another difference is V’s elevation of politics, indeed, he does not disengage from politics to seek individual salvation, he uses politics and political (terrorist actions) to achieve political goals. For the above activity, I selected nuggets of Buddhist thought. A more active variation of this activity has students distill their own political insights from Buddhism. The Dalai Lama’s writings are voluminous. He speaks eloquently and passionately about environment—an important concern for Buddhism. This made me think of Poison Ivy. Poison Ivy from Batman’s rouge gallery is an eco-terrorist (DC homepage, 2019). While I do not think the Dalai Lama would agree with Poison Ivy’s methods, they both show a great political concern for the environment. Students could mine the Dalai Lama’s interviews and statements and writings, distill their own political themes and find comics and graphic novels where these themes might be present. Again, the teacher will need to determine the level of guidance they will give to their students regarding how students will go about using specific comics. The next activity has students add some Buddhist elements to a story. For instance, as noted earlier, there is one image of a Buddhist statue in V for Vendetta. The inclusion of this image raises some interesting interpretation questions. What does it mean? How does it impact the story? Teachers can use the V for Vendetta image of Buddha as an example of a small Buddhist element in a story which impacts the meaning of the story. Students can review a comic and propose the addition of diegetic elements or non-diegetic elements, and these elements can be in the form of images or words. Similarly, students can speculate about how changing aspects of the form (e.g., speech bubbles, panel size) may also add Buddhist elements to the story. Students could also be given an excerpt of some of Groensteen’s (2007) writing pertaining to braiding and motifs. Could students create a Buddhist motif? Teachers will have to decide if

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they will preselect comics or let students choose, or some combination of both. Adding Buddhism Assignment Directions: Read the excerpt you are given. Drawing on your knowledge of Buddhism, answer the questions below: 1. Can you add any Buddhist elements, such as quotes or images, which can enhance the story or create new layers of meaning in the story? 2. Can you create any Buddhist motifs to weave through the story which can add new layers of meaning?

References Alaniz, J. (2016). Standing orders: Oracle, disability and retconning. In Z. Wahlem, C. Foss, & C. Gray (Eds.), Disability in comic books and graphic novels (pp. 59–79). New York: Palgrave Macmillan. Banks, J. A., McGee-Banks, C. A., & Clegg, A. A. (1999). Teaching strategies for the social studies: Decision-making and citizen action (5th ed.). New York: Longman. Barclay, E. (2019, October 11). Thich Nhat Hanh’s final mindfulness lesson: How to die peacefully. Vox. Retrieved from https://www.vox.com/2019/3/11/ 18196457/thich-nhat-hanh-health-mindfulness-plum-village. Cabero, E. (2019). Beyond linearity: Holistic multidirectional, multilinear and translinear reading in comics. The Comics Grid: Journal of Comics Scholarship, 9(1):5, 1–21. Carter, J. B. (2011). Graphic novels, web comics, and creator blogs: Examining product and process. Theory into Practice, 50, 190–197. https://doi.org/10. 1080/00405841.2011.584029. Chapin, J. (2015). A practice guide to middle and secondary social studies (4th ed.). New York: Pearson. Cohen, J., Pickeral, T., & Levine, P. (2010). The foundation for democracy: Promoting social, emotional, ethical, cognitive skills and dispositions in K-12 schools. Interamerican Journal of Education for Democracy, 3(1), 74–94. Cohn, N. (2013). The visual language of comics. New York, NY: Bloomsbury.

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Cohn, N. (2018). In defense of “grammar” in the visual language of comics. Journal of Pragmatics, 127, 1–19. https://doi.org/10.1016/j.pragma.2018. 01.002. Cook, M., & Frey, R. (2017). Using superheroes to visually and critically analyze comics, stereotypes, and society. SANE Journal: Sequential Art Narrative in Education, 2(2), Article 1. Available at http://digitalcommons.unl.edu/sane/ vol2/iss2/1. Dayton, J. (2012). Education law: Principles, policies, and practices. Lexington, KY: Wisdom Buildings Press. Dong, L. (2013). Beyond borders: Teaching global awareness through the graphic novel. In C. K. Syma & R. Weiner (Eds.), Graphic novels and comics in the classroom (pp. 220–232). Jefferson, NC: McFarland. Duncan, R., Smith, M., & Levitz, P. (2015). The power of comics: History, form and culture (2nd ed.). New York: Bloomsbury. Duncombe, S. (2019). Dream or nightmare: Reimagining politics in an age of fantasy (2nd ed.). New York: OR Books. Eckel, M. D. (2001). Buddhism: Course guide book. Chantilly, VA: The Great Courses. Eckel, M. D. (2010). Buddhism. New York: Rosen Publishing. Eisner, W. (2002). Comics and sequential art: Principles and practices from the legendary cartoonist. New York: W. W. Norton. Garland-Thomson, R. (2016). Foreward. In C. Foss, J. W. Gray, & Z. Whalen (Eds.), Disability in comics and graphic novels (pp. x–xiii). New York: Palgrave Macmillan. Getz, T., & Clarke, L. (2011). Abina and the important men: A graphic history. New York: Oxford University Press. Groensteen, T. (2007). The system of comics (B. Beaty & N. Nguyen, Trans.). Jackson, MS: University of Mississippi Press. Groensteen, T. (2013). Comics and narration. Jackson, MS: University of Mississippi Press. Gyatso, T. (2001). The compassionate life. Boston, MA: Wisdom Publications. Gyatso, T., & Stril-Rever, S. (2017). A call for revolution: A vision of the future. New York: Harper Collins. Hanh, T. N. (2017). The art of living: Peace and freedom in the here and now. New York: Harper One. Halsall, A. (2018). What is the use of a book…without pictures or conversations?; Incorporating the graphic novel into the university curriculum. In A. Burger (Ed.), Teaching graphic novels in the English classroom: Pedagogical possibilities of multimodal literacy engagement (pp. 87–102). New York: Palgrave Macmillan. Hoeness-Krupsaw, S. (2018). Teaching March in the borderlands between social justice and pop culture. In A. Burger (Ed.), Teaching graphic novels in the

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English classroom: Pedagogical possibilities of multimodal literacy engagement (pp. 135–148). New York: Palgrave Macmillan. Hutchinson, R. (2009). Teaching manga: Considerations and class exercises. In S. Tabachnick (Ed.), Teaching the graphic novel (pp. 262–270). New York: Modern Language Publishing. Jacobson, N. P. (1983). Buddhism & the contemporary world: Change and selfcorrection. Carbondale, IL: Southern Illinois University Press. Kessler, G. E. (2001). Voices of wisdom: A multicultural philosophy reader (4th ed.). Belmont, CA: Cengage. Kincheloe, J. (2001). Getting beyond the facts: Teaching social studies/social sciences in the twenty-first century (2nd ed.). New York: Peter Lang. King, S. (2009). Socially engaged Buddhism. Honolulu, HA: University of Hawai’i Press. Larson, B. (2017). Instructional strategies for middle and high school social studies (2nd ed.). New York: Routledge. McCloud, S. (1994). Understanding comics. New York: Harper Perennial. McLaughlin, J. (2012). Philosophy: “The triumph of the human spirit” in XMen. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 103–115). New York: Routledge. Meyer, C. K., & Jimenez, L. M. (2017). Using every word and image: Framing graphic novel instruction in the expanded four resources model. Journal of Adolescent & Adult Literacy, 61(2), 153–161. https://doi.org/10.1002/ jaal.666. Moore, A., & Lloyd, D. (2009). V for Vendetta: Absolute edition. New York: DC Comics. Moore, M. J. (2015). Political theory in canonical Buddhism. Philosophy East & West, 65(1), 36–64. Moore, M. J. (2016). Buddhism and political theory. New York: Oxford University Press. National Council for the Social Studies. (2020). National curriculum standards. Retrieved from https://www.socialstudies.org/standards/strands. Novak, R. J. (2014). Teaching graphic novels in the classroom: Building literacy and comprehension. Waco, TX: Prufrock Press. Parker, W. (1996). Curriculum and democracy. In R. Soder (Ed.), Democracy education, and the schools (pp. 182–210). San Francisco: Jossey-Bass. Poison Ivy. 2019. DC homepage. Retrieved from https://www.dccomics.com/ characters/poison-ivy. Potts, C. (2013). The DC comics guide to creating comics: Inside the art of visual storytelling. New York: Crown Publishing. Ricca, B. J. (2012). History: Discovering the story of Jerry Siegel and Joe Shuster. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 189–199). New York: Routledge.

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Ross, W. E., Mathison, S., & Vinson, K. D. (2014). Social studies curriculum teaching in the era of standardization. In W. Ross (Ed.), The social studies curriculum: Purposes, problems, and possibilities (4th ed., pp. 25–50). Albany, NY: SUNY Press. Saraceni, M. (2016). Relatedness: Aspects of textual connectivity in comics. In N. Cohn (Ed.), The visual narrative reader (pp. 115–127). New York: Bloomsbury. Shealy, C. N. (2014). Our belief in belief. In C. N. Shealy (Ed.), Making sense of beliefs and values: Theory research and practice (pp. 3–18). New York: Springer. Torney-Purta, J., & Vermeer Lopez, S. (2006). Developing citizenship competencies from kindergarten through grade 12: A background paper for policymakers and educators. Denver, CO: Education Commission of the States. Vandiver, E. (2000a). Classical mythology: Part 1. Chantilly, VA: The Teaching Company. Vandiver, E. (2000b). Classical mythology: Part 2. Chantilly, VA: The Teaching Company. Westheimer, J., & Kahne, J. (2004). What kind of citizen? The politics of educating for democracy. American Education Research Journal, 41(2), 237–269. Whalen, Z., Foss, C. W., & Gray, C. (2016). Introduction: From feats of clay to narrative prose/thesis. In C. Foss, J. W. Gray, & Z. Whalen (Eds.), Disability in comics and graphic novels (pp. x–xiii). New York: Palgrave Macmillan. Wolk, D. (2007). Reading comics: How graphic novels work and what they mean. New York: Da Capo. Woolfork, A. (2016). Educational psychology (14th ed.). New York: Pearson. Zevin, J. (2000). Social studies for the twenty-first century: Methods and materials for teaching in middle and secondary schools (2nd ed.). Mahwah, NJ: Lawrence Erlbaum Associates.

CHAPTER 3

Reading Symbolism and Leadership into Comics

This chapter deals with two specific areas of student comic reading—leadership and symbolism (a note on terminology: while the chapter is titled with the term symbolism, I discuss imagery and other pertinent ideas as well). As noted earlier, the hope of this chapter is to act as a filter of sorts where the social studies material is passed through and refined and new conversations and insights regarding citizenship and hyperreality emerge. In a republic, people elect their leaders, but leadership is not simply, and it cannot be only for, elected leaders. Many people in a republic must hold positions of leadership, from teachers (Kurtz, 2009) to parents to CEOs to union leaders to coaches, to name a few. It might be an understatement to proclaim that society is complex. Yet, this complexity necessitates a need for leaders and an understanding for the process of leadership. Furthermore, leadership takes on new facets in the hyperreal. In the hyperreal, leaders must take into account that truth is fickle. This is why I think that graphic novels and the features of the comic medium are ripe with potential to study leadership in the hyperreal. Of course it is probably preaching to the choir to posit that elected and formal leaders should take heed of hyperreality. They already know that (even if they might not be able to articulate the theories of hyperreality). But these are not the only leaders. One distinction I highlight to my students is the difference between assigned and emergent leadership articulated by Northouse (2018). Assigned leadership is what one expects of a leader. Assigned leadership refers to the powers that leaders are given © The Author(s) 2020 A. J. Letizia, Graphic Novels as Pedagogy in Social Studies, Palgrave Studies in Global Citizenship Education and Democracy, https://doi.org/10.1007/978-3-030-44252-1_3

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by title and organizational structure. Emergent leaders on the other hand become leaders, yet they may not have an official title. Emergent leaders become leaders because other people in the organization recognize their influence and ability (Northouse, 2018). Most people will probably not become assigned leaders. This does not mean they do not lead. Leadership is integral to living in a republic, but not just for elected leaders or other people in authority such as CEOs. The point I am trying to make is that most citizens should have some grasp of leadership. But the elephant in the room is…how is leadership actually defined? This is a difficult task (Northouse, 2018). In the twenty-first century, Northouse (2018) asserts that leadership can be thought of as a process, where leaders impact followers and followers, in turn, impact leaders. Moreover, conceived as a process, leadership is now “available to everyone” (5). Northouse (2018) then outlines some of these different approaches to leadership. I will briefly summarize these approaches below, as well as touch on some other ideas of leadership. The ideas below are complex and have their own literatures, so I cannot do the ideas total justice by only describing them in a few sentences and paragraphs. Nevertheless, I think even this topical knowledge is important and will offer new lenses for citizens to understand their leaders (both the assigned and emergent) as well as their own leadership capabilities. I encourage the reader to explore these topics and find new ways they may apply to graphic novels. Authentic leadership focuses on the leaders’ authenticity. This type of leadership “focuses on whether leadership is genuine and ‘real’” (Northouse, 2018, 197). There have been a number of scandals and notions like “fake news” which have left people disillusioned. People want leaders who can be trusted (Northouse, 2018). Authentic leadership is hard to pin down, and there are various conceptions, but Northouse (2018) holds that one promising approach is to see authentic leadership as a developmental process. In this process, leaders work to nurture and build qualities in themselves (as opposed to being born with them) which help them to become genuine. Another approach to authentic leadership highlights the leader’s relationship with followers, authentic leadership is the product of the leader’s relationship with followers (2016). I would also emphasize that authenticity, and the concern for real leadership, might be doubly important in the hyperreal where truth seems to be in flux.

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Servant leadership calls for leaders being servants first, to serve their followers (Greenleaf, 2002; Northouse, 2018). Servant leadership puts a high premium on follower development and growth. The main “test” of servant leadership, as articulated by the person who coined the term servant leader, Robert Greenleaf (2002) is whether followers, under the care of a leader, grow. Greenleaf (2002) asked whether followers grow, whether they become “healthier, wiser, freer, more autonomous, more likely themselves to become servants.” I would argue that anyone can truly be a servant leader and that most parents and teachers, to name a few examples, are servant leaders (Letizia, 2018). Servant leadership calls for leaders to serve their people above all else. Importantly, De Graaf, Tilley, and Neal (2004) point out that servant leaders are not simply to cater to every whim of their people, servant leaders are to be strong and provide a vision while at the same time empowering their followers. Adaptive leadership centers on leaders getting people to act, to solve problems, and change (Northouse, 2018). Heifetz, Grashow, and Linsky (2009) note that the challenges that leaders and organizations face can be adaptive or technical. Adaptive issues do not have clear cut solutions, there are no instructional manuals to solve these issues. Adaptive issues are opposed to technical issues, solutions which are already understood (Heifetz, Grashow, & Linsky, 2009). In reality, most issues have elements of both, adaptive and technical (Heifetz et al., 2009). In order to solve an adaptive issue, people cannot rely on a leader to do it for them. People must come together. Leaders must “mobilize” others to solve an issue which does not have a clear answer (Fullan, 2001; Heifetz et al., 2009, 1). So, teaching citizenship in the hyperreal may be a great example of an issue with adaptive and technical elements! We know of certain things we must do (e.g., pedagogy, research, etc.), but there may be social and political obstacles which do not have clear answers. Leadership and symbolism. Bolman and Deal (2017) examine the use of symbols in organizations. They call this the symbolic frame and “it depicts a world distinct from popular canons of rationality, certainty, and linearity” (Bolman & Deal, 2017, 241). Bolman and Deal (2017) assert that symbols are powerful and can help to give clarity to confusing events. Symbols can also provide “direction, and anchor hope and faith” as well as convey the culture of an organization (Bolman & Deal, 2017, 242). Bolman and Deal (2017) also note the role of myths, visions, heroes, and stories in framing meaning in organizations. The symbolic frame (among others, such as the political frame) can be a useful lens for leaders to employ in their organizations (Bolman & Deal, 2017).

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There is also the question of leadership effect. What truly is the impact of leaders? Do leaders really impact an organization, or are leaders largely symbolic (Pfeffer, 2000)? Pfeffer (2000) examines how leaders are largely symbolic. Pfeffer (2000, 205) writes: “Leaders serve as symbols for representing personal causation of social events.” Cohen and March (2000, 16) talk of an “organized anarchy.” Leaders really do not have much control over events. Rather, the true causes of events are complex and multifaceted. Leaders must accept this and have a sense of humility regarding their ability to change organizations (Cohen & March, 2000). Referring to college presidents, Cohen and March (2000, 21) assert: “It is probably a mistake for a college president to imagine that what he or she does in office affects significantly either the long-run position of the institution or his reputation as president.” The individual’s actions are secondary to “broad social events” (Cohen & March, 2000, 21). Yet, many times, people (e.g., parents, teachers, lovers, counselors) believe they have a bigger effect than they really have. Instead, these people need to be humble and realize how powerless they really are (Cohen & March, 2000). Pfeffer and Cohen and March’s ideas I think are a great counterbalance to some of the commonly held notions of leadership. I see professional football coaches given millions of dollars to turn a team around, and then fired three years later. I ask myself how much control did the coach really have? How much control does a principal or president really have? I use these leadership theories to call into question a fundamental assumption—that leaders have a direct impact on events. In the noise and bullshit of hyperreality, I believe this to be a very pertinent question. How much control and effect do leaders have? These theories force us to look at the complexity of events. So the question is: Why use comics to study leadership? I think the main reason is that, as I stressed throughout this book, comics may be a type of hyperreality training. By looking at leadership (I put emphasis on the word looking), students and teachers can begin to have different types of conversations. And as noted above, leadership is a highly complex process, and made more nuanced in hyperreality. Students can look at nonfiction graphic novels and begin to examine the complexity of leadership (or at least a creator’s portrayal of leadership). Further, I think there is a highly practical reason for this as well. Virtually all history curriculums and standards place some emphasis on leaders

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and their actions, from George Washington to King Louis XVI to Martin Luther King to Josef Stalin, to name a few. Banks and colleagues (1999) also highlight the importance of leadership to the study of history. By studying leadership theories, and specifically in graphic format, teachers may be able to get their students to confront some of the complex mechanisms of leadership. Instead of just taking for granted that certain people were great or terrible leaders, leadership theory, couched in graphic format, can give a much more complete picture (another intended pun) of historical leaders and interpretation of these leader’s actions. This might be a harder sell with fictional comics and graphic novels, but I still think a strong case can be made. Fictional situations can be compared to actual occurrences to draw out parallels. For instance, is there a parallel between Superman in Red Son and other leaders who thought they had the wellbeing of their people in mind when leading? Further, the title Miracleman can also be used to dissect leaders. In this story, written by Alan Moore, a pantheon of super beings led by Miracleman, a godlike creature, create a utopia where there is no more money and governments (Wolk, 2007). What type of leadership is this? Even the supplementary notes in the book pose the question of whether Miracleman is a savior or dictator (Miracleman, 2015). How can we apply the leadership theories to this story? As noted earlier, fictional graphic novels can be viewed as windows into their time, as “socio-cultural artifacts” which derived from the times they were created (Ricca, 2012, 190). If this is the case, are there any parallels between depicted leaders and the current conditions of leadership of when the comic was created? Teachers can use fictional comics to ask these types of questions. Krusemark (2015), who utilized Walking Dead comics to study leadership, also offers an excellent example of how to use fictional comics to grapple with leadership issues. The first assignment is a chart. It can serve as a good way to introduce leadership theory to students. The left hand side of the chart has a short description of the ideas outlined above. The right hand side has two spaces for students to write. The middle column is for students to consider how the content of the graphic novel aligns with the leadership theories in the box. The right hand column has students look at how the features of the comic, with its use of sequential art, word balloons, facial expressions, traditional and nontraditional reading patterns, multilinearity, body language, and the like help to portray leadership theories. There is also a space for students to think about how elements of different theories and

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ideas may align with each other. Can servant leaders help to foster a sense of authenticity? Might the true effectiveness of servant leadership lay in their symbolic value, rather than their actual policies? Students should be made to consider these types of questions as well. The teacher will have decided if he or she will provide comics (which might be costly). Teachers could copy excerpts or they could find excerpts of comics online and have students read those. It also might be useful to distribute this assignment with one or two examples provided and to go over those examples as a class, so students can see what is expected of them (Table 3.1). This chart can be used with a number of historical, fictional, and memoir type comics. For instance, in Sacco’s Safe Area Gorazde, Sacco presents a number of leaders, including Slobodan Milosevic and Bill Clinton as well as other political leaders from Serbia and Bosnia. It might be argued that the notorious leader Milosevic was a symbol of Serbian nationalism. Indeed, Sacco (2001) argued that he played Serb nationalism. In a wider sense, the entire affair may have been an organized anarchy, because while the United States and the UN tried to exert control, there were so many mitigating factors. At one point, Sacco (2001, 184) argues that the international community was “impotent.” Likewise, I would argue that Sacco presents a number of informal leaders, who had to lead their families and friends (and had no official title) through this horrific time. Many people had to work together and adapt to these conditions in order to survive which could align with adaptive leadership. Central to these points is the comics medium itself. Sacco is able to portray the situation in unique and compelling ways (such as overworked doctors cutting off limbs with no painkillers) and students should consider how the art, and the juxtaposition between art and text, also work to convey ideas. This is just a brief example of how the leadership chart could be used.

Leaders and Unethical Spectacles As noted above, leaders can utilize symbols in the process of leadership (Bolman & Deal, 2017). The similar notion of spectacle is also utilized by leaders and organization. This book has argued for the ethical spectacle, but as Duncombe (2019) points out, it is the unethical spectacle which is unfortunately the more well known, especially the Nazi’s. Comics and graphic novels may be an excellent way to explore unethical spectacles.

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Table 3.1 Leadership chart assignment Directions: Read through the assigned comics. In the middle column, try to find places where leaders exhibit some of the ideas in the left hand column. In addition, look for places where leaders might have been able to use some of the leadership ideas in the left hand column to achieve a better result In the right hand column, pay attention to how the comic form helps to portray these leadership theories and ideas Finally, there is a space at the bottom which asks you think about how you might combine ideas. For instance, was a specific leader acting as a servant and adaptive leader? Was a leader acting as a servant leader, but due to forces outside his control, was this largely ineffective? Leadership theory

Authentic leadership Authentic leadership focuses on the leaders’ authenticity. Is the leader genuine? Adaptive leadership Adaptive leadership centers on solving adaptive issues. Adaptive issues do not have clear cut solutions, there are no instructional manuals to solve these issues. People must come together to solve these issues Servant leadership Servant leadership calls for leaders to be servants first. Servant leadership puts a high premium on follower development and growth. The main “test” of servant leadership, as articulated by the person who coined the term servant leader, Robert Greenleaf is whether followers, under the care of a leader, grow Symbolic frame What symbols and stories does the leader utilize to convey messages? Organized anarchy? Cohen and March talk of an “organized anarchy.” Leaders really do not have much control over events. Rather, the true causes of events are complex and multifaceted Leader as symbol? Leaders are largely symbols for social events and happenings

Why do you think this theory is present in the comic? (Be specific)

Features of the comic (encapsulation, closure, braiding considerations, etc.)

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For this assignment, teachers must first instruct their students in what an unethical spectacle consists of and how infamous leaders of the past (and present) utilize them. I have examined some of these ideas in the first chapter, but teachers could also explore Duncombe’s ideas in more detail. Teachers could show examples of this as well (such as the giant Nazi rallies). This assignment compares a real-life unethical spectacle to a fictional one presented in a graphic novel. I have used Star Wars as my fictional example. While most people are probably familiar with the movies, there are excellent graphic novel adaptions of the movies. In fact, teachers could compare real-life spectacles to graphic novels and their movie counterparts. Carter (2011) asserts the benefits and possibilities of comparing the same story in different mediums. More than just faithful movie adaptions, there are a number of excellent original Star Wars graphic novels and comics which further elaborate details about the Star Wars universe which could be used as well. In addition, many events in the Star Wars universe are reminiscent of actual history (Liedl, 2013). For example, Keen (2013) argues that Emperor Palpatine resembles Augustus Caesar, Napoleon Bonaparte, and Adolf Hitler. Further, the death star can be read as a metaphor for nuclear weapons, as well as “the fragility of democracy” (Maguire, 2013, 207). So, the use of Star Wars can promote comparisons to real-life events. The main objective of this assignment is for students to begin to see how unethical spectacles are created and utilized. What are the fundamental components of an unethical spectacle? Detecting and dissecting an unethical spectacle may be a necessary skill for citizens now. Of course, spectacles are not scientific phenomena. People may examine the same spectacle and see different things. Furthermore, comics are not real life and many of the conventions used in the comic medium may not correspond to real life. Nevertheless, I think comics can at least begin to generate a discussion of how spectacles are built and maintained and how they influence populations. Leadership Spectacle Assignment Directions: In this assignment, you will compare a real-life spectacle to a fictional one presented in a graphic novel. 1. Compare the excerpts from Star Wars to the readings and visuals of the Nazis. What are some of the similarities?

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2. Consider the features of a comic book and think of how these features may lend themselves to the depicting of an unethical spectacle. Below, six comic features are identified. Consider how these features help to portray the spectacle of Emperor Palpatine. (a) Visual literacy. Images carry messages. What message do you take from the images of Palpatine? What do you think the creators of the comic were trying to convey about him through his graphic representation? Consider other images such as Palatine’s guards, Darth Vader, the Strom Trooper’s, etc. (b) Color (Burmack, 2008). How does the use of color impact the messages you are receiving? What do you think the creators were trying to convey with their use of color? (c) Encapsulation. What scenes do the creators show you? What scenes might they have left out? What messages do the shown or omitted scenes convey? (d) Interanimation of words and text. Consider the visual imagery juxtaposed with the text. What messages do you receive from this juxtaposition? What is the relationship between the words and the image? (Duncan, Smith, & Levitz, 2015; McCloud, 2006; Miodrag, 2013)? (e) Are there any translinear, multilinear, multidirectional, and/or nonlinear features that reinforce the spectacle? (f) Use of emotion. Spectacles are meant to appeal to the heart and not the head. How might imagery in the comic appeal to emotion? (g) What symbols or stories are used? (More information on symbols is given in next section of this chapter) 3. Think of some of the mechanisms above and how they might help to build a spectacle and maintain one. How might some of these ideas apply to real-life spectacles we have studied? How might leaders utilize imagery, color, interanimation of words and images, translinear considerations, emotion, and the selective showing events or ideas to build and maintain a spectacle?

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Buddhist Leadership In this chapter, I tried to focus specifically on Buddhist leadership ideas or ideas that Buddhists argue leaders and policymakers should heed, or that Buddhist leaders put into practice. With that said, some of the ideas in this chapter cross over with the last chapter. Three is a great tradition of political engagement throughout the history of Buddhism. Great kings such as the Indian monarch Asoka had a tremendous impact on Buddhist political thought (Eckel, 2001; Moore, 2016). Asoka is considered a “righteous king” (Eckel, 2001, 6). A righteous king upholds and spreads the Buddha’s teachings and as a result, the king is seen as legitimate by the monks (2001). There are also texts which spell out certain political ideals of Buddhists. For instance, there are ten duties that kings should exhibit. Some of these duties consist of morality, liberality, self-restraint, gentleness, non-anger, and patience to name a few (King, 2009; Moore, 2016). The notion of a righteous king can facilitate a discussion about political leaders and ideas—what is the relationship of leaders to ideas and schools of thought? How do leaders spread ideas, and which ideas do certain leaders promote and why? Students can discuss real-life examples as well as look for examples found in comics. Students could find leaders in comics (both fictional and nonfiction) which align with the ten duties and further examine how any of these duties might be represented in the comic form. How many of those in power practice gentleness or patience? King (2009) identifies some important areas of advocacy and struggle for engaged Buddhists; war, economics, and criminal justice are among these concerns. She also points out that there is no one monolithic or dogmatic theory of engaged Buddhism. Unfortunately, war is part of the political and global landscape and must be considered when discussing any type of political leadership. Something that Dalai Lama (Gyatso, 2001) has cautioned against is praise for war and the view that war is heroic and honorable. He has also decried the profits that are gained from selling weapons (2001). He chastised Saddam Hussein for being a dictator, but then questioned how Saddam acquired his weapons of war. He charges that Saddam and the weapon suppliers were responsible for the war (Gyatso, 2001). In one telling quote he argues: “A form of brainwashing keeps people form recognizing that war is by definition monstrous” (Gyatso & Stril-Rever, 2017, 23). He exhorts the young to abandon war, and realize their personal responsibility to end war. He also

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calls on the young to work toward global peace (Gyatso & Stril-Rever, 2017). War, fighting, heroism in war, and violence are obviously represented in comics—as well as real life. A Buddhist lens can help call these ideas into question in real life and on the page. Violence in the media is not lost on the Dalai Lama (Gyatso & Stril-Rever, 2017). He urges the young to be mindful of it (which of course complicates the use of violent comics to study Buddhism!). Economics is another major area of Engaged Buddhism. Engaged Buddhists do not promote the idea of poverty, but they do caution against severe wealth inequality, where so much is held by so few (King, 2009). The Dalai Lama laments that just a handful billionaires have as much as half of the world (Gyasto & Stril-Rever, 2017). Buddhists do not preach austerity, but “contentment and moderation” (King, 2009, 100). However, much of Western economics is based on a notion of infinite growth (2009). Again, there are variations in engaged Buddhism regarding economics, but some of these basic premises can get students thinking. Furthermore, Buddhists see poverty as the seedbed of crime, and according to the Buddha, governments should make sure to take care of impoverished people (2009). What role should governments (and by extension, superheroes) play in reducing poverty? And how might these things be represented in the comic form? The Sarvodaya organization in Sri Lanka stands out as an embodiment of engaged Buddhist economics (King, 2009). The aim of this organization over the last half century has been to bring responsible economic development to the nation of Sri Lanka. Indeed, as noted above and in line with Buddhist economics, Sarvodaya rejects the notion of endless economic growth and posits the idea of contentment, as cravings are tied with suffering in Buddhist thought. Instead of irresponsible growth, the organization’s purpose is to provide for people’s “needs, not their greeds” (King, 2009, 106). Sarvodaya helps villages to establish schools, credit, and work toward specific projects such as roads. The basic needs of every individual as posited by Sarvodaya (from their website) are: 1. A clean environment 2. Adequate water 3. Clothing 4. Nutritious food 5. Shelter 6. Healthcare

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7. Communication 8. Fuel and lighting 9. Access to education 10. Cultural and spiritual needs One important aspect of Sarvodaya is the notion of village rule. Sarvodaya provides training and guidance, but it does not actually run the initiatives listed above. In line with Buddhist theory, people must empower themselves (King, 2009; Sarvodaya.org; Sarvodayusa.org). The Sarvodaya model espouses a decentralized movement which puts power in the hands of the local people, not outsiders such as politicians and bankers (King, 2009; Sarvodaya.org; Sarvodayusa.org). I encourage you to examine Sarvodaya since I only was able to give a cursory account of this fascinating organization (see https://www.sarvodaya.org/history and http://www.sarvodayausa.org/sarvodaya-history-and-philosophy. html). For our purposes, the notion of empowerment and the ten basic needs can add a new layer to the discussion of citizenship. What would a society based on needs look like? What do human beings need to be happy and fulfilled? What is the relationship between citizenship and needs? What does empowerment look like in real life and in comics? King (2009) points out that in regards to criminal justice, engaged Buddhists call for non-judgmentalism. Here, even the most heinous criminals are not rejected for their crimes. Their actions are a small part of who they are. There is no self, and we are all part of each other. Further, the individual is not static, but ever-changing. In light of all this, it does not make sense to judge anyone (2009). King (2009) notes some major success stories where Buddhist practices were introduced into prisons. I think this notion of non-judgmentalism can call into question so much of what we see in fictional comics and in real life. How might we interpret a Batman comic in this light? How might policymakers rethink the justice system and prison reform, and how might comics portray this challenge? Below are two frameworks, one which looks at Buddhist leadership ideas and one which calls for students to act as a Buddhist advisor to a leader. For the first framework, teachers can go over points in the chart with their students and then students can look for them in comics and graphic novels. While the question in the second column could be accomplished with any traditional prose text, it is the question in the third column which hits at the nature of the medium. The directions call for students to think critically about how the comics medium helps to

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convey the Buddhist ideas that traditional text might now be able to do. Again, the teacher will need to decide how much latitude they will give to students and if the teachers will preselect comics or just let students pick them. Some guidance will most likely be necessary (Table 3.2). I adapted the next activity from Hutchinson (2009). One portion of Hutchinson’s (2009, 268) activity includes taking a comic page, blotting the words out and then having students write in their own text. She then gives them the original text. In my variation of the activity, students are given a page from a historical graphic novel that features a historical leader, and the words are blotted out. The students then have to create dialogue and narration for the leader with Buddhist political thought in mind. For example, a teacher could take pages from a graphic novel on Gettysburg and blot the text out. Professors and teachers can then ask their students to reimagine Abe Lincoln as a Buddhist. (Some prior instruction in Buddhist political philosophy will probably be needed.) How might Abe Lincoln approach the war if he were drawing on Buddhist political theories? Here it is also important for students to justify their choices. Ask them why they chose these words and how they reflect Buddhist political theory. The use of graphic novel adds another layer to work with. As Hutchinson (2009) notes, the features of graphic novels, such as font, speech balloons, and panel frames, help to convey meaning. So, we could ask students to write new text by drawing on Buddhist political theories, but we could also ask them what changes they might Table 3.2 Buddhist leadership assignment Buddhist idea/theory

Righteous king 10 Kingly duties Anti-consumption/anti-poverty Sarvodaya principles/decentralized rule/empowerment Role of war/glorification of violence and war Non-judgmentalism

Examples found in graphic novels. Be specific!

Consider how the medium of comics highlights the duty or allows it to be understood in different capacities

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make to the art to work with the new text. Below are some questions that could be considered. What Would a Buddhist Do? Directions: Answer the questions below 1. When writing Buddhist dialogue and narration, what shape and lines would you use for speech bubbles? 2. Would you adjust the size of any panels to help convey a different meaning (e.g., a panoramic view to give the idea of contemplating the whole situation)? 3. Are there any different scenes you would add or leave out to convey any specific meanings related to Buddhist political ideas? 4. How might the ideas of the no-self be represented in comic form? Do any comics hint at this? How would you justify your answer? 5. Consider the idea of closure. Can you use Buddhist leadership ideas when filling in the gaps between panels in your mind? 6. If you were to continue the story, what Buddhist elements could you add to the content and form (e.g., panels, etc.)? Why?

Symbolism Symbolism and imagery are a defining part of hyperreality today and thus important to any study of comics and citizenship. There are various conceptions of symbolism and imagery that teachers and students can utilize. I only give a cursory examination here. One place to start may be the dictionary. As defined by the dictionary, a symbol is “something that stands for or suggests something else by reason of relationship, association, convention, or accidental resemblances.” In comics, words, images, colors, characters, and situations can all be symbolic (Langley, 2018; Schmidt, 2018). Gill and Angosto-Ferrandez (2018) argue that symbols, which are common features in human society, essentially simplify complex notions for people to understand. A cross for Christians represents so many things, such as life after death, whereas a flag may represent national identity for citizens (2018). Moreover, symbols help people perceive and make sense of the world they live in (2018). Symbols also have multiple meanings (or multivocality) however, they can mean vastly different things to different people (Gill & Angosto-Ferrandez, 2018). Gill and Angosto-Ferrandez are worth quoting: “This multivocality of symbols means that symbolic

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discourse is a battleground of ideas and interpretations as individuals and groups struggle over political questions and seek to mobilize symbols in support of their cause” (2). Politicians utilize symbols to convey important meaning and messages because the images resonate with voters (Greenblatt, 2013). Symbols and icons in comics can also be used as propaganda (Murray, 2012). Symbols then can be thought of as a means of simplification and sense-making. They can also be used to manipulate. Symbols can also manifest in sequence metaphors (Duncan et al., 2015) and constellations (Arnheim, 1965/1997). A sequence metaphor, which is where “two juxtaposed images that together create a meaning not present in either image alone.” Evans (2016) examines a page from Superman, where two juxtaposed panels (one with Superman absent, the next with him present) create a meaning which could not be derived from each individual panel. Arnheim (1965/1997, 138) speaks of symbols representing something higher then themselves, symbols represent “types of things or constellations of forces.” He gives the example of a Holbein painting of Henry VIII. The painting represents not just a particular king, but kingship itself (Arnheim, 1965/1997). Schmidt (2018) calls attention to the difference between symbolism and imagery in comics and I think his distinction is very useful for our purposes. For Schmidt (2018, 54), symbolism rests on “shared experiences.” Swastikas are examples of a symbol we all know (2018). Symbols can be a “shorthand” to reveal things about a character (2018, 54). Schmidt (2018) gives the example of a movie character who is laying on a table with arms spread wide and crossed feet—like a crucifix. Imagery however is specific to a story. Imagery “creates meaning within the story itself” (2018, 55). Schmidt (2018) shows some images from his own comics which convey love (e.g., a husband draped over his pregnant wife’s belly, daughter draped over her father who is dying). These images are specific to the story and do not have any “preexisting meaning” (57). These images become meaningful as the story progresses (2018). The meanings derived by readers of images (and words) may or may not be the meanings that were intended by the creators (Duncan, 2012). The meaning that readers make are impacted by the reader’s “perceptual filter” (Duncan, 2012, 44). This perceptual filter “consists of beliefs and attitudes that create predispositions and particular knowledge that can contribute to or hinder understanding of the subject matter” (Duncan, 2012, 44). What the reader knows and believes will impact his or her experience of the image. This is a crucial insight. When students read

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graphic novels and create their own, they must be aware that the meanings they intend might not be what readers take from it and are influenced by their own perceptual filters. Cook and Frey (2017) also note the use—and problematic nature— of stereotypes in comics. Not only have comics not represented society correctly, many times, comics have put forth negative stereotypes of different groups and classes of people (Cook & Frey, 2017). Stereotypes are generalizations (Duncan et al., 2015). Stereotypes allow messages to be easily conveyed (e.g., restroom signs), but these simplistic messages can be harmful in comics (Duncan et al., 2015). Students can begin to pay attention to these harmful misrepresentations in comics and what role the comics form plays in this representation (Duncan et al., 2015). Students can also pay attention to the stereotypes they create in their own comics and ensure they are not relying on negative or problematic stereotypes to convey their message. I utilize the ideas above to create a streamlined explanation for use in class. Suffice it to say for now that a symbol is something recognizable, something that everyone knows. Of course, symbols can have different meanings for different people. An image is more specific to the text and the creator. Readers interact with images on the page in a variety of ways and readers make meaning of the images on the page due to what they know and what is in their head. Moreover, panel size and number, art style, text, and other features of the comics medium can enhance symbolism and imagery. I encourage teachers and professors to adapt and modify the ideas above to suit their own purposes. Teachers may want to discuss different aspects of symbolism and imagery. Some other resources which may be helpful are: Abel and Madden (2008), Monin (2010), Saraceni (2003), and Cohn (2013). It might be useful to do something similar to the comics cheat sheet and offer a symbols/image cheat sheet to students. I have created a prototype below: Symbolism Cheat Sheet Symbolism: common assumptions most people share (Schmidt, 2018). Imagery: things specific to a story (Schmidt, 2018). Political symbols and multivocality: Differing conceptions of symbols, symbolism as a battleground (Gill & Angosto-Ferrandez, 2018). Perceptual Filter: Attributes of individuals that impact understanding (Duncan, 2012).

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Sequence metaphors: When two images create a meaning which cannot be discerned from one image by itself (Duncan et al., 2015; Evans, 2016). Stereotypes: generalizations, can be harmful (Cook & Frey, 2017; Duncan et al., 2015).

Symbols as Constellation (Arnheim, 1965/1997) All of the above might be important notions for students to consider when reading comics and creating their own comics. As such, the symbolism discussion and cheat sheet is carried over to Chapter 5. Obviously teachers are free to choose which conceptions to use. I utilize many of the ideas above and build off of them for my own purposes in this chapter and in Chapter 5 to create the assignments. Our republic seems to be saturated in symbols. Blue lives matter flags and stickers, tea party flags and stickers, the Obama hope and change stickers (these were popular about a decade ago), an assortment of gun right’s activists flags (e.g., I saw a flag with a cannon in the middle and with words above it that read something like “come and get it”), confederate flags, an assortment of stern-looking eagles, as well as rainbow flags, transgender flags, coexist bumper stickers, different ribbon magnets on cars and marriage equality stickers to name some. The “Make American Great Again” distinctive red hat is now a symbol (see the article below). This is not an exhaustive list. Every week I feel that I find more flags and symbols for different causes. These symbols are important and almost all carry political overtones and meanings. We must be careful here not to totalize, however—some people may have symbols because they like the symbol itself and may not totally identify with a cause. Nevertheless, the symbols can be powerful indicators of political ideologies and preferences. These symbols have become flashpoints in some cases. Certain members of congress display transgender pride flags outside their office, while students wearing MAGA hats make the news—and their actions are interpreted in vastly different ways (Beauchamp, 2019). A discussion of symbols can be an excellent starting point to introduce visual literacy and comics as political devices. Another area which has made specific use of comic symbols are members of the American military. Specifically, the American Sniper, Chris

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Kyle, utilized the Punisher symbol (Avila, 2019; Masciotra, 2019). Albeit, as Masciotra (2019) points out, the decision to adopt this symbol was controversial to say the least. Why would members of the military adopt a comic book symbols? Recent politicians have also used comic references. Alexandria Ocasio-Cortez referenced the character Rorschach from Alan Moore’s and Dave Gibbon’s Watchmen. She tweeted: “None of you understand. I am not locked in here with YOU. You’re locked in here with ME!” (Pappenfuss, 2019). Why did Ocasio-Cortez use this reference? What does this reference mean? This can be a great discussion point. Advertisers also employ comic symbols to sell products. A few years back Snickers ran a popular commercial where a football player was hit hard. When the trainers ask him questions to make sure he does not have a concussion, he seems okay, until they ask him who he is. He responds with “I am Batman.” (Perhaps this ad takes on new light with the recent research on concussions, but that is for another book.) I recently saw a local dentist’s commercial use a generic type superhero (he had tights and a cape) in their commercial. When I was growing up, a local alarm company had a generic type of superhero as their icon (I had a magnet on my fridge). Duncan and colleagues (2015) also call attention to the commercials for the “Orkin Man.” Why would advertisers employ superhero symbolism? What type of advertising would use these symbols? Below is an exercise which draws on the use of comic symbols in popular culture. This exercise is a little different than the other exercises because students are not actually looking at comics. This exercise may also require different levels of instructor guidance, depending on the class. Instructors may want to provide concrete examples (as I did above) or they want to let students find examples. The most effective way may be for instructors to provide examples while having students find some as well. For the assignment below, I assumed that the instructor had gone over some common symbols in class. Everyday Symbolism Assignment Directions: This exercise requires you to look for symbols and specifically comic symbols which exist around you.

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1. Consider all types of symbols that people use to express themselves. Take note of bumper stickers, flags, and clothing (try not to stare!). Think of the examples we spoke of in class. Try to find at least five symbols. Explain what you thought the person/people using them was trying to communicate. 2. Now look to specific comic book symbols. Think of different organizations and people in them (e.g., US military, politicians, advertisers) that employ comic book symbols. Find five examples. Why do you think the person used this symbol or reference? What was he or she conveying? 3. Think of a hypothetical situation where someone or some organization could plausibly use a comic symbol to convey a message. Explain this situation and why you think a comic reference could be used. This assignment could also be specifically tailored to a law or political science class. In the landmark supreme court case, West Virginia State Board of Education vs. Barnette (1943), the majority opinion, delivered by Justice Jackson, writes extensively about the power of symbolism. The case involved schools requiring students, who were Jehovah’s Witnesses, to salute the American flag during the pledge of allegiance. The students refused. The court eventually ruled that students cannot be compelled to salute the flag (Dayton, 2015; Imber, Geel, Blokhuis, & Feldman, 2014; Oyez, n.d.; Schimmel, Stellman, & Fisher, 2011). In the majority opinion, Justice Jackson asserts that symbols are a primitive way to communicate, and can be thought of as a “short cut from mind to mind” (West Virginia vs. Barnette, 1943). Students could read this majority opinion and further reflect on the symbols they now encounter in their daily lives. 4. How might these symbols act as short cuts for the mind? 5. Justice Jackson notes that these symbols, while effective, may be primitive means of communication. Why do you think he said this? Do you agree with this assessment? What might it mean for comics? Readers can interpret the ideas and the images in comics in ways the creators did not intend (Duncan, 2012; McLaughin, 2012). Symbols and images can have a number of meanings (Mandaville & Avila, 2009). As such, students can begin to look through comics and find images and

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ideas which may be open to various interpretations. Creators may also intentionally play with symbols and images in novel ways to produce effects. Again, to return to the example I used in the Buddhism chart, Moore and Lloyd, in V for Vendetta show a great scene where V is talking to, and then accusing, lady liberty of being a whore who was taken in by a new master—fascism. At least for me, the symbol of lady liberty was inverted and dethroned for anarchy, which Moore and Lloyd elevate in its place. Cook and Frey (2017) stress that another important issue to consider when looking at comics is that of representation and stereotypes. One overarching question that can be asked of comics is: How are different groups of people (especially people who are not white males) depicted in comics? Comic creators also rely on stereotypes which are generalizations to convey messages (Duncan et al., 2015). Stereotypes can become insulting and demeaning. Comics have had a long history of demeaning representations to a variety of groups (Cook & Frey, 2017; Duncan et al., 2015). Negative stereotypes of women abound in comics. Women are depicted as helpless victims or as sex objects, which is referred to as “cheesecake” (Duncan et al., 2015, 346). However, as Cook and Frey (2017) do note, the comics industry has made some progress in this area of diversity and representation. Cook and Frey (2017) have students examine comics through a social lens, stereotypes lens, gender, sexuality, race, and ethnicity lenses to accomplish this task. They (2017) also have students think about how they might render new representations. This assignment can facilitate student’s development of visual literacy skills such as analyzation and interpretation and questioning (Cook & Frey, 2017, 8). Cook and Frey (2017, 8) note that the: “purpose of this unit is to provide students opportunities to rethink the stereotypes” that they confront in the media. I want my students to do the same. Moreover, if political symbolism is a battleground (Gill & Angosto-Ferrandez, 2018) and if different individuals can arrive at different interpretations of the same image (Duncan, 2012) then students could be made to ponder how certain images and symbols may be interpreted in various or contradictory ways and what this situation may mean for citizenship. I think it important for students to consider this notion of multivocality for all symbols, images, and potential stereotypes in comics in light of hyperreality. As mentioned in Chapter 1, social media and digital technologies may also represent a political battle of sorts (Brym et al., 2018). With that in mind, it is also important to consider how stereotypes and ambiguous symbols may

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become viral and play out on social media and further impact citizens’ understandings and actions. The parameters of the exercise below will have to be determined by the instructor. If instructors want to broach the topic of sexual depictions or racism, there also might be sensitively and suitability issues if done in a high school classroom. Instructors might want to identify comics beforehand for students to look at as well. The last question in the assignment below is key to the entire assignment. It also may require specific direction from the instructor. We want students to recognize ambiguous symbols and stereotypes—and then create newer and better ones. For instance, how might students reenvision female strength in hyperreality, especially in the aftermath of the “me too” movement? The question in the assignment below has students consider an existing comic and think about how they might change it to create a different type of symbol or stereotype. Stereotype Assignment Directions: Consider what images and stereotypes in comics may send conflicting or oversimplified messages. Further, consider what might be the impact of these messages. 1. Find at least five instances where something the artist drew could carry different meanings for different people. What meaning does it carry for you and why? Why might this symbol or image convey other meanings for other people? Justify your answers. 2. Can you find any examples where creators may have inverted or played with familiar symbols or images to provoke the reader’s thought or suggest something unorthodox? 3. Find examples of stereotypes in comics. Do the creators rely on any stereotypes or faulty representations of people? What might the impact of these representations be? 4. Do any stereotypes of symbols utilize sequence metaphors? How might this impact one’s understanding of it? 5. Are there any stereotypes which are not problematic? 6. Consider any problematic stereotypes or ambiguous symbols you find. Locate them in the comic and record their location and give a brief description below. Think of ways that these symbols could be rectified or fixed to be more accurate (see next question for this).

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7. Finally, create some positive stereotypes or symbols that creators of future comics can employ. Think not only of the actual symbol but how it is represented. Could you change shading or line work, or a facial expression to convey a different meaning? Could you adjust panel size or figure position in the frame? Could you utilize any creative reading patterns or multilinearity? Think of all possible ways to create a new and improved symbol or to rectify a stereotype by utilizing all the available tools of the comic medium. 8. Consider the symbolism cheat sheet. Can you utilize any of these types of symbols, images, or metaphors to remedy a problematic symbol? Utilizing the ideas cited in this chapter, I have students distinguish between what I call overt and subtle symbols. An overt symbol is something that like the name implies, it is overt, it is in your face, and everyone knows it. Examples of overt symbols would be an eagle for America, the handicapped parking symbols, and the like. Subtle symbols, again, as the name implies, are subtler. Remember the example of a movie character who is laying on a table with arms spread wide and crossed feet—like a crucifix (Schmidt, 2018)? This might be a subtle symbol. Or, there could be an image, specific to a comic (Schmidt, 2018) which evokes certain ideas and feelings. Students have more latitude in determining—and creating and/or justifying—a subtle symbol/image. What constitutes a subtle symbol or image will most likely be open to debate, but that is part of the fun. The point is to get students thinking about the overt symbols we see all the time, and the more subtler symbols creators may invest in their work—as well as the meanings readers may invest in the work that were not intended by the creator. In the exercise above I have students think about problematic or ambiguous symbols. In the exercise below, I have them think about their own interpretations of symbols. Of course there may be crossover here, but as noted above, I think it is important for students to be active readers. Moreover, when I performed this activity in class, it generated, at least for me, some impressive results. It also acted as an introduction to using comics in my history classroom. I selected an excerpt from a symbol rich graphic novel, Uncle Sam, by Steve Darnell and Alex Ross. Students analyzed the overt symbols in the graphic novel, but students also saw things that I did not even see, such as gender issues. The excerpt led one student to an excellent insight about the nature of American

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politics. The powerful symbolism of America—and its wrongdoings—led her to argue for the generation of a new political party in America. It was an awesome insight and class discussion to say the least. Overt and Subtle Symbol Assignment 1. Consider any symbolism present in the text. Pay attention to overt symbols (e.g., Uncle Sam, Bald Eagle, etc.) as well as author/artist created symbols and imagery or subtle symbols/imagery (also consider text). Make a list. For subtle symbols/imagery explain your answer (why do you think the author/artist is suggesting what you think he or she is suggesting?). 2. Are these symbols or ideas the symbols represent utilized in American political discourse and/or policy? (e.g., if an artist uses imagery which suggests American dominance, how has and/or does the idea of American dominance play into political discourse and policy). Give examples. 3. Can you link any of the symbols to something we have learned/discussed/read about pertaining to the history of American education? Do the symbols confirm, expand upon, or problematize anything we read? 4. Are any symbols or images juxtaposed in unusual ways? Do some symbols or images clash with or reinforce each other? Give examples and explain your answer. Ultimately, what might a clash or reinforcement mean for political discourse, ideology, or policy?

Political Typology of Symbols Students can also dissect symbols—both those they see in everyday life, as well as those on the comic page—with the typology below. This typology was inspired by Mandaville and Avila’s (2009, 252) symbolism exercise. The point here is to get students thinking about the political functions of a symbol or image. The typology below is not exhaustive and I would encourage professors and teachers to add their own categories—or better yet, have students create their own categories. In addition, the political functions of symbols can also be considered when students create their own comics in the next chapters. The categories below also overlap and

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should be seen on a spectrum. They are not necessarily either/or as I have written them. For instance, a symbol may be somewhat divisive, or one symbol may be divisive, but not as divisive as another. Arguments and debates should ensue over how to classify symbols. That is the point—to generate conversation. On the left hand side of the chart, I have listed some features of a symbol/image but these are obviously open to interpretation, the space for that is on the right (Table 3.3). Is the symbol historical or contemporary? A red MAGA hat may be a contemporary symbol, while Captain America’s uniform is historical because it resembles the flag. Does the symbol have the potential to be divisive? The marriage equality symbol or transgender symbols may be divisive because of the intense reaction many have to gay marriage and transgender rights. A handicap symbol may not be as divisive. Does the symbol privilege one group over another or seek to abolish privilege? The X-men symbol may be read as a symbol which seeks to abolish privilege and create equality between two classes (mutants and humans). The empire in Star Wars (Keen, 2013) has no regard for equality and can be read as a symbol of privilege and oppression. What is the context ? Context can make a big difference. For instance, a Swastika flag in 1941 in Germany and a Swastika Flag in 2019 in America have different meanings (although they also have similar meanings). Likewise, Captain America in the 1940s and later iterations of Captain America in the 1950s, 1960s, or 2000s, may hold different meanings. See Maslon and Kantor (2013) for a great examination of the different renditions of Captain American through the decades. Is the symbol clear or ambiguous ? The symbol of a Table 3.3 Political symbol typology assignment Political function of symbol Historical/contemporary (Is the symbol historical or is it more modern?) Divisiveness (Does the symbol polarize people or create divisions?) Privilege (Does the symbol privilege one group over another?) Context (Are there any contextual issues with the symbol, such as time and place?) Clarity (Would this symbol be clear and understood by most people?)

Student interpretation

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mouse, and the antagonism of cats and mice, should be clear to a reader when reading Speigelman’s Maus.

What Do People Actually Think of Symbols? Many of the exercises in this book require students to examine symbols and think about what they mean. Another way to understand the impact of symbols is to talk to people that see and interpret the symbols. This method derives from ethnography. In ethnographic studies, researchers become part of a culture, they observe that culture and try to “understand a culture from the native’s point of view” (Brown, 2012, 281). This method was then adopted by researchers who wanted to study media and culture (Brown, 2012). Ethnography has been used to study comic and comic culture in a variety of ways (see Brown, 2012; Carpenter, 2012; Swafford, 2012). Brown (2012) notes that in the 1970s, the default position was that people were indoctrinated by media texts, but some began to argue that individuals actually use the text in their own ways. Brown wrote of these researchers “they discovered that people from all walks of life use and interpret mediated messages and the materials of popular culture in myriad ways that reveal individuality, creativity, and ideological resistance” (Brown, 2012, 282). Brown (2012) utilized ethnographic methods to study people who wore superhero shirts and utilize superhero fashion symbols. Brown (2012) also did not utilize formal interviewing, rather, he opted for a more informal conversation style. The point is not to assume that we all receive the message in the same way, rather, the point is to understand how different people use and interpret media text and symbols. The assignment below tries to elicit some of these ideas. Students can interview a few people in a culture or group (as well as discuss what constitutes a culture or group) and look for similarities and differences in the responses. I think an ethnographic component can be added to any assignment in Chapters 2 or 3. Of course, students are not doing a full-blown ethnography but can at least appropriate some of the methods (Brown, 2012). Also, the questions can be directed toward more political concerns. Yet there are so many questions to ask. Below, I provide examples of possible questions, but like Brown, students may want to keep their interactions more informal and conversational. There are also a number of different approaches. Non-comic readers in the class can ask comic readers, students could ask others in their school. The point is to find a group or culture that shares the same beliefs.

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Ethnographic methods pertain primarily to cultural groups (e.g., comic fans). However, students may want to ascertain the opinions of a wide variety of people. In this case, students can interview a selection of people and then look for commonalities in their responses. Some of the questions may be off-putting to people who are not fans or not as familiar with the mythos. Thus, there may have to be some explanation on the part of the interviewers. Ethnography Assignment Directions: Find out what people think! 1. What is your reaction to Superman? Why do you think he is associated with “truth, justice and the American way?” 2. Does Superman reflect America? Are truth and justice synonymous with America? Explain your answer. 3. What does Captain America symbolize?

References Abel, J., & Madden, M. (2008). Drawing pictures & writing words: A definitive course from concept to comic in 15 lessons. New York: First Second. Arnheim, R. (1965/1997). Visual thinking (35th anniversary printing). Berkeley, CA: University of California Press. Avila, B. (2019, April). Bat-Signals: The deployment of superhero iconography by U.S. military personnel from Vietnam to the war on terror. Paper presented at the Batman in Popular Culture Conference, Bowling Green State University. Banks, J., McGee-Banks, C., & Clegg, A. (1999). Teaching strategies for the social studies: Decision-making and citizen action (5th ed.). New York: Longman. Beauchamp, Z. (2019, January 23). The real politics behind the Covington Catholic controversy, explained. Vox. Retrieved from https://www.vox.com/ policy-and-politics/2019/1/23/18192831/covington-catholic-maga-hatnative-american-nathan-phillips. Bolman, L. G., & Deal, T. E. (2017). Reframing organizations: Artistry, choice, and leadership (6th ed.). San Francisco: Jossey-Bass. Burmack, L. (2008). Visual literacy: What you get is what you see. In N. Frey & D. Fisher (Eds.), Teaching visual literacy: Using comic books, graphic novels, anime, cartoons, and more to develop comprehension and thinking skills (pp. 5–25). Thousand Oaks, CA: Corwin.

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Brown, J. A. (2012). Ethnography: Wearing one’s fandom. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 280–290). New York: Routledge. Brym, R., Slavina, A., Todosijevic, M., & Cowan, D. (2018). Social movement horizontality in the internet age? A critique of Castells in light of the Trump victory. Canadian Review of Sociology, 55(4), 624–633. Carpenter, S. (2012). Ethnography of production: Editor Axel Alonso and the sale of ideas. In M. Smith and R. Duncan (Eds), Critical approaches to comics: Theories and methods (pp. 167–177). New York: Routledge. Carter, J. B. (2011). Graphic novels, web comics, and creator blogs: Examining product and process. Theory into Practice, 50(3), 190–197. Cohen, M. D., & March, J. G. (2000). Leadership in an organized anarchy. In M. C. Brown II (Ed.), Organization & governance in higher education (pp. 16–35). New York: Pearson. Cohn, N. (2013). The visual language of comics: Introduction to the structure and cognition of sequential images. New York: Bloomsbury. Cook, M. P., & Frey, R. (2017). Using superheroes to visually and critically analyze comics, stereotypes, and society. SANE Journal: Sequential Art Narrative in Education, 2(2), Article 1. Dayton, J. (2015). Education law: Principles, policies, and practices. Lexington, KY: Wisdom Buildings Press. DeGraaf, C., Tilley, C., & Neal, L. (2004). Servant-leadership characteristics in organizational life. In L. C. Spears & M. Lawrence (Eds.), Practicing servant leadership: Succeeding through trust, bravery, and forgiveness (pp. 133–166). San Francisco: Jossey-Bass. Duncan, R. (2012). Image functions: Shape and color as hermeneutic images in Asterios Polyp. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 43–54). New York: Routledge. Duncan, R., Smith, M., & Levitz, P. (2015). The power of comics: History, form and culture (2nd ed.). New York: Bloomsbury. Duncombe, S. (2019). Dream or nightmare: Reimagining politics in an age of fantasy (2nd ed.). New York: OR Books. Eckel, M. (2001). Buddhism: Course guide. Chantilly, VA: The Great Courses. Evans, J. C. (2016, January 5). A rhetorical quest for identity. https:// whynotsuperheroes.com/tag/understanding-comics/. Fullan, M. (2001). Leadership in culture of change. San Francisco, CA: JosseyBass. Gill, G., & Angosto-Ferrandez, L. F. (2018). Introduction: Symbolism and politics. Politics Religion and Ideology, 19(4), 429–433. https://doi.org/10. 1080/21567689.2018.1539436. Greenblatt, A. (2013, Decemeber 19). How to master the fine art of political symbolism. National Public Radio. Retrieved from https://www.npr.org/ sections/itsallpolitics/2013/12/18/255225472/how-to-master-the-fine-artof-political-symbolism.

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Greenleaf, R. K. (2002). Servant leadership: A journey into the nature of legitimate power and greatness (25th anniversary edition). Mahwah, NJ: Paulist Press. Gyatso, T. (2001). The compassionate life. Boston, MA: Wisdom Publications. Gyatso, T., & Stril-Rever, S. (2017). A call for revolution: A vision of the future. New York: Harper-Collins. Heifetz, R., Grashow, A., & Linsky, M. (2009). The practices of adaptive leadership: Tools and tactics for changing your organization and the world. Boston: Harvard Business Press. Hutchinson, R. (2009). Teaching manga: Considerations and class exercises. In S. Tabachnick (Ed.), Teaching the graphic novel (pp. 262–270). New York: Modern Language Publishing. Imber, M., Van Geel, T., Blokhuis, J. C., & Feldman, J. (2014). Education law (5th ed.). New York: Routledge. Keen, T. (2013). I, Sidious: Historical dictators and senator Palpatine’s rise to power. In N. Reagin & J. Liedl (Eds.), Star wars and history (pp. 125–149). New York: Wiley. King, S. (2009). Socially engaged Buddhism: Dimensions of Asian spirituality. Honolulu, HA: University of Hawaii Press. Krusemark, R. (2015). The role of critical thinking in reader perceptions of leadership in comic books. SANE Journal: Sequential Art Narrative in Education, 2(1), Article 7. Kurtz, S. (2009). Teacher leadership. Leadership, 39(1), 12–14. Langley, T. (2018, July 1). Symbolic powers among marvels. Psychology Today. Retrieved from https://www.psychologytoday.com/us/blog/beyond-heroesand-villains/201807/symbolic-power-among-marvels. Letizia, A. (2018). Using servant leadership: How to reframe the core functions of higher education. New Brunswick, NJ: Rutgers University Press. Liedl, J. (2013). Introduction: The forces of history and histories of the force. In N. Reagin & J. Liedl (Eds.), Star wars and history (pp. 1–5). New York: Wiley. Maguire, L. (2013). Fear is the path of the dark side. In N. Reagin & J. Liedl (Eds.), Star wars and history (pp. 203–226). New York: Wiley. Mandaville, A., & Avila, J. (2009). It’s a word! It’s a picture! It’s comic! Interdisciplinary approaches to teaching comics. In S. Tabachnick (Ed.), Teaching the graphic novel (pp. 245–254). New York: Modern Language Publishing. Masciotra, D. (2019, April 28). The Punisher skull: Unofficial logo of the white American death cult. Salon. Retrieved from https://www.salon.com/2019/ 04/28/the-punisher-skull-unofficial-logo-of-the-white-american-death-cult/. Maslon, L., & Kantor, M. (2013). Superheroes! Capes, cowls, and the creation of comic book culture. New York: Crown-Archetype. McCloud, S. (2006). Making comics. New York: Harper Perennial.

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McLaughin, J. (2012). Philosophy: “The triumph of the human spirit” in X-Men. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 103–115). New York: Routledge. Miodrag, H. (2013). Comics and language: Reimagining critical discourses on the form. Jackson, MS: University Press of Mississippi. Monin, K. (2010). Teaching graphic novels: Practical strategies for the secondary ELA classroom. Mankato, MN: Maupin House Publishing. Moore, M. J. (2015). Political theory in canonical Buddhism. Philosophy East & West, 65(1), 36–64. Moore, M. J. (2016). Buddhism and political theory. New York: Oxford University Press. Murray, C. (2012). Propaganda: The pleasures of persuasion in Captain America. In M. Smith & R. Duncan (Eds.), Critical approaches to Comics: Theories and methods (pp. 129–141). New York: Routledge. Northouse, P. G. (2018). Leadership: Theory and practice (8th ed.). Los Angeles: Sage. Oyez.org. (n.d.). West Virginia State Board of Education vs. Barnette. Retrieved from https://www.oyez.org/cases/1940-1955/319us624. Pappenfuss, M. (2019, January 11). Alexandria Ocasio-Cortez quotes ‘watchmen’ author Alan Moore, slays nerd hearts. Huffpost. Retrieved from https:// www.huffpost.com/. Pfeffer, J. (2000). The ambiguity of leadership. In M. C. Brown II (Ed.), Organization & governance in higher education (pp. 205–213). New York: Pearson. Ricca, B. J. (2012). History: Discovering the story of Jerry Siegel and Joe Shuster. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 189–199). New York: Routledge. Sacco, J. (2001). Safe Area Gorazde: War in Eastern Bosnia, 1992–1995. Seattle: Fantagraphic Books. Saraceni, M. (2003). The language of comics. New York: Routledge. Schimmel, D., Stellman, L. R., & Fisher, L. (2011). Teachers and the law. New York: Pearson. Schmidt, A. (2018). Comics experience guide to writing comics: Scripting your story ideas from start to finish. Exeter, UK: Impact Books. Swafford, B. (2012). Critical ethnography: The comics shop as cultural clubhouse. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 291–302). New York: Routledge. West Virginia State Board of Education vs. Barnette, 319 U.S. 624. (1943). Wolk, D. (2007). Reading comics: How graphic novels work and what they mean. New York: Da Capo.

CHAPTER 4

Drawing Citizenship

The next two chapters deal exclusively with the creation of comics. The assignments in this chapter cover a wide range of topics which include: historical situations and historical fiction, illustrating skills/dispositions/values and citizenship, emotional context, worldbuilding/geography, pop culture considerations, mythmaking, current events, and museum education. These topics are by no means exhaustive, and I encourage users of the book to create new assignments. Before getting into specifics, I think it important to make a note about panel construction. It might make sense to simplify certain aspects of the assignments and have students use predetermined panel sizes or simple three panel strips when creating their comics. Professors and teachers could even distribute premade panel strips for convenience. However, as Sousanis (2015a) notes, drawing panels and understanding their impact is an important decision for comic creators. If teachers chose to have students create a comic strip with three equal frames or predetermined panels, students may not utilize the full storytelling potential of the panel (Sousanis, 2015a). So, teachers will have to balance this aspect. For some of the shorter class assignments, I had students simply use three equal boxes, but for the larger assignments (see the culminating activity in Chapter 5), I spent a great deal of time discussing panel size.

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Historical Situations and Historical Fiction Perhaps the most obvious way for students to draw the social studies is for them to draw factual historical episodes. The possibilities are literally endless, from ancient Rome, to revolutionary France to the Soviet Union. Chilcoat (1993) argues for the benefits of using the comic format in the social studies classroom, specifically by having students research historical information and create a comic from their research. Chilcoat (1993, 2) noted: “The comic book allows students to take verbal-linear-analytical information from various primary and secondary sources and, through a visual-aesthetic-creative means, construct this information into personal interpretations and conclusions.” The comic medium can also allow students to approach history like a historian. Students can construct a history, just like historians and understand the role of interpretation in this process (Banks, McGee-Banks, & Clegg, 1999; Getz & Clarke, 2011). Students can also create historical fiction or utilize fictional elements in their comics. Chapin (2015) argues that history can be read like a story. Students creating their own historical fiction in comic form can exploit this natural storytelling potential. The historical facts can be a starting point from which students can create their own interpretations. Narrative/story arcs could be introduced here as well (Abel & Madden, 2008; Potts, 2013). Students could use historical details and facts to create a narrative with a protagonist and this protagonist would have to endure a series of events and trails to remedy some type of situation. Here, a healthy mix of historical accuracy and student creativity can be blended together to form a new unique creation. Professors and teachers could work with students to ensure a fruitful blend. Even if students are striving to create an accurate historical episode students may still have to decide on elements which they cannot know, such as what certain characters wore, their emotions, interior rooms, and the like (Getz & Clarke, 2011). Asking these types of questions and deciding on historical details can be an excellent historical exercise for budding historians and teachers can work with students to highlight this process. Following Miodrag (2013), students can also utilize language in unique ways and capitalize on creative juxtapositions of language and image. Students, who may not be great artists but who are adroit with language can use this ability in their comics as well and be encouraged to do this in conjunction with the storytelling aspects elucidated above.

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Another important aspect of using language is the importance of vocabulary in the social studies (Chapin, 2015). Teachers may require that students use specific terms and vocabulary of the lesson in their comics. As noted in the first chapter, one of the key features of comics is that of art in sequence (Eisner, 2002; McCloud, 1994). The notion of sequence is also important for an understanding of history. Chapin (2015, 191) argues for the notion of “historical thinking skills” which are “chronological thinking, historical analysis and interpretations, and historical research capabilities.” Further, these skills “include awareness of historical significance, evidence and causation” (Chapin, 2015, 191). Chilcoat (1993) also notes how the comic assignment can help students convey a sense of chronology. In regards to chronology, I urge my students to not only look at connections for specific events, but also for connections and sequences over longer stretches of time. I think this “stretching” of chronology really helps to get them thinking about the connections between distant historical events. Of course history is not a rigid sequence. Cromer and Clark (2007, 583), as noted earlier, argue that comics can also help students understand the “messiness” and complexity of historical events. Even when discussing power and oppression, social studies teachers cannot see oppression as a simple phenomenon (Kincheloe, 2001). The causes of oppression are always varied and intersecting. We are not objective machines which can be studied like scientific objects. Of course, Kincheloe (2001) argues that this is precisely what happens. Since the time of Descartes and the Enlightenment, European rationalism has reduced human beings to machine-like entities (Kincheloe, 2001). As a result, researchers try to diagnose and then fix the problem in a mechanistic way. But reality is not a linear phenomenon. Reality and human life are messy endeavors. Social studies teachers need to recognize this feature (Kincheloe, 2001). While reading and creating a comic book will not magically alert the student to this nonlinearity, the comic may at least help students call into question this machine-like metaphor of reality. The comic medium with its features of braiding and translinearity, multilinearity and multidirectionality, and holism (Cabero, 2019; Groensteen, 2013) may be a place to begin to view this messiness (Cromer & Clark, 2007). In his work Unflattening, Sousanis (2015b, 62) argues something similar: While comics are read sequentially like text, the entire composition is also taken in – viewed-allatonce. Thierry Groensteen likens this organization of simultaneous images to a system or network. A connected space, not reliant on a chain-like sequence linearly proceeding from point to point…”

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Sousanis (2015b, 62) goes on to note how comics are both “sequential and simultaneous.” Of course, the above quote loses some of its power because I have only relayed the words. The panels where the words come from feature plants and animals. A little further down the page (the page is all one image but broken up into nine frames) is an image of a sitting Buddha with a speech bubble that reads “one with everything” (2015b, 62). The point here is that students need to see reality and history do not operate from this “chain-like sequence” (2015b, 62). Both the sequential nature of the comic’s form, as well as its nonlinear potential, can be applied to historical thinking. Students do need to consider chronology and the order of events, but also understand the complexity of history as well. The sequential nature of comics can call attention to the chronology and sequence of historical events while at the same time the nonlinear functions of comics to call attention to how messy and complex history can be. Students can also consider the page itself as a tool of expression (Cohn, 2009). Teachers can also add a class discussion to some of the assignments below so students can reflect as a class on their own comics and their classmate’s comics (Chilcoat, 1993). Reflection is an important part for these types of assignments (Barone & Eisner, 2012) In the class discussion of comics teachers can direct students to examine main characters, give a summary of their stories, look at similarities in other students comics, and ask students what they learned (Chilcoat, 1993). I also added online discussions and reflections for many assignments, including this one. The online component I think helps students understand how to express their ideas in the digital arena along with the face to face to setting. Historical Situations Assignment Directions: Students are to create a comic strip which illustrates different populations (e.g., women, African Americans, those with disabilities, the poor and the lower classes, those on the frontier) and access to education in the eighteenth and nineteenth centuries. The comic must be at least three panels. 1. Show cause and effect with the comics form. Each panel should build off the previous panels. You must show a progression or story or chronology. Here you must encapsulate different scenes from history we learned about. You can look at a specific event, or events

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over a much longer period of time. Part of understanding history is understanding a sense of chronology. In addition, with this assignment, I am trying to get you to think of which events to show and omit. Similar to the notion of encapsulation, historians must make this decision all the time. 2. You must utilize facial expressions and body language to convey moods and feelings. For example, how might a lower class person might have felt upon entering a school for the first time? 3. Use color to convey mood. 4. After you finish the strip, write a justification of the facial expressions, scene choice, how the scenes are related and colors used. Why did you pick these scenes and colors and expressions? Be specific! I assigned this assignment to my doctoral history of education course. (The assignment was slightly modified from what is given above). Regarding the stretching aspect noted above, one student depicted the instruction and education of African Americans from their arrival in America in 1619, through the nineteenth century and up until the 1954 Brown decision. The student had to weave a number of chronological but distant events together. Note: For the exercise below, the instructor can assign a historical topic or let students chose. For the purposes of this book, I have assigned a topic which has many causes: the Common School movement in America. I could also have used the First World War or the French Revolution. In addition, this may be an assignment where the teacher might want to provide an example. Cabero (2019) is a nice accessible article which talks about multilinearity and multidirectionality. Cromer and Clark (2007) specifically talk about the comics form and the study of history. In addition, Sousanis’ (2015b) graphic novel would work well here too. These resources could be given to students prior to this assignment. In the appendix, some of my own graphic novels make use of some of these notions. I would show this to my class and use this as an example. Teachers could also find other historical graphic novels and show interesting page configurations as examples. Multilinearity Assignment Messy History Assignment Directions: History is messy. There are almost always multiple causes to events. Things do not happen in nice tidy sequences. The use of comics can help us visualize this messiness.

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1. First, view the excerpts from Sousanis and Cabero. Consider how the comics page, specifically the directionality and multilinear aspect, can be used to visually represent the multiple causes and motivations of the Common School Movement. 2. Consider the different page configurations first (from question 1). How can you use different patterns and configurations to show the various motivations, obstacles, and founders of the Common School Movement ? (a) Some examples and different ideas to consider: You could use a circular or swirling pattern, you can have a page with overlapping panels, you can have some events in panels and some out of panels, you can invert the reading order (right to left, up and down), you can have two stories happening (one from right to left another up and down). (b) Think also of what scenes you will need to encapsulate and what text, if any, you will have. I assigned this assignment to my undergraduate class. While I had many interesting variations, Fig. 4.1 stood out to me. My students created a game board, and each person in the Common School Movement had a different path to take. I thought this formulation truly showed a nonlinear take on some of the complexities of the Common School Movement. In one box, my students wrote that immigrants had to walk 10 miles to school. When I reviewed the assignment, I questioned them about this piece of information, it seemed excessive. After hearing my student’s justification, I decided to leave it, despite my initial reservations. I believe my student was trying to make a point about the plight of immigrants. The point here is that this type of interpretive assignment can help generate these important content-related discussions between student and instructor.

Buddhist Superheroes Teachers can have their students do a simple Google search of “Buddhist superheroes.” The class can analyze the results. Teachers may want to direct students to specific websites or articles, preview certain websites, or give them free reign to explore. Again, discretion is needed. Question two references the information provided in this book regarding Buddhism

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Fig. 4.1 Student example of multilinearity assignment

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in general and Buddhist leadership (see Chapters 2 and 3). Teachers can discuss these ideas with students as well. The main purpose of the assignment is to create a Buddhist superhero or at least the main character, and put this main character in opposition to a more Western style antagonist. Students do not have to make the Buddhist a “good guy,” although they can. The point is simply to use the comics medium to illustrate the tensions between Buddhist political thought and Western political ideas, as well as to show any similarities. Students can resolve this or come to some sort of compromise, or they can leave the tension as is. Create a Buddhist Superhero Assignment Directions: You will first review existing Buddhist themed superheroes and characters in comics by doing a simple Google search. Write a brief summary. Also, note how Buddhist superheroes have been portrayed in the medium. 1. Review the notes and handouts on Buddhism. Write a brief summary of what you find. 2. Create a Buddhist hero (or villain?) for yourself. You can mix and match ideas you read about for question 1, or rework a hero you read about in question 1. Think what your character stands for. Brainstorm some story ideas and situations for your character. 3. Create a short strip where your hero or villain faces some sort of trial which pits his or her (or its?) Buddhist mentality and beliefs against more Western conceptions. (E.g., does your hero eschew politics to the chagrin of a political activist?) The point is to use the comic’ medium to compare and contrast the two political mentalities. You may choose to resolve this tension or leave it unresolved.

Illustrating Skills, Dispositions, and Values and Actions Art can also be used to visualize the skills and dispositions of citizenship as well as the content. Skills and dispositions are a little different than concrete historical episodes. It is probably easier to show the beheading

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of Louis XVI than it is to show cooperation or critical thinking. But precisely because of the complexity of skills and dispositions, they might be well suited to comic art. Following Kelley (2010, 6) the art is not simply an “adjunct” to the text, rather, art is a type of communication. So, with this in mind, students can use the power of art and words to show skills and dispositions. For instance, can students create a comic which illustrates the disposition of responsibility? Or the skill of collaborative capacities (Cohen, Pickeral, & Levine, 2010)? As noted above, students can use historical actors (E.g., Thomas Jefferson) or create their own historical (or contemporary) fiction. Is there a story a student could create, using their knowledge of how graphic novels are constructed, which illustrates social trust? Teachers can use the comics form to facilitate student thinking about how to visualize these complex notions. The teaching of skills and dispositions/values should not be mechanistic, however. It should never be the case where citizenship is reduced to performing certain actions—citizenship is much too complex. So, teachers must exercise caution and always be clear that the teaching of skills and dispositions is a useful guide, a way to think about citizenship, but citizenship is just too complex to nail down into a few precepts. Students can also begin to work out how those skills and dispositions may look in different situations. This is perhaps the most important aspect. The skills and dispositions are not general prescriptions to be applied universally in all situations. Cooperation will look different in different contexts and situations (e.g., cooperation by American founding fathers in the Continental Congress will look different than anti-war protestors in the 1960s). Students can begin to visualize different situations—and illustrate them—in order to locate different skills and dispositions. Kincheloe (2001) talks a great deal about the specifics. What works in one class may not work in another or at least will need to be modified. There are no universal prescriptions in teaching. The same may hold true for skills and dispositions. Further, comics can help students to visualize and showcase these differences. Again, we should always be wary of universal prescriptions. Draw a Skill or Disposition Assignment Directions: Draw a skill or disposition. 1. Consider the list of skills and dispositions that we have studied in class. Select at least one skill or disposition. Think of a historical

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occurrence where this skill or disposition was present. (e.g., the Founding Fathers needed to cooperate). 2. Now, illustrate how this skill or disposition may look in a historical situation. Use at least two sequential frames to illustrate the skill or disposition. 3. Now, illustrate the same skill or disposition, but in a completely different historical situation. Use at least two sequential frames to illustrate the skill or disposition. 4. Finally, think of contemporary America. Draw the skill or disposition again in contemporary America. Use at least two sequential frames to illustrate the skill or disposition. Civic Participation Assignment One of the main goals of the social studies is to foster civic actions and participations (Banks et al., 1999; Chapin, 2015). As noted in Chapter 1, Larson (2017) assets that knowledge and civic action are crucial. The purpose of the exercise below is to get students thinking about civic action. Civil Participation Assignment Directions: Answer the questions below: 1. Research an example of someone taking political action (e.g., Rosa Parks) or think of any political actions you have taken. 2. Use sequential art to depict this action. Your comic must be at least three successive frames. Think of how each frame builds off each other to portray this action. How can you use the art to show things that may be hard to depict in words? What emotions do you think the person was feeling (or were you feeling) when he/she or you took action? As described in Chapter 2, sequential art can also be used to examine Shealy’s (2014) notion of a Version of Reality (VOR). The assignment in Chapter 2 had students look at existing comics and examine the VOR of depicted characters. The last question of that exercise had students construct their own VOR using the comics medium. I have included an example of this assignment from one of my students in this chapter.

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The questions read: Consider your own VOR. Try to construct it, reflect on how your own VOR impacts your behavior (try to be specific). Now actually depict this visually with sequential art. Use sequential art to show how your VOR might induce actions. (see the professor’s example)

Emotional Context Another way that art can be used is to visualize emotions. McCloud (2006) and Duncan, Smith, and Levitz (2015) note how comics are an excellent arena to convey emotions in characters and generate emotions for the reader. In addition, McCloud (2006) speaks of the ability of gestures and body language to convey meaning. Eisner (2002, 103) asserts: “By far the most universal image with which the sequential artist must deal is the human form.” Another relevant concept is that of emotional intelligence. Emotional Intelligence centers on how people can perceive and understand the emotions of others and themselves and then utilize knowledge appropriately (Woolfork, 2016). The use of emotions to convey ideas and messages, as well as the fostering of emotional intelligence might be aided by the comic form. Teachers can guide their students to think about how certain historical actors reacted in certain situations and how to use emotions to convey ideas. How did Loyalists react to the reading of the Declaration of Independence? Can students imagine and capture this sentiment? Students can learn to draw emotions and through peer editing and collaboration, can decipher the emotions of peer’s characters. In the opening chapter, I argued that emotions are crucial to politics. It might be a great disservice to portray politics and social studies solely as a rational, objective endeavor. Whatever the merit of using emotions in politics, the fact is, they must be contended with. Politicians can appeal to emotions in a number of ways. Further, this appeal can be depicted with comics, with a number of different devices which I have students consider. In real life politicians can use emotional language and appeals, they can integrate props and symbols, they can also use gestures and facial expressions. All of this can be shown in comics. In comics, the use of encapsulation, or the selective showing of events, can also be utilized. What politicians chose to say or show, or chose to not say or show, can have a huge impact. If we are only

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told part of a story, it may inflame our emotions—the redacted part might provide more clarity and we may be able to understand why someone acted the way he or she did. The sequential nature of comics also lends itself to this. What is said first? What follows? How do politicians build their stories or speeches? For this assignment, students are to get their hands dirty with the emotional context and then draw it. Students are to find a news article, video clip, or television clip where a politician is obviously feeding on emotions. This can be an article from a present politician or past, such as Hitler. Again, like many of the assignments in this book, the teacher may want to supply these, at least at first. Teachers may also want to model an example as well and instruct them on what a thumbnail is (Abel & Madden, 2008). Essentially, students are to map out the emotional features of a news article in comic form, specifically in a thumbnail. Emotion Thumbnail Assignment Directions: Answer the questions below. 1. Pick a news article, video clip, or television clip where a politician is specifically appealing to the emotions of his or her constituents. Argue why you think this is the situation. What evidence can you provide that the politician or public figure is utilizing emotion? 2. Draw a sequence of the speech or rally. Map out what is said and how it is said. How do the politicians utilize emotions to get his or her message across? What emotions specifically is the politician appealing to? How might readers react (look at the comments here as well) or how do the attendees react? Why do you think this? Write your answers. 3. Try to depict the answers to question two in a thumbnail. If constituents are shown reacting draw that. If they are not shown, how would you imagine them reacting? Some points to consider: (a) Facial expression (b) Body language and gestures (c) Words and verbal appeals (d) Symbols (e) Sequentially: what is said first, what follows? How does the politician build their speeches or rallies?

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If the class or a group is assigned the same article, members can then compare their thumbnails upon completion. Students could also be made to present their ideas to the class and show how and why they drew what they did.

Worldbuilding and Geography Another essential plank of comics is worldbuilding (McCloud, 2006). Thompson (2018) also stresses the importance of worldbuilding in comics. McCloud (2006) outlines some strategies for effective worldbuilding in comics, specifically by focusing on the angle of the shot, attention to depth, the level of detail in the drawing and the absence of word balloons, which gives the impression of silence (Thompson, 2018). Through a social studies lens, worldbuilding can be related to an understanding of geography, place, environment, and human interactions in the environment. Students can use art to describe and understand places and the interaction of people and places (see the National Council for Social Studies standards for the importance of geography in the social studies). In his Geography of Nowhere, James Howard Kunstler (1993) argues that modern architecture, road building, and city planning can work to destroy the notion of public and civic spaces and any idea of the public good, because we are locked in suburbs and cars. If there is truth in this statement, students can use their comics as a way to design new places, with an eye to creating public and civic spaces and promoting the common good. There may be a fruitful intersection between geography and comics. Students can draw the places they know. They can use these places to build worlds in their comics. From Kunstler’s work, I began to understand the link between geography, democracy, and citizenship. The ways that cities and towns are planned and laid out has a crucial impact on how citizens can interact with each other. The existence or lack thereof of public spaces is an important consideration. Reading this work made me think of my own house and neighborhood, and more specifically, the civic potential my neighborhood might possess. This became the foundation for the assignment below. Below is an example of how students can consider the civic potential (or lack of it) of their neighborhood. I live in a modest-sized house. I am not in a development, but I am surrounded by other houses, yet my house is somewhat secluded by strategic landscaping. Nevertheless, my back yard is open and not divided from my neighbor’s yard on the left if one were standing in the street, facing the

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house (but we are divided from our other neighbor on the right). Their children (of the people on my left) and my children utilize the open yard for all sorts of activities from sledding in winter to slip and slide in the summer. We live about a mile away from the center of town. My children can walk to the little locally owned drug store on the corner and buy cheap toys and snacks with their money. They can ride their bikes into town and go to a local restaurant and buy sodas. There is another local bakery close by. We also live about a mile from my daughter’s elementary school. In the summer we ride our bikes there and go to the playground. The point is that we have the opportunity for interaction with others and access to public space. This is not necessarily a public square, and of course there are whizzing cars on the main road, but the town does have a sidewalk. My children are not secluded in our house; they can walk into town. This may not seem like a huge benefit, but I think it is important that my children have access to some type of public place and local business. I give this example in class and draw it on the board. Geography is obviously a crucial plank of the social studies. Geography looks at the relationship between environments, places, and people (Chapin, 2015). Chapin (2015) argues that historians consider time, while geographers consider space, but of course these notions are linked. If history is the study of time and geography is the study of space, then comics can help to chronicle both. More specifically, students can use comics to study the history and geography of local places. Local history and geography is something I came to appreciate by accident. I lived on the east coast of the US state of Virginia for 11 years. This is also where I taught social studies. Here, I was inundated with history, from Colonial history, to Revolutionary War history and through the American Civil War. Now I live in Maryland, five miles from the Mason–Dixon Line. Again, I am inundated with history (Gettysburg National Military Park is roughly a 40-minute drive and union soldiers camped out in my little hometown prior to the battle). However, one does not have to have these monumental battle sites to teach local history and geography. Any locality can be used for this purpose (Marino & Crocco, 2012). It just takes a little research and prep work to figure out what happened in any given place. The point is, social studies teachers can and should utilize all of the resources available to them. Moreover, their locality is a tremendous resource with easy access (Chapin, 2015). Marino and Crocco (2012) offer a case study for integrating local history into classroom instruction. They posit four points for students to

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consider when assessing local history; events, themes, people, and buildings. Instead of just considering events, students can look at themes and situate the locality in larger themes that were affecting the country, such as urbanization or industrialization for example (Marino & Crocco, 2012). Looking at different groups of people that live in a community can be especially pertinent to study immigration (Marino & Crocco, 2012). Looking at buildings can also be very fruitful. Marino and Crocco (2012, 234) argue that the “it happened here approach” is a starting point, but it should not be the end. Acknowledging that something important happened in one’s locality can be a way to spark interest, but students can go much deeper than this (Marino & Crocco, 2012). Students can look at the actual location and consider different geographic questions such as distances to major cities and how travel was different in earlier centuries (Marino & Crocco, 2012). Students can create timelines of their locality as well as perform a “neighborhood quest” where they examine different features of their neighborhood such as local businesses and buildings (Marino & Crocco, 2012, 239). Students can create a “then and now” project of a street. They can obtain a photograph of how a street or building used to look and compare this photo to a modern photo (Marino & Crocco, 2012, 239). Chapin (2015) similarly argues that students can contextualize the changes experienced by a local community in larger national and international trends occurring at time. Smith (2018) calls attention to the issues of mapmaking, and the phenomena of street names, both of which can help students in the assignments below. Smith (2018) argues that maps, by necessity, are untruthful. This is because maps must include certain details and omit others in order to be of use. While this feature is unavoidable, mapmakers can at least mitigate it in certain ways (Smith, 2018). There are also more purposeful lies that mapmakers tell, however; maps can be used to establish a preferred vision of space and silence competing accounts. Specifically, Smith (2018) looks at the importance of street names, and how these street names, which must be officially sanctioned by a government, convey preferred histories and versions of events which may be problematic. If maps must include certain details and omit others, this process of inclusion and omission can also be likened to the notions of encapsulation, as well as syntagmatic and paradigmatic choice. McCloud’s (1994) aspect to aspect frame transition can be useful to get students thinking about place. McCloud (1994, 72) notes that the aspect to aspect transition “bypasses time for the most part and sets a wandering

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eye on different aspects of a place, idea or mood.” Students can use the aspect to aspect transition to highlight different aspects of a local place. Or students can look at the intersection of time and space. Eisner (2002, 46) featured a cartoon called “A Short History of America,” by famed cartoonist R. Crumb. On the page there are 12 frames. Each frame shows the same place, just at a different time. We go from a pasture to a bustling intersection. This or a variation of this assignment can be a great way to teach local history and geography. This activity also aligns somewhat with Marino and Crocco’s (2012) then and now activity. Finally, the nonlinear potential of the comics form (Cabero, 2019; Miodrag, 2013) can also be utilized in these assignments, by allowing students to think outside of strict sequence and linear causation in regard to place. Below, I offer some examples of assignments which utilize the ideas above. Note: The example referenced in the assignment below is the verbal description and quick sketch of my own neighborhood that I provide to my class, which I outlined above. There is tremendous variation for the second question. Draw Your Neighborhood Assignment Directions: Consider the Kunstler reading and the example provided. Do the same for your neighborhood. 1. First, give a brief written account of your house and neighborhood (like I did). Some things to consider: Do you have access to any public space? Are there sidewalks or public parks? Are you in walking distance to any local businesses or other points of interest? What are some barriers that might limit civic participation or at least simply meeting and talking with other people? If possible, consider the names of streets and their meanings. 2. Drawing on McCloud’s (1994) notion of aspect to aspect transitions, create a page where you show different aspects of your neighborhood. You may want to create a traditional nine-panel grid page (or you may want to use a different variation of frames, it is your choice). In each panel, draw an aspect of your house and neighborhood. Use text to give a brief explanation. Remember, the pictures are not just an add-on. Use the pictures to show what cannot be adequately expressed in words. Show the civic potential,

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do not just state it. You can include people in the drawings as well. Think also of the angle you utilize to show the geographic location. 3. Remember, you are encapsulating an area. You must by necessity omit and include certain details. Think about what you include and omit and why you do this. Write a brief description of how you went about this process. Pick a Local Spot Assignment Directions: Answer the questions below: 1. Pick a spot in your hometown with local significance. This should be a place that you can easily visit. 2. Research the event. Use historical placards, the internet and talk to town residents. Also, if possible, consider any relevant names of the streets or areas and if and how this information plays into the history of the event or historical understanding of the place. Create a onepage comic illustrating this local event. Utilize the sequential nature of the comic medium to show cause and effect and successive frames. 3. Here, you must also try to capture what the place looked like when the event happened. You will have to use your research for this. However, depending on when the event happened, you can also use details from the present. Even if the event happened a century ago, you can still determine what has changed and what has stayed the same. For the things that have changed you must try to sketch them as you think they looked based on your research. For things that are similar, be meticulous and sketch them as best you can from real life. Place Through the Years Assignment Directions: Answer the questions below: 1. Review the handout which contains the cartoon from R. Crumb. Consider how places change over the years. 2. Pick a place in your hometown. Divide your page up into 10 frames. In each frame you must draw the same place. However, in each frame, a certain number of years must have elapsed. So, a frame

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page, where each frame is equivalent to 10 years, would show change over a century. 3. You obviously cannot see what the place looked like in the past. For this, you will need to research. You can consult old photographs, talk to town residents or the town historian and use the internet. For the things that have changed you must try to sketch them as you think they looked based on your research. For things that are similar, be meticulous and sketch them as best you can from real life. 4. Write a brief reflection on the changes that you sketched. What changes did you see? Why do you think these took place? 5. Finally, create another 10 frame page. Sketch what you think the town will look like in 100 years (This does not have to be 10 frames. It might be difficult to sketch 10 different decades for this component of the assignment. This could be limited to two or five frames). Write a brief reflection and discuss why you sketched what you did. 6. Think about all of the changes and consider Kunstler’s ideas. How has the civic potential of the place grown or decreased with the changes? Can you sketch one more frame to show how the civic potential of the place could be enhanced? The next exercise is meant to be done at a national park or state or county historical site. Field trips can be wonderful opportunities, but teachers must exercise great care and planning, as well as make sure field trips are meaningful and related to instruction (Banks et al., 1999). As noted earlier, and as it pertains to local history, Marino and Crocco (2012) posit that examining larger themes and situating a locality in those themes can be fruitful. For this assignment, students are to go to a historical site and create a short sequence of events that took place at the site. This could also be done with the use of a virtual field trip (Chapin, 2015). Of course, the teacher will need discretion here because different sites will require different types of sequences (so, the sequence drawn at the Battle of Gettysburg site will look different than the sequence at the Brown versus Board of Education site). The next question has students draw a large circle around the sequence (large enough to draw more pictures inside). Inside the circle, students are then to draw wider themes that were affecting American society. The point here is to think beyond the event and situate the event—visually—in those larger themes. I also think that this exercise can at least touch on the notions of nonlinear considerations, as well as demonstrate nonconventional reading patterns. The

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large circle around the sequential events may help students think larger than the sequence. Visit a Local Attraction Assignment Directions: Answer the questions below: 1. Draw a sequence that could have taken place at this site. Use the information you learned from placards, tours, and brochures to construct this sequence. Think here of what actually to encapsulate. 2. Next, draw a large circle around your sequence. Make sure to leave enough room inside the circle to draw some more pictures. 3. Consider what time period your sequence took place in. Think about what larger events could have been taking place in the United States at that time and how those larger events may have impacted the events in your sequence. In the larger circle, draw some of those events. 4. Link the events in sequence to the larger circle with some phrases/text. However, do not write too much. 5. Comment on one other classmate’s cartoon. I assigned this exercise to my social studies methods class and have included one of my student’s drawings (Fig. 4.1). We visited the Hampton House in Towson Maryland, which was owned by a prominent family in Maryland, the Ridgely family. The Ridgley family also owned a large number of slaves (see the details here: https://www.nps.gov/ hamp/index.htm). As the assignment instructed, my student first drew a sequence where he depicted different scenes from the history of the house, such as slaves working and the Butler performing tasks. In the wider circle, he drew wider themes, such as the American Civil War and the Great depression. In the space for reflection, he commented on each frame and picture by utilizing what we learned in the house. I believe that he was able to situate the specific events of the house in the wider actions and themes taking place in America at the time. Further, he was able to utilize the information from the tour in a creative way (Fig. 4.2).

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Revolution

Commerce

The Great Depression

Deprivations of war

Emancipation Fig. 4.2 Student example of visit to a local attraction assignment

Pop Culture Comic books have always had a relationship with wider culture and society. Wright (2003, xiii) argues “to critically examine the history of comic books is to better understand the changing world of young people as well as the historical forces intersecting to shape it.” Comics are also a commercial and profitable endeavor. They need to make money to keep going (Wright, 2003). In order to turn a profit, comic book creators search for formulas or certain themes and stereotypes which become stories (Wright, 2003). These formulas must appeal to the intended audience and are shaped by those who produce comics and those who consume them, but also by “historical conditions” exerted on these groups (Wright, 2003, xv). Wright (2003, xv) asserts: “Formulas, therefore, are essentially historical constructions, and they are central to understanding comic books as history.” One such formula was the notion of Superman. The consideration of these formulas can be an important consideration

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for students. What sells? Why does it sell? What themes are present? What do these themes and ideas say about our society? Ultimately, comic books (like any other lucrative business) must appeal to the customers. The customers and consumers are indispensable in understanding the impact of comics. Another intersection between comics and wider society is that of fan culture. The notion of fan culture may also be a fruitful area of study for citizenship. For one, many fans are not simply passive spectators, but maintain a “participatory presence” (Alaniz, 2016, 70). Moreover, Duncan and colleagues (2015, 299) define a fan as “someone who wants to take part in the dialogue about the medium.” Moreover, this dialogue takes place in a community of fans, either in person or online (Duncan et al., 2015). Fans of comics actually create a culture even if they do not create the characters (Duncan et al., 2015, 322). And as has been noted throughout the book, the meaning of texts is highly dependent on individual readers. Furthermore, fans can be political. Jenkins (2014, 65) calls this “fan activism,” which is essentially when fans utilize their common knowledge as a means of civic participation. Jenkins (2014, 66) specifically examines the notion of “cultural acupuncture,” in which features of a fictional universe are mapped onto real life. Cultural acupuncture allows for fans to utilize their common language and metaphors to help describe and make sense of a situation. Fans of a particular story or universe draw on the shared symbols or the “cultural currency” of the story to frame events and act politically (Jenkins, 2014, 68). Jenkins (2014) shows how this mapping is accomplished with the Harry Potter Association (HPA). The HPA, composed of volunteer and part-time employees, and works for political change in a number of causes, all while utilizing the language and ideas of the Harry Potter Universe. One example is the use of “Waldemart” to critique Walmart. Full disclosure: I am not a Harry Potter fan, I just never got into the franchise. However, even I know enough about it to understand the points that Jenkins makes. Even as someone who has not read any of the books, I still immediately understand the connection. The HPA has used similar devices to critique other phenomena and call for action. Jenkin’s arguments about the HPA can be applied to comic book universes. I have specifically argued that they can be applied to the Batman universe and other such rich and complex universes in comics. I presented some of these ideas at the Batman in Popular Culture conference held

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at Bowling Green State University in April of 2019. I have also spoken about these ideas on the Sectarian Review, which is a podcast that deals with all sorts of pop culture issues and trends and their relation to wider society (https://www.sectarianreviewpodcast.com/episodes-andshow-notes/episode-124-civics-art-and-batman). This podcast broadcasts out of Mt. Aloysius college and is on the Christian Humanist Network. The founder, Danny Anderson, interviews professors and other experts on a wide range of pop culture issues. There are some excellent podcasts which deal specifically with comic book issues. I mention the conference and podcast because they are excellent examples of pop culture resources for students to utilize. Wright’s (2003) arguments also form a nice compliment to Jenkins (2014). In a sense, I read Wright’s arguments as using comics as a mirror of society, whereas drawing on Jenkin’s arguments, we can use comics as a map of society. As such, the assignment below draws on both Wright and Jenkins. As with most of the assignments in this book, this assignment could be done in a number of different ways. Instructors will have to decide how much material and instruction to provide. For the exercise below, I have students reading an excerpt from Wright and from Jenkins. I also focus on the Batman universe, but a teacher could have students pick their own fictional comic universe or assign different ones. This may be an assignment where students should select what they love. If students are not comic readers, an alternate assignment could be given or a universe assigned. This assignment might work best as a take-home project or paper. Finding comics and using them as primary sources (as Wright did) is a form of research and students could be made to understand this (plus it is fun!). Pop Culture Assignment Directions: Answer the questions below: 1. Read the excerpt from Wright (2003). Find a Batman comic (or at least an excerpt) from each decade starting in the 1940s online. For each comic, give some examples of how it might reflect larger cultural trends. Use the text and pictures to serve as examples of wider trends which you have read about and studied in class. 2. Read the excerpt from Jenkins (2014). Look through the comics you selected for question 1. In addition, look through the excerpts

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from these important Batman comics: The Killing Joke, Batman White Knight, Morrison Comics, etc. as well as any other Batman comics that are relevant. Read fan blogs, letters to the editor, etc. (see: http://www.42entertainment.com/work/whysoserious and https://numberonebatfan.wordpress.com/ as examples). Read the conference proceedings to the Batman in Popular Culture Conference. You can visit the DC Comics website to better understand the characters in the Batman universe. 3. Now, use the Batman mythos and its shared meanings to critique some aspect of society. Here, think of the Batman universe as a “map,” which can show where the flaws in our own society exist. Use the shared meanings of the Batman Universe to accomplish this task. From my experiences implementing these activities in class, I found that providing students examples of what is required is good practice. Following Thompson (2018) and Carter (2013), it is also good practice for professors to create along with their students. Question three, the heart of the assignment, may be overwhelming and vague. So, for this exercise, I created my own example to show students. I have also shown this example at the Batman conference. Part of this artwork is also featured on website for the Sectarian Review. Again, the point here was to utilize the Batman universe in two ways. First, to see it as a mirror of our own society, and secondly, to use it as a map to critique existing society. I created an example of a map or the practice of cultural acupuncture. Fans have presence and power, they discuss comics, and they can be political. This assignment utilizes these ideas. For my example, I worked from Alan Moore and Brian Bolland’s The Killing Joke and utilized the Joker to make a political critique. Of course, I am not the first to do this. A Google search of “Uncle Sam Joker” yields a number of different images and variations, some with comic covers featuring the Joker in that position. Wessels and Martinez (2015) examine how many in the Tea Party movement utilized the image of the Joker to critique what they saw as shortcomings of the Obama presidency. In addition, Heldenfels (2015) argues for a Marxist reading of the Joker, while Litsey (2015) views the Joker in Nietzchean terms. The point is that there are a number of political and/or philosophical arguments that can be made of the Joker. As a fan, I utilized elements of the Batman universe

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to make my political points. So, I situate my analyses of the Joker in this context. My use of the Joker is not an isolated image, but one that relies on sequence and an already established reference (the Moore/Bolland comic). I focus on the comics. I utilized the page when Joker becomes the Joker. He just finished his swim in the toxic chemicals. I kept the same overall panel structure and layout. But, I “mapped” what I saw as Joker’s transformation (into the Joker) and his nihilism to aspects of American government and society. In the background of the first panel, I have the capitol building. I changed the last panel of the page, the panel where we see the Joker for the first time. Instead of Joker running his hands through his hair, I have the Joker dressed as Uncle Sam, pointing at the reader with a hideous smile. There are also newspapers swirling around with images of the military and the stock market. I used specific images for this mapping. I used the Capitol Building to symbolize government and politics (I made a deliberate choice to use the capitol building and not the White House, as I wanted this to be a bipartisan critique), I used Uncle Sam Joker to criticize the transformation of our government. I also have written new words in the panels which read: We are watching/the transformation/of democracy/into/a joke/or maybe/its just returning/to its natural state/maybe/this is the truth. I saw Joker and his transformation as a symbol of our own democracy. I was trying to convey the notion that our republic is a joke, or transforming into a joke. But this transformation may really be its natural state revealing itself. Of course readers can interpret these words any way they want. There is also obvious crossover with the symbolism and imagery in this chapter, and this assignment could plausibly have been included in the next chapter. Prior to completing question three, it might also make sense to lead a discussion of how certain elements of a particular fictional universe can be used to critique a society. This can be a fun exercise (which I undertook at the conference). Below, I have listed some ideas. Batman is a vigilante, and as such, he breaks the law. However, this situation could be used as a way to discuss political theory, specifically legitimate government as posed by John Locke. In a nutshell, citizens have a responsibility to follow the dictates of their government when that government is legitimate. Governments are legitimate when they uphold the citizens’ natural rights of life, liberty, and property and these governments require the obedience of the people (Uzgalis, 2019). If the government does not uphold these rights, its end of the social contract, citizens can revolt (Gutek, 1995; Uzgalis,

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2019). Perhaps the government of Gotham City is not upholding their end of the contract because it does not protect the citizens, and Batman is a type of revolution. Batman’s wealth is criticized in the graphic novel Batman: White Knight. In this book, Batman is not seen as some savior, but as a greedy capitalist who does not defend the citizens of Gotham City, but rather, protects the capitalist order and the riches of the 1%. As mentioned earlier, Poison Ivy’s actions can be used to critique environmental issues. Poison Ivy is an eco-terrorist and she puts the welfare of plants and the earth above those of humankind. This is an interesting prospect. There are a number of legal issues that abound in Batman, from the use of violence and the death penalty to corruption and the use of psychiatry in the legal system. All of these can be mapped to our society. Batman’s philanthropy can also be used as a point of critique. Wealthy philanthropists such as Bill Gates wield tremendous power in today’s society (as did the Carnegies’ and Rockefeller’s of the past). How much should we rely on government action and how much should we rely on philanthropy to solve social problems is a question worth exploring. There is a great scene in White Knight where Gordon says to Batman “If you really wanted to stop crime, you’d give me a fleet of batmobiles and thousand utility belts so I could distribute them to the real heroes out there— the men who are brave enough to show their faces!” (Murphy, 2017). Batman and the exploits of Bruce Wayne can be mapped to this question. These are some examples. Teachers can lead their students in discussion before the assignment so students will have some idea.

Mythology As also noted previously, comics and stories in pop culture can be thought of as a modern form of myth (Cook & Frey, 2017; Halsall, 2018; Novak, 2014; Vandiver, 2000). Vandiver (2000) asserts how many of the stories in pop culture, such as the Terminator movies, share similarities with ancient myths. She contends that this familiarity is part of the appeal of these stories. We as a society have been inundated with mythical stories for 2500 years. She (2000, 192) writes “These stories are appealing because twenty-five centuries of repetition have made them familiar and have built them into the texture of our minds.” In addition, as also mentioned in Chapter 2, Vandiver (2000) argues that our mythmaking

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impulse has been turned to the future, toward our descendants. She also ponders what other genres besides science fiction might utilize mythmaking. With this in mind, students can use the comic book form to create their own myths. However, an important element in this creation could be the reliance on pre-established myth as a sort of template. In practical terms, this reliance on a template can also ground the assignment in the curriculum and standards that many teachers must teach. There are some practical concerns of this assignment that the teacher must consider. Will this be a larger assignment which spans a few class periods, or a smaller one which only spans one or two? The example below is for a shorter assignment but this could easily be expanded. As with many assignments in this book, teachers will have to decide how much time they will use to explain and discuss relevant information with their students that pertains to the assignment (e.g., Vandiver’s arguments that mythmaking is now turned to the future, comic terms such as encapsulation, etc.). The other consideration is similar to Chapter 2 and deals with the use of a graphic adaptation. For the exercise below. I am using Hinds’ Odyssey. However, if no graphic adaptation exists for a specific myth, teachers can modify the questions. Question two can be eliminated. I have only included it so students can get a sense of encapsulation. I assigned my own children a variation of the assignment below when I homeschooled them during the COVID-19 crisis. My 6-year-old daughter, who was enthralled with the story of the Helen of Troy, created a short comic where a beautiful woman leaves her husband. Modern Mythology Drawing Assignment Directions: You will create your own myth, using an ancient myth as a template. You are trying to answer the question: What does your myth say about your society? Keep this in mind at all times. Your new myth is a visual answer to this overarching question. 1. You should now have a basic understanding of the Odyssey. If you had to condense the story to only a few lines, what would you say? Write this condensed version down. This should be no more than a paragraph. 2. Look at Hinds’ graphic adaptation of the Odyssey. Consider his encapsulation of the story. Select five scenes that Hinds decided to

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represent. Why do you think he chose to include these events and why do you think he represented them the way he did? 3. Now take that condensed version you wrote in question 1 and use it as the basis for a new story, set in the distant future. How can you rework the elements of the story to say something about our own culture and society? You can hug the story closely or deviate. But the basic story should be of someone trying to get back to someone and facing a number of obstacles. Write a brief description. 4. Take the description you wrote in question three and use it to create a thumbnail of at least five sequential panels. After you create your thumbnail, write a brief description justifying why you chose to represent the scenes you did. 5. Exchange comics with a classmate. Compare it with what you have done. What scenes did you choose to encapsulate as compared to what your classmate chose? What are some of the effects of choosing the scenes you did as opposed to what your classmates chose?

Current Events and Political Cartoons Political cartoons are powerful mechanisms to convey political messages and can be used in social studies education (Chapin, 2015; Wolsey, 2008). So, there is obviously a natural link between the visual and the text in representing and understanding historical and current events. The exercise below builds on this link. I utilized this exercise in my Education Law Class. That class centers on Supreme Court case law. I wanted students first to consider political cartoons, which many have familiarity with, and then build off that familiarity and move on to sequential art. I had discussed pertinent ideas about the comic’s medium with them, and had given them the cheat sheet. Sequential Law Assignment Directions: Answer the Questions Below. 1. Consider the many cases we have examined so far. In addition, consider the underlying legal themes of those cases. Here some examples of themes:

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• • • • • •

Freedom and speech and its limits/forums Compelling state interests Free expression and establishment clause Right to privacy Technology and the law Others?

2. Consider the long history of political cartoons and the use of cartoons in the political arena. Read the excerpts. Discuss as a class. Use a mobile device and search for some political cartoons for inspiration. Also think of the images we looked at in class (e.g., Nettie Hunt and Bellamy Salute). 3. Next, consider how some of these themes or ideas might be able to be represented visually. You can think of these themes more generally or as they relate to your school. I want you to go beyond a cartoon and actually try your hand at sequential art. Consider some of the points from the cheatsheet. The objective is to use images and text to tell a story or at least convey an idea differently than could be done using academic language alone. I assigned this activity to the class, but gave until the next class to complete it. I also had students present their comics in class which helped to generate some great discussion. One student visually represented three court cases we had studied which dealt with free speech (see Fig. 6.2). The student used a sequence to show these cases in order. I examine this comic in more detail in the assessment section in Chapter 6. Some journalists have turned to comic’s journalism (Nyberg, 2012). Nyberg (2012, 116) asserts “As a genre of nonfiction comics, comics journalism combines the form of comics with the conventions of journalism.” One notable comics journalist is Joe Sacco, who created graphic novels from his time spent covering the events in Bosnia and Palestine. Discussion of current events can also be valuable in the social studies classroom (Chapin, 2015). From my own experience as a social studies teacher for 11 years, I heavily utilized current events in my modern world history classes. Students had to hand in current events for the entire year. I had students find two articles, summarize them, and then link the articles to something we have studied in class. (I once had a student link an

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impending snowstorm to Napoleon’s defeat in Russia.) I believe that this assignment bridged the gap between the past and present. The assignment below combines all these elements and has students utilize the comics format for the current events assignment. Teachers may want to provide an example. Comics Journalism and Current Events Assignment Directions: Answer the questions below. 1. Review the excerpts from Sacco. Look for other examples of comic journalism. 2. Select an article from a major newspaper. Identify the main point of the article as well as the important details. Turn the article into a graphic narrative/comic strip.

Museum Education Taking students to museums offers a great opportunity to learn (Chapin, 2015; Winstanley, 2018). Moreover, Winstanley (2018) asserts that John Dewey saw museums contributing to civic life. While it is generally accepted that museum education is very beneficial, there are still questions on how best to approach and maximize the educational potential of museums (Winstanley, 2018). This situation may be ideal for the utilization of the comics form. (I also argue something similar for field trips in the next chapter.) The exercise below does not speak to modifying the actual museum experience however, rather it simply provides a different way for students to interpret what they see at the museum. Winstanely (2018), argues that students need to reflect on their experience in the museum to make it worthwhile. Drawing off Dewey, “reflection entails making connections and relationships between the existing activity and previous knowledge, ideas and experiences, helping people to create meaning” (Winstanley, 2018, 428). The use of student comics may help students accomplish this task of reflection. This assignment could also be done by utilizing a virtual tour (Chapin, 2015).

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Creating comics about their museum experience can be a fun and informative way to maximize this experience and inspire reflection. The assignment below has students selecting (or encapsulating) different things they learn from a museum to create a comic. Of course, this will vary by museum. I have been to a number of museums as a child and adult. Growing up in New York City, I frequently visited the Museum of Natural History. I have also been to the Smithsonian. Both of these can be overwhelming. As a social studies methods instructor, I take my students to the Maryland Society Historical Museum in Baltimore Maryland, which is a little less overwhelming. This museum chronicles Maryland’s history. I have created the assignment below with this museum in mind. Educators will most likely need to tailor this activity to a specific museum. I give my students a cheat sheet with this assignment. This assignment can help students create order (through sequence) from a wide array of facts and information. Museum Education Assignment Directions: Answer the questions below. 1. Select five different events from the museum. You can select one event from each century (1600s, 1700s, 1800s, 1900s, and the 2000s) or you can just select five events without regard to when they occurred (e.g., two events in the 1700s, two in the 1800s, and one in the 1900s). 2. Write a brief one-sentence summary of the event and why you think it is important. These events should have some continuity. So, maybe they all deal with slavery in Maryland, or with riots and disturbances that have occurred in different centuries in Baltimore. 3. Draw each event and utilize the features of the comic medium. (a) Think here of what scenes to encapsulate, as well as emotions and gestures characters you draw, and take note of the background. (b) Think also of sequencing and how the scenes are related to each other. 4. Post your comic to the discussion board on Joule (my universitie’s LMS). Critically comment on how one of your classmate effectively utilized one of the features from the cheat sheet.

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By the time I implemented this assignment, I kind of had an idea of what I was doing. One of my students depicted various riots and mob activity that had taken place in Baltimore over the last three centuries. Here, the art style helped to convey the message. The art is frantic and helps to convey a sense of confusion that characterizes this type of event (Fig. 4.3). Another student’s comic (Fig. 4.4) featured a brilliant use of strategic color. Her comic, which was all in black and white, had a red line in the fourth frame which runs through the city of Baltimore. My student was trying to show how the practice of redlining had hurt the development of Baltimore. I thought both of these examples demonstrate how the comics medium can help students reflect on and make sense of their museum experience in new creative ways. Description of Figures Figure 4.1: My students created a game board, and each person in the Common School Movement had a different path to take. I thought this formulation truly showed a nonlinear take on some of the complexities of the Common School Movement. Figure 4.2: This is an example of a student-created comic for the local history assignment. In this example, the student drew a sequence of events which helped to depict some events associated with the site, which was a historical mansion. The student also surrounded this sequence by larger historical events and themes which could have impacted the events shown as well. Figure 4.3: This is an example of a student-created comic for the museum comic assignment. Here, the art style helped to convey the message. The art is frantic and helps to convey a sense of confusion that characterizes this type of event.

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Fig. 4.3 Student example of museum comic

Figure 4.4: This is another example of the museum comic. Here the student used color in an intriguing way to convey the idea of “red lining.” She drew an imposing red line through her depiction of Baltimore.

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Fig. 4.4 Student example of museum comic #2

References Abel, J., & Madden, M. (2008). Drawing pictures & writing words: A definitive course from concept to comic in 15 lessons. New York: First Second. Alaniz, J. (2016). Standing orders: Oracle, disability and retconning. In Z. Wahlen, C. Foss, & C. Gray (Eds.), Disability in comic books and graphic novels (pp. 59–79). New York: Palgrave Macmillan. Banks, J. A., McGee-Banks, C. A., & Clegg, A. A. (1999). Teaching strategies for the social studies: Decision-making and citizen action (5th ed.). New York: Longman. Barone, T., & Eisner, E. (2012). Arts based research. Thousand Oaks, CA: Sage. Cabero, E. (2019). Beyond linearity: Holistic multidirectional, multilinear and translinear reading in comics. The Comics Grid: Journal of Comics Scholarship, 9(1):5, 1–21. Carter, J. B. (2013). “What the—?” Pre-service teachers meet and grapple over graphic novels in the classroom. In C. Syma & R. Weiner (Eds.), Graphic novels and comics in the classroom (pp. 58–72). Jefferson, NC: McFarland.

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Chapin, J. (2015). A practice guide to middle and secondary social studies (4th ed.). New York: Pearson. Chilcoat, G. W. (1993). Teaching about the civil rights movement using studentgenerated comic books. Social Studies, 84(3), 113–118. Cohen, J., Pickeral, T., & Levine, P. (2010). The foundation for democracy: Promoting social, emotional, ethical, cognitive skills and dispositions in K-12 schools. Inter-American Journal of Education for Democracy, 3(1), 74–94. Cohn, J. (2009). Mise-en-page: A vocabulary for page layouts. In S. Tabachnick (Ed.), Teaching the graphic novel (pp. 44–57). New York: Modern Language Publishing. Cook, M. P., & Frey, R. (2017). Using superheroes to visually and critically analyze comics, stereotypes, and society. SANE Journal: Sequential Art Narrative in Education, 2(2), Article 1. Cromer, T., & Clark, P. (2007). Getting graphic with the past: Graphic novels and the teaching of history. Theory and Research in Social Education, 35(4), 547–591. Duncan, R., Smith, M., & Levitz, P. (2015). The power of comics: History, form and culture (2nd ed.). New York: Bloomsbury. Eisner, W. (2002). Comics and sequential art: Principles and practices from the legendary cartoonist. New York: W. W. Norton. Getz, T., & Clarke, L. (2011). Abina and the important men. A graphic history. New York: Oxford Press. Groensteen, T. (2013). Comics and narration. Jackson, MS: University of Mississippi Press. Gutek, G. (1995). A history of the Western educational experience (2nd ed.). Long Grove, IL: Waveland Press. Halsall, A. (2018). What is the use of a book…without pictures or conversations? Incorporating the graphic novel into the university curriculum. In A. Burger (Ed.), Teaching graphic novels in the English classroom: Pedagogical possibilities of multimodal literacy engagement (pp. 87–102). New York: Palgrave Macmillan. Heldenfels, R. D. (2015). More than the hood was red: The Joker as Marxist. In R. M. Peaslee & R. G. Wiener (Eds.), The Joker: A serious study of the clown prince of crime (pp. 94–106). Jackson, MS: University of Mississippi Press. Jenkins, H. (2014). Fan activism as participatory politics: The case of the Harry Potter alliance. In M. Ratto & M. Boler (Eds.), DIY citizenship: Critical making and social media (pp. 65–72). Cambridge, MA: MIT Press. Kelley, B. (2010). Sequential art, graphic novels, & comics. SANE Journal: Sequential Art Narrative in Education, 1(1) Article 1. Kincheloe, J. (2001). Getting beyond the facts: Teaching social studies/social sciences in the twenty-first century (2nd ed.). New York: Peter Lang.

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Krathwohl, D. (2002). A revision of Bloom’s taxonomy: An overview. Theory into Practice, 41(4), 212–218. Kunstler, J. H. (1993). The geography of nowhere: The rise and decline of America’s man-made landscape. New York: Touchstone. Larson, B. E. (2017). Instructional strategies for middle and secondary social studies: Methods, assessment and classroom management (2nd ed.). New York: Taylor Francis. Litsey, R. (2015). The Joker, clown prince of nobility: The ‘master’ criminal, Nietzsche, and the rise of the Superman. In R. M. Peaslee & R. G. Wiener (Eds.), The Joker: A serious study of the clown prince of crime (pp. 179–193). Jackson, MS: University of Mississippi Press. Marino, M. P., & Crocco, M. S. (2012). Doing local history: A case study of New Brunswick, New Jersey. The Social Studies, 103, 233–240. https://doi. org/10.1080/00377996.2011.630697. McCloud, S. (1994). Understanding comics. New York: Harper Perennial. McCloud, S. (2006). Making comics. New York: Harper Perennial. Miodrag, H. (2013). Comics and language: Reimagining critical discourses on the form. Jackson, MS: University Press of Mississippi. Murphy, S. (2017). Batman: White Knight. Burbank, CA: DC Comics. Novak, R. J. (2014). Teaching graphic novels in the classroom: Building literacy and comprehension. Waco, TX: Prufrock Press. Nyberg, A. K. (2012). Comics journalism: Drawing on words to picture the past in Safe Area Gorazde. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 116–128). New York: Routledge. Potts, C. (2013). The DC comics guide to creating comics: Inside the art of visual storytelling. New York: Crown Publishing. Shealy, C. N. (2014). Our belief in belief. In C. N. Shealy (Ed.), Making sense of beliefs and values: Theory research and practice (pp. 3–18). New York: Springer. Smith, B. (2018). Engaging geography at every street corner: Using place-names as critical heuristic in social studies. The Social Studies, 109(2), 112–124. https://doi.org/10.1080/00377996.2018.1460569/. Sousanis, N. (2015a). Grids and gestures: A comics making exercise. SANE Journal: Sequential Art Narrative in Education, 2(1), Article 8. Retrieved from https://digitalcommons.unl.edu/sane/vol2/iss1/8/. Sousanis, N. (2015b). Unflattening. Cambridge, MA: Harvard University Press. Thompson, R. (2018). Writing through comics. In A. Burger (Ed.), Teaching graphic novels in the English classroom: Pedagogical possibilities of multimodal literacy engagement (pp. 43–66). New York: Palgrave Macmillan. Uzgalis, W. (2019). John Locke. In E. N. Zalta (Ed.), The Stanford encyclopedia of philosophy. Retrieved from https://plato.stanford.edu/archives/spr2019/ entries/locke/.

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Vandiver, E. (2000). Classical mythology: Part 2. Chantilly, VA: The Teaching Company. Wessels, E., & Martinez, M. (2015). The Obama–Joker: Assembling a populist monster. In R. M. Peaslee & R. G. Wiener (Eds.), The Joker: A serious study of the clown prince of crime (pp. 65–81). Jackson, MS: University of Mississippi Press. Winstanley, C. (2018). Learning experiences in museums: Harnessing Dewey’s ideas on continuity and interaction. Education 3–13, 46(4), 424–432. https://doi.org/10.1080/03004279.2018.1445476. Wolsey, T. D. (2008). That’s funny: Political cartoons in the classroom. In N. Frey & D. Fisher (Eds.), Teaching visual literacy: Using comic books, graphic novels, anime, cartoons, and more to develop comprehension and thinking skills (pp. 113–129). Thousand Oaks, CA: Corwin. Woolfork, A. (2016). Educational psychology (14th ed.). New York: Pearson. Wright, B. W. (2003). Comic book nation: The transformation of youth culture on America (2nd ed.). Baltimore: Johns Hopkins University Press.

CHAPTER 5

Drawing Symbolism and Leadership

Like Chapter 3, this chapter deals with leadership and symbolism. The focus in this chapter is on drawing leadership and symbols. This chapter, like the one before it, is situated in the cognitive task of creation (Krathwohl, 2002). The theories and ideas of leadership and symbolism outlined in Chapter 3 can help frame the leadership and symbolism assignments in this chapter.

Leadership Exercise The actions of leaders, both effective and ineffective, have been dissected by scholars and historians from time immemorial. The assignment below calls for students to select a leader and create a situation to illustrate. Teachers may want to give students a list of leaders. This can be done with famous (or infamous) leaders, assigned leaders and emergent leaders (Northouse, 2018). Studying emergent leaders may be a little trickier, but I think it would make a great assignment. Teachers and students could work to identify people who had no official power, but nevertheless exerted great influence. Further, the leader should be someone who is controversial, who students can really dig into and dissect. For example, a student could select the French Revolutionary leader Robespierre. Robespierre and the Committee of Public Safety did some questionable things during the Revolution. Nevertheless, upon further inspection, the short period © The Author(s) 2020 A. J. Letizia, Graphic Novels as Pedagogy in Social Studies, Palgrave Studies in Global Citizenship Education and Democracy, https://doi.org/10.1007/978-3-030-44252-1_5

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of the Committee’s rule has many interesting facets as well. Robespierre and the Committee of Public Safety were pursuing the creation of a country based on the ideals of the Enlightenment. Palmer (2017, 45) asserts: “The Reign of Terror was by no means the Reign of Darkness. Quite the contrary, it was, among other things, an attempt to force a new enlightenment on the century.” So I have selected Robespierre for this example. The discussion of leadership theories from Chapter 3 is utilized for this assignment. Can Robespierre be cast as a servant leader? An authentic leader? How can Robespierre’s actions be understood or presented in visual format? The assignment has students select episodes from Robespierre’s rule and illustrate them. Students could also focus on symbols such as the guillotine to offer a new and different understanding of this period. As mentioned in the previous chapters, students must also consider character position, emotional responses, shading, panels, and encapsulation, nonlinear considerations, and synecdoche to truly convey a myriad of ideas. A thematic statement can be of use here as well. A thematic statement is a sentence which captures the “unifying theme” of the story, is specific in nature, and contains a “primal element” such as love (Potts, 2013, 105). While the students are striving for accuracy in portraying the leader they chose, the students are putting their stamp on the work. The thematic statement can be used to achieve this task and give the students direction, as well as allow the teacher to see this direction early on. One student may think Robespierre is a monster, whereas another student may think he was an effective leader. When comics are finished, students can present them to the class and other students can give a critique or ask questions. (If done online, this can be done with comments on a discussion board.) Teachers will have to decide how to handle the presentation and discussion of student comics. Drawing Leadership Assignment Directions: You are to select scenes from the rule of a leader and illustrate those scenes. Answer the prompts below. 1. Write a thematic statement. What are you trying to show about your leader? Is he or she effective? Not effective? Cruel or kind? 2. Use the leadership chart. In your own opinion, what type of leader was this person? How did the person impact their people? Justify your answers.

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3. Encapsulation: Which scenes will you illustrate to capture what you wrote in the thematic statement? Why? What scenes are important to convey your message? 4. What features of the comic medium can you use to convey your message? (e.g., emotions and gestures, panel size, shape, and pacing). 5. When you are finished with your comic you will present to the class. You must select two of your classmate’s comics and write two questions for the creator. Students however do not simply have to focus on existing leaders. Rather, they can create fictional leaders, alternate universes, or postapocalyptic stories to convey these meanings. If students do create fictional leaders, it may make sense to have these leaders parallel real-life leaders. So, a Robespierre-like figure may command a region or nation in a post-apocalyptic world (Jessica Abel recounts how she created a story which combined the ideas of Euripides and space travel!). The fictional leader, based on reality, can give the student room to explore themes and not have to worry about being historically accurate. Further, if students do create a fictional leader and have more room for creativity, the notion of a story arc may be incorporated. Abel and Madden (2008) and Potts (2013) talk about the importance of the story or narrative arc for comics (and good writing in general). A story arc is some type of event or situation which disrupts that normal situation of the protagonist. A number of occurrences between the protagonists and antagonists then take place. Finally, there is the climax and a resolution (Abel & Madden, 2008, 127; Potts, 2013, 100). Teachers will most likely have to discuss the notion of a story arc, as well as protagonists and antagonists, with their students. Along with the story arc, other writing conventions can be introduced (depending on how long the assignment will be) which may include the thematic statements, the notion of conflict and genre expectations (Abel & Madden, 2008; Potts, 2013). Here, another component of the assignment can be added, which would be a question asking the student to compare and contrast the fictional leader that he or she created with the real leader that the fictional one was modeled on. So, if creating a fictional leader, the modified assignment below could be used.

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Fictional Leader Creation Assignment Directions: You are to create a fictional leader which resembles a real-life leader you have read about. You will create a fictional world. 1. Flesh out a brief story arc. What is the status quo, what event propels your protagonist to action, what are these actions, and what is the resolution? 2. Use the leadership chart. In your own opinion, what type of leader was this person? How did the persons impact their people? Justify your answers. 3. Encapsulation: Which scenes will you illustrate to capture what you wrote in the thematic statement? Why? What scenes are important to convey your message? 4. What features of the comic medium can you use to convey your message? (e.g., emotions and gestures, panel size, shape, and pacing). 5. Compare and contrast this fictional situation to the real thing. How does your leader compare to the real leader you selected? Why did you choose to deviate or keep things the same? 6. When you are finished with your comic you will present to the class. You must select two of your classmate’s comics and write two questions for the creator. Below is another variation of the leadership assignment. Illustrate a Leadership Theory Assignment Directions: Consult the leadership chart (located in Chapter 3). The main objective of the assignment is to visualize a leadership theory (e.g., How does servant leadership or authentic leadership look?). Answer the following questions. 1. Pick a leadership theory. Draft a short story arc of a fictional story involving a leader of this type. Your leader can embody the attributes of the theory or he/she could be missing these attributes. What situation does your protagonist face?

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2. Take the story arc and turn it into a minicomic. Think of how you can use the comic medium to show attributes which might be difficult to convey in text alone. Be sure to consider: (a) Encapsulated moments. (b) Panel size, shape, and frequency. (c) Emotions. One more variation of this exercise can incorporate non-Western ideas of citizenship. In keeping with that I have written about Buddhism, teachers can require students to research and draw a comic about a Buddhist leader. There have been a number of Buddhist leaders throughout history. Asoka and the Dalai Lama are some examples. The above questions can be utilized to create this assignment. Teachers can also utilize the ideas discussed in Chapter 3. I have also added some tasks below which can help to compare and contrast Western ideas of citizenship with Buddhist ideas. 1. Compare the differences between the Buddhist leader you chose and a Western politician. How does the adherence to Buddhist principles differentiate the actions of the two? 2. Create a post-apocalyptic leader that embodies the qualities of Buddhist political ideas. Buddhist Advisor Assignment Another leadership activity is called Buddhist advisor. It might make sense to assign the reading activity in Chapter 3 and work through the Buddhist leadership lens above so students have some familiarity with Buddhist leadership ideas. In this activity, students must pretend to be an advisor to a leader and apply those ideas. Teachers can decide which leader this will be. Teachers could have students find a current event, identify a world leader who must make a controversial or tough decision, and pretend to be their Buddhist counsel. Or teachers could have students select a leader from history and have students give them Buddhist counsel. How would a Buddhist counsel Abraham Lincoln? Barack Obama? Students are then to illustrate what this advice—acted out by the leader—may look like in comic form.

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Directions: You are an advisor to a leader. You are also knowledgeable of Buddhism and this knowledge guides your counsel. Answer the following: 1. Utilize your deep well of Buddhist knowledge and insight. What counsel or advice would you offer this leader? Why? 2. How might your advice look if taken? Draw this comic form. (Think of how you can use emotions, linear and nonlinear elements, encapsulation, and other facets of the comic form to portray your ideas.) 3. Justify the stylistic choices you made.

Drawing Vision The notion of organizational vision, while perhaps not the sexist or exciting of terms, may align nicely with the comic form. Visions help point toward the future by drawing on the past (Kouzes & Posner, 2017). Bolman and Deal (2017, 244) argue that a vision transforms organizational purpose “into an image of the future.” An organizational vision is “how the organization will look when it is performing extremely well in relation to its environment and key stakeholders” (Bryson, 2011, 271). Visions should be related to the previous actions and decisions of the organization, but visions should be an inspiration which get people moving, the vision should be of a new and better world due to the actions of the organization fulfilling its mission. Visions can give direction, as well as foster people’s dreams and hopes (Bryson, 2011, 282–284). It could be argued that the term vision has an obvious affiliation with visual thinking. Bryson (2011) also notes that effective visions can make use of images and pictures. If vision is how the organization should look at its optimal state, and how the organization can positively change the world, why not draw this vision? Studying organizations is also an important part of any history curriculum—armies, governmental organizations, corporations, and nonprofit organizations have all played, and continue to play, a major role in historical and current affairs (Bolman & Deal, 2017; Bryson, 2011). The assignment below has students consider organizations and where organizations might find themselves (or where students think they should find themselves) in the future. The assignment below helps students to think like leaders—vision is an important aspect

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to leadership and organizations (Bolman & Deal, 2017; Bryson, 2011; Kouzes & Posner, 2017). Note: in the first question, I have written American history. This question can read American history, another country’s history or world history. In addition, teachers will most likely need to explain what a vision is and what it is meant to accomplish. Drawing Vision Assignment Directions: Answer the questions below. 1. Pick an organization that has played, and continues to play, an important part in American history. State what role it has played in American history. 2. Write a brief vision for this organization for the future. Where do you think this organization should go? How is this vision related to what has come before? 3. Now, illustrate this vision in comics form. Specifically, show: (a) How the organization can actually get there (think realistically how the organization utilizes its past). (b) What does the better world that the organization creates look like? (c) Think about how you encapsulate this message, use sequence and/or nonlinear elements, stylistic elements, panel size, and other elements of the comic medium.

Leadership Creation Field Trip Field trips can be wonderful learning activities. (I also covered some of this in the last chapter. This chapter specifically focuses on leadership.) The obvious drawbacks are time and money. But if schools do go on field trips (or even virtual ones), the use of comics as field trip activities may add a new twist. And while the above activities were created with a field trip in mind, they could just as easily be done without going on a field trip. Students could research the pertinent information and do the assignments. Further, I have used American Civil War sites as examples, but these assignments can be done with a variety of topics. Learning from a historical site takes place in a variety of forms. There are written placards, artifacts (some real, some replicas), tour guides,

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informational movies, museums, and pamphlets among other things. There is so much information, even I get overwhelmed. But a neat way for students to organize the information can be to put it in visual form. This will most likely require some pre-organization by the instructor. The instructor will have to put some parameters on the assignment so the student does not become too overwhelmed. The assignment below, specifically focuses on leadership because many times the actions of leaders are highlighted in some way shape or form. I created this assignment with Antietam National Battlefield in mind (I live in Maryland and am a frequent visitor here. I drag my kids here as well). This is true at almost any Civil War site. At Antietam, the actions of the relevant generals are the subject of most of the sites. The actions of General Robert E. Lee or the Union General Ambrose Burnside and many others are dissected by placards and tour guides. Their decisions (as well as factors out of their control such as natural conditions and army size) dictated the outcome of the battle (A good overview of the Battle of Antietam can be found here https://www.nps.gov/anti/index. htm). Teachers can have their students reflect on the decisions of these leaders and then illustrate episodes of the battle. Teachers could have students reflect on leadership qualities they see in the generals or prep them first with some leadership ideas and theories to look for by utilizing the leadership chart from Chapter 3. While there is a focus on leadership, students will obviously absorb factual information pertaining to the site as well. The teachers could require that the information be taken from placards or tour guides and that the students must write down or cite exactly where the information came from. I have created some questions below. These are specific to sites I have visited, but could obviously be adapted to a wide array of historical sites. Leadership Field Trip Assignment Directions: Pick three leaders or generals. Illustrate one scene depicting a decision each general made that had a decisive effect on the outcome of the battle and/or its aftermath. The scenes must be connected and show cause and effect. Show specifically where you learned your information (e.g., rifle exhibit in the museum). You must include facts, but you must reflect on those facts as well. Think about the leadership qualities the person was showing—or which qualities you think may have been absent.

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Try to show this in your illustration. Finally, explain why you chose to create the illustrations you did. 1. Pick three leaders 2. Draw three scenes which depict those leaders 3. Cite where you got the information from 4. Reflect on the information and the person’s leadership qualities (or lack of them). Can you apply any ideas from the leadership chart? 5. Justify how and why these scenes are linked together 6. Draw a circle around the sequence. What larger themes were surrounding the leader’s actions and choices? 7. Finally, justify your artistic choices. An example of a satisfactory assignment might have a student draw Ambrose Burnside’s struggle to capture the bridge which now bears his name (a brutal and bloody affair). Next the student may draw General Lee’s decision to retreat toward Virginia and finally Lincoln issuing the Emancipation Proclamation. These events are all connected (albeit there are gaps). The students can explain the connection and the gaps, reflect on Lee, Burnside, and Lincoln’s leadership qualities and how those leadership qualities helped to influence the outcome at Antietam. In addition, like in Chapter 4, teachers could have students draw a larger circle around the sequence to show how wider themes impacted the event in question. Finally, students could justify their artistic choices. Another variation of this activity could involve a jam comic. A jam comic is where different students each take turn creating a panel in the comic (Abel & Madden, 2008). The teacher could assign a group of students to create a comic. Each student could be responsible for a leader. Let’s continue with Antietam. One student could be required to research Ambrose Burnside’s actions at the battle and reflect on his leadership capabilities. Another student could be required to research General Lee’s actions and leadership capacities at the battle. The third student could research Lincoln’s reaction to the battle and aftermath. Each student would have to create a frame or frames to showcase their ideas. The same rules would apply here. The students would have to cite placards and park rangers to build their comic. Finally, the students would come together and find the most optimal way to combine

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their comics. There are endless variations of this exercise as well as various options for the teacher to consider. How many students should be in a group? How much information should the teacher assign? Should the teacher assign leaders or let students pick? How many frames should students draw? Should students be able to edit their comics or should teachers just require them to draw one or two frames and then combine them and see what results? Teachers will need to consider all of these questions for this assignment. The above comics have focused on different leaders. However, it might also be advantageous to focus on one leader in more depth, which is what the assignment below does. Further, the above assignments focused on a specific event, the American Civil War, where the activity below takes a broader approach. I used my nine-year-old daughter as a test subject for this assignment. While this book is written mainly for high school and college students, my daughter was able to provide important feedback on the assignment—if she understood it, then a high schooler surely would be able to as well (Fig. 5.1). My daughter and I visited the home of James Buchanan, the 15th President of the United States. His home is located in Lancaster Pennsylvania. He served one term from 1857 to 1861. Marino and Crocco (2012) noted how the town of New Brunswick, New Jersey, which they chose to study as local history, is not as recognizable as other more well-known places. Yet, a great deal of history happened there. Similarly, Buchanan is not as recognizable as let’s say Abraham Lincoln, but this I think made the assignment more interesting in some ways. Students presumably know more about famous presidents and leaders. But what about everyone else? What about mediocre or average leaders? These people had a role in events as well and it makes sense to study them. In fact, many of these mediocre or average leaders had a big hand in events, as did Buchanan (for better or for worse and with Buchanan, most agree it was for the worst). Teachers might do well to seek out interesting local leaders or people who are not as well-known and have students study their actions to show students that history is not simply the province of a few famous people. Leadership Field Trip Assignment #2 Directions: Consider the actions of James Buchanan. Look through the exhibits, watch the movie and listen to the tour guides to get an idea of James Buchanan’s actions as well as the historical context.

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Fig. 5.1 Student example of leadership field trip assignment

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1. Identify three important events in Buchanan’s presidency. State why you believe these are important. 2. Next, state how Buchanan’s actions that you selected were influenced by the larger historical context. 3. Take each event above and create a three panel comic strip. (a) The objective is to use sequential art to show cause and effect here. Show how events build off and impact each other. (b) Consider which events you will encapsulate or show. In discussing the project with my daughter, something became apparent to me. I had to stress the notion of encapsulation with her. Once she decided what scenes to show, she then had to figure out how to show it. While she is younger, I still think this an important point for anyone completing these projects. I stressed to her that she needed to choose what moments and pieces of the story to show, this was part of thinking through the project. I think the notion of encapsulation is important for all students. It helps students to tell the story of the past historical events.

Symbolism The next activities deal primarily with symbolism and imagery. Art note: It might be more convenient for students to utilize symbols—things that we all know—rather than images which are specific to their work (Schmidt, 2018), only because students comics will presumably not be that long and it will be more difficult to build in imagery. Nevertheless, I still think students can skillfully utilize imagery even in shorter comics, they just might have to work a little harder. In addition, as noted in Chapter 3, symbolism in comics can be in word, image, or story (Langley, 2018). Again, due to length, it might be easier for students to utilize visuals and words over stories to communicate symbolism but I think there is a place for story symbolism, at least for students who may want a challenge.

Jam Law Comic The following activity is a type of jam comic (Abel & Madden, 2008). I used this activity with my law class. As I stated in class regarding the assignment below, the purpose of this assignment is to harness the

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sequential abilities of comics to help students understand how law evolves. I was not only interested in actual occurrences, but also the symbolic nature, imagery, what is signified and deeper meaning of the events as well (Groensteen, 2013; Schmidt, 2018). I gave the students a specific topic, which was ELL and immigrant education law. We had read a number of policies and cases spanning from the late 1960s to the 2000s. Obviously this topic is of current interest, so it makes for a fruitful discussion. Each group also had to present their comics to the class so we call could reflect on the comics and ask questions. The first student had to draw an earlier episode. One of the earliest policies we spoke about was the Civil Rights Act and one of the earliest cases we spoke about was Lau v. Nichols in 1974 (Imber, Geel, Blokhuis, & Feldman, 2014). Students had to work together—and build off each other’s ideas—to create a sequential story. Some ended with Donald Trump’s now-infamous campaign speech where he stated that Mexicans were rapists, others ended by showing barbed wire on the border (Mark, 2018). This activity can be done with any topic or time period. As I stressed to my students, case law and policy does not happen in a vacuum, there are surrounding historical conditions. In addition, my class discussed on many occasions that policies and cases are not enough to change people, there also needs to be an attitudinal and moral shift for true change to occur. This activity allowed me to bring in a number of these points. One group played with the notion of sequence. The group created a comic with geographic sequencing of sorts. One group member drew a map of the United States. The other members draw panels representing cases which took place in specific geographic regions, mainly Texas and California. As one student in the group told me, the group was trying to show how geography was an important factor in these cases. I thought this was a novel way to use the comic form. I think this method allowed my students to begin to visually represent and understand case law in new ways, which was the point of the assignment. They created a type of geographic sequence. This type of nontraditional sequence may also be an example of nonlinear capabilities of comics. Jam Law Comic Assignment Sequence is an important feature of the comic form (Eisner, 2002; McCloud, 1994; Potts, 2013). Successive frames/panel build off each

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other to tell a story. Policy and case law does not occur in a vacuum. Think of the ELL cases and policies we have studied in class. What sequence of events or ideas could you use to symbolize the progression of ELL policy and case law? Think of concrete events and happenings (details of cases, cases themselves, policies). Think also of how symbolism and imagery can be used to portray some of the bigger ideas of the case (what symbols could we use to represent these big ideas?). Directions: a. Get into groups of 3 or 4 people. b. The first person draws something from our readings and discussions. This should be an earlier event/idea, etc. c. The second person then draws something from a later date of our ELL discussion. This frame should be logically linked to the first frame. d. The third person then draws something from an even later date of our ELL discussion. This frame should be logically linked to the second frame. This is called a jam comic (Abel & Madden, 2008), it is when each person contributes a frame. The point here is to utilize the sequential capability of comics to tell a story about ELL education, policy and cases, as well as attitudes and norms toward ELLs which may hinder or drive some of these policies.

Thinking in Symbols This exercise utilizes the powerful symbolism of certain legal and national symbols. Dayton (2012) describes the meaning behind Lady Justice. Her blindfold represents equality before the law, the scales represent deliberation, and the sword represents enforcement. As noted in Chapter 3, Justice Jackson, in the landmark majority opinion for West Virginia State Board of Education v. Barnette in 1943, also noted the power of symbols. He wrote that the use of symbols such as flags or emblems act as “a short cut from mind to mind.” Jackson also comments on the variable nature within symbols and how different people react differently to the same

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symbols: “A person gets from a symbols the meaning he puts into it, and what is one man’s comfort and inspiration is another’s jest and concern” (West Virginia State Board of Education v. Barnette, 1943). As noted previously, symbols can carry different meanings for different individuals, this is the notion of multivocality (Gill & Angosto-Ferrandez, 2018). Indeed, the Barnette case was fought over symbols. These passages can act as a segue into a larger discussion of national symbols, such as flags, emblems, as well as images such as lady justice. The graphic novel Uncle Sam, created by Alex Ross and Steve Darnell is replete with these types of symbols. Uncle Sam, the Soviet Bear, the French Marianne, all come into play. I have also mentioned Alan Moore and David Lloyd’s use of Lady Justice in V for Vendetta. The assignment below is meant to get students thinking with national symbols and creating their own. First students look at and read about traditional symbols. Next, students are to manipulate existing symbols to convey a message about a specific case. The purpose of this component is for students to play with existing symbols, much like Ross and Darnell did. Uncle Sam and other traditional American (and other countries) symbols take on different and varied meanings in Uncle Sam. I want students to reconsider entrenched symbols. This can be done by writing about it or by drawing it. Finally, students create their own symbols and images, but they must create a symbol with a sequence metaphor to accomplish this last task. A sequence metaphor, as noted earlier, is when two images are used to convey meaning, yet both images are needed to make sense. One image in isolation does not convey the message (Duncan, Smith, & Levitz, 2015). Evans (2016) examines an excellent example of a sequence metaphor from a Superman comic. In one panel Superman is not present, and a young, frail girl is contemplating suicide. In the next panel, Superman appears. Evans (2016) writes “From his absence in the first panel to his then appearance in the second, it is incredibly powerful to witness what Superman, as a symbol, has the ability to do in helping this young girl.” We discussed sequence metaphors in class and I had students read the except from Duncan and colleagues as well as Evans. This is what I want my law students to exploit—the use of sequential frames and specifically sequence metaphors to create meaning in regard to the law and its symbols. For this exercise, I also provide an example that I have created. My example consists of two frames. The first frame has what seems to be a

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random collection of items. There is an armband, a newspaper, and banner, a speech bubble with the phrase “sexual innuendo,” a banner with the word “Jesus” on it, a computer, and a boy standing with his arm raised. The next panel contains the same items (except there is a girl sitting at a desk while the pledge of allegiance is being recited), but this time, the backdrop is the constitution, specifically the 1st amendment. Further, the computer, the banner, the speech bubble, and the newspaper all have a line going through them. There is a caption that reads “The law finds its expression in the oddest of places.” I have attempted to create a sequence metaphor. The six items by themselves do not mean much, they only have a meaning when juxtaposed together with the second image and the understanding of the 1st amendment. These items refer to cases that I assign to my students to read. The cases are: West Virginia State Board of Education v. Barnette (1943), Tinker v. Des Moines Independent Community School District (1969), Bethel School District no. 403 v. Fraser (1986), Hazelwood School District v. Kuhlmeier (1988), Morse v. Frederick (2007) and Kowalski v. Berkeley County Public Schools (2011) (this case was not a Supreme Court case). The items all have to do with the details of each case. The West Virginia case centered on whether compulsorily flag salutes were constitutional. The court said they were not. The Tinker case centered on students protesting the Vietnam War by wearing armbands to school. The court said this was protected speech. The Hazelwood case centered on the freedom of the press in school publications. The court ruled that the principal, who pulled two articles from the school newspaper, did not violate students’ first amendment rights. The Bethel case centered on the students’ use of lewd speech. The court said that lewd speech is not protected. The Frederick case was about student expression related to drug use at school supervised events. The court ruled that schools can discipline student speech related to drug use at these events (Oyez, n.d.). The Kowalski case hinged on off-campus speech via social media and cyberbullying. In this case it was permissible for the school to discipline the student who created a MySpace page which bullied another student (Imber et al., 2014). Dayton (2012, xiii) argues how the law is predicated on abstract notions but at the same time “governs every aspect of our daily lives from birth through death.” I assign this passage to my students, and we discuss it in class. My sequence metaphor tries to convey this idea that we are working with extremely abstract and philosophical ideas, but they find expression in everyday situations (e.g., armbands, banners, etc.).

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In addition, this assignment was assigned in a hybrid summer course. My course is 10 weeks long. Six of those meetings are face to face and four of those meetings are asynchronous modules online. Part of this assignment was presented during a face-to-face session. I had also assigned the Dayton excerpt in the first week of class. During the second week of class, I had students read the Barnette excerpt (they were assigned the whole case, but for class, I just had them focus on the Jackson excerpt). I also provided them with a portion of Uncle Sam. Finally, I had them read the excerpt on sequence metaphors. The next day I posted follow up information to our in-class discussion. I sent them the Evans (2016) excerpt to read and view (since this one had excellent visuals). I also sent them more information on comic’s theory (the cheat sheet). Putting some of the assignment online helped to convey more information. I was able to send and post follow-up ideas for students to have access to. Finally, I showed them my example which I drew by hand. The next week, as part of their assigned online module assignment, students had to create their own sequence metaphor and post it to a discussion board. They were then supposed to offer comments on another classmate’s sequence metaphor. I have found that sometimes it is good to give students some time to think about what to draw. Similar to wait time (Chapin, 2015), I think students simply need time to think and process what to draw and what symbols to use. I even need time to think about it. In fact, I had become frustrated for this assignment because I could not think of a good sequence metaphor. So, I put it away and then the idea randomly hit me as I was grocery shopping with my wife and daughter. So, I present the idea early, give students my expectations, and then let the ideas germinate. In addition, I wanted to see how some of these assignments will look online. Online education should be stimulating and intellectually challenging (Quality Matters Website, 2019), and I felt that symbol creation would be a great way to accomplish this feat. In addition, as I write this, the COVID-19 pandemic is raging and almost all schools, both K-12 schools and institutions of higher education, are moving their lessons online. In the future, as schools turn more to online education, I believe that comic activities can be one means of providing more challenging and meaningful online activities. As noted earlier, reflection on a piece of arts-based research is good practice (Barone & Eisner, 2012). With an online discussion board, students can reflect on their own work and other’s work as well. The last question has students commenting on

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other students’ work online. In class, when we meet again, we then go through the comments and have a face to face discussion. Sequence Metaphor Assignment Directions: 1. Read the passages from Dayton (posted in week one, in-class readings folder) and Justice Jackson in the Barnette case. Read the excerpt from Uncle Sam. In your own words, how might symbols be used to convey legal ideas? What are the advantages and disadvantages to the use of symbols to convey legal ideas? 2. Can you manipulate any existing symbols to convey a message about any of the cases we have read? (So, use Ross and Darnell as a guide. Can you think of ways to reinterpret Uncle Sam, Lady Justice, or even Smokey the Bear or other American symbols to convey an idea about the cases you were assigned to read?). Note: this does not have to be drawn, it can be written. 3. Read the excerpt on sequences metaphors distributed in class. Also go to https://whynotsuperheroes.com/tag/understandingcomics/. This is a blog by a comics theorist, Chris Evans. DO NOT read the whole thing. Simply hit Control F which will bring up a search box. Search the term “Sequence Metaphor.” Read the brief section on sequence metaphors. (There is also a nice visual component to this.) 4. Create a sequence metaphor drawing on the cases we have read. Consult my example for inspiration, which is posted in Joule. THIS COMIC SHOULD BE AT LEAST 2 PANELS (like my example). We want to showcase the sequential nature of comics and meaningmaking. 5. Post your answers to questions 1 and 2, as well as your comic from question 4, to the discussion board marked “symbol reflection.” Comment on a classmate’s comic. In your comment, try to reflect on what message you think the person is conveying. When we met as a class in our next face-to-face meeting, we spent time discussing the comics. I had each student present their comic to the class. Members of the class commented on the comics and asked questions. This

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may have been somewhat redundant since we had already done something similar on the discussion board, but I wanted to have a comment session in both modalities, online and face to face. I think both modalities generated an interesting conversation. In the face-to-face setting, students were able to ask spontaneous questions and learn even more about their classmate’s use of symbols. One student remarked how illustrating cases also helped her remember the cases. To be sure, not everyone loved the drawing component, but all the students did a great job and were able to articulate their use of symbols clearly. A student example is featured in Fig. 5.2. Notice how she utilized the “schoolhouse gate” reference from the Tinker Supreme Court Case.

Fig. 5.2 Student example of sequence metaphor

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Constellation Symbol Activity Arnheim (1997) writes: “A symbol gives particular shape to types of things or constellations of forces” (Arnheim, 1997, 138). Arnheim’s ideas of symbolism served as inspiration for this assignment. I utilized this definition to create my own assignment. A symbol stands for a constellation of forces. But what does this actually mean? For this assignment, it means that symbols are more than what they denote, there is not a simple one to one correspondence. These symbols can be personal symbols as well as political symbols. I started with a personal symbol from my own life to illustrate the point. I use this example in class. My home is a symbol to me. It symbolizes my family, good neighbors, a feeling of safety and security, a sanctuary of sorts. It also represents anxiety, in the form of my monthly mortgage as well as constant little worries about things breaking and needing repair. The point is that when I think of my home, it represents a constellation of things to me. Next, we turn to political symbols. The President of the United States (and the presidential seal) may be another type of symbol. The notion of president (depending on who occupies the office) can mean multiple things; good leadership, bad leadership, a paragon of morality, or a buffoon. Any understanding of symbols will obviously contain a high degree of subjectivity. Nevertheless, it can make for fruitful discussions. Teachers and instructors can have a discussion on how symbols can be constellations and give examples prior to students completing the assignment. Constellation Symbolism Assignment Directions: For this assignment, we will work with a specific definition of symbolism. Rudolf Arnheim (1997, 138) asserts that: “A symbol gives particular shape to types of things or constellations of forces.” We will consider how symbols can denote a constellation of forces. 1. Think of a personal symbol to you which is loaded with meaning. Sketch out the various meanings of a highly personal symbol to you. These meanings may be contradictory, that is okay. Draw the initial symbol and then draw the constellation of forces it represents above it. 2. Now, do the same thing as you did in question number one, but think of a legal symbol. Some examples could be: US President,

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America, or The Constitution. Try to incorporate some of the ideas we have discussed in class (e.g., amendments, different court cases, etc.). 3. Now, make it sequential! Take your political symbol and build a short comic (at least two frames) with it. 4. Explain why you chose to depict the constellation of forces in this way. 5. Comment on one classmate’s comic. When you comment, record your impressions to the symbols used. What emotions or ideas do those evoke in you? I assigned this exercise to my Education Law class which is a hybrid class consisting of online and face-to-face meetings. Like the previous exercise, I introduced the assignment during one of our face-to-face sessions and had them complete it as part of the next online meeting. When I introduced the assignment, I also provided the comics cheat sheet. I created and posted my own comic (as a discussion post) as an example for students. My comic focused on the symbol of the US president. In the left panel, I drew what I felt were two inept US presidents William G. Harding and James Buchanan. In the middle panel, I drew two presidents, who are usually considered some of the most effective (but of course this is debatable). Abraham Lincoln and Franklin D. Roosevelt. Behind each president is a symbol of what made their presidency awful or great for me. For example, behind Buchanan I drew a picture of the United States breaking in half. The final panel simply pictures the presidential seal. I have tried to visualize the constellation of forces that the symbol of “US president” may stand for.

Culminating Symbolism Activity What follows is a culminating activity in my history of education class. In fact, this activity was the final. This activity could easily be adapted to any history class either at the secondary or college level. While it will vary for any teacher or professor, this activity took me roughly a month to get through. Prior to this project, my class was run like most history classes are probably run. Students were assigned textbook readings, articles, and primary sources. In class we discussed those readings. I believe we had some great discussions (or the students could have been bored to death), but either way, the class was more traditional. During the

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comic book assignment, I was able to venture out a little. During this project, I stressed to my students that what they were doing aligned in many ways with Arnheim’s (1997) notion of visual thinking, Barone and Eisner’s (2012) notion of arts-based research, as well as Duncombe’s (2019) notion of the ethical spectacle and Duncombe and Lambert’s (n.d.) idea of art activism. I think student-created comics can be a GPS of sorts through hyperreality, a way to orient citizens through bullshit. This is how students can envision this assignment. Students were not creating something with no connection to reality, but rather, using the real, whether that was historical analysis, theories, or whatever, to create something better. Their comics were empirical in that sense because they drew on real-life ideas, but ultimately the comics used the real to disrupt the status quo or point to something better. As I have stressed throughout this book, I make comics along with my students. This is good practice (Carter, 2013; Thompson, 2018). So I would periodically show excerpts from my graphic novel (which I have included in the appendix). I used my own work to give examples regarding symbolism and imagery as well as different ways to construct a comic. In some cases, students incorporated my ideas into their own comics. The overarching objective of this assignment (which draws on Duncombe, Duncombe and Lambert, Barone and Eisner, the theories of citizenship laid out in Chapter 1 and other ideas in the text) is to utilize the comics medium to create a new world on the page or critique an aspect of the existing world, as it pertains to what we learned in class. Further this creation and/or critique will make use of symbolism and imagery, and the related ideas of sequence metaphors, symbols as constellations, nonlinear elements, and stereotypes. When creating symbols and imagery, it is also important to stress that art can have a number of meanings (Duncombe & Lambert, n.d.). Student art does not have to specifically mean one thing or another, but can and should be left open to interpretation. During the assignment, one of my students worried that she wasn’t writing a traditional story. I told her that it was okay because we were more focused on symbolism, but her comment did give me pause. This assignment could incorporate the notion of story arc (Potts, 2013) as discussed previously in this chapter. However, teachers should not overload students with too many components. Nevertheless, story elements could be introduced into this assignment. I do think it important to point out however that students are not only drawing with symbols, but most likely,

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will utilize words. As noted in Chapter 1, this is a fruitful feature to create meaning. Here is the assignment that I gave to my students. The assignment is composed of two components. The first component is the comic, and the second component is the creation of a tangible object. Both components made up the final for my class. The first component is divided into three parts. (LNDL is an acronym for the library at my university, the Loyola Notre Dame Library.) Please note, I have slightly modified and updated the assignment since I gave it to my class. The changes are small and the overall assignment is essentially the same. The small changes reflect my ongoing understanding of comics theory. I assigned this assignment to my undergraduate history of education in 2019 and then again the following year. I am using what I learned in the first iteration of the assignment to strengthen it the second time around. Assignment: This assignment has two components which need to be submitted. The first component is an 8-page minicomic that you will create. The second component is a tangible artifact that you will create using one of the LNDL libraries’ various creation technologies. The artifact will be something that you drew, referenced, or alluded to in your comic. Objective: To utilize the comics medium to create a new and more just world on paper, or critique an aspect of the existing world as it relates to what we learned in class this year. Further this creation and/or critique will make use of symbolism and imagery. A note on art. This is NOT a fine arts class. As such you will not be judged on your drawing ability. I will assess you on specific points of comic creation (see rubric). Component I. The Comic First you must decide what you will draw. You have wide latitude here. Below are some ideas to get you thinking. (But don’t worry, we will complete some practice exercises first to get you warmed up. Then we will come back to drawing the comic). Below are some initial ideas to ponder. You can choose one of these ideas. However, if you want to do a combination of these or something of your own choosing, I strongly encourage that! Before you draw, you must first write a thematic statement (Potts, 2013, 105) which briefly outlines the “unifying theme” of the story, to give you some direction. Or, more appropriately for this project, you must write a “dream statement.” The dream statement is a succinct statement

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of the dream you will create in comic form. Remember, this is a dream of a better world that inspires people to act or some type of criticism to get people thinking. 1. You can illustrate a scene from the history of education (e.g., the creation of Mount Holyoke, a typical day Sunday School, etc., Thaddeus Stevens speaking to the Pennsylvania assembly). If you choose this option, be sure to add your own elements to the scene. How can you use this scene to challenge an injustice? 2. You can illustrate a fictional scene for a real person (Susan B. Anthony teaching fellow suffragettes, Thaddeus Stevens arguing with a racist person). 3. You can illustrate a scene of historical fiction. 4. You can conceive of a futuristic or even post-apocalyptic situation to illustrate (e.g., the downfall of the United States). Other ideas….Write initial dream statement here: When creating a comic, you can think of the big idea or scene and then break that down into components (each component is a panel or frame. See my examples). Think about what you want to highlight; which parts of the story are important for the reader to see. Think of sequence or how each scene you draw will be related to the previous and subsequent scene. Remember, you are drawing symbols and imagery. Some ways to break down the scene and consider are: 1. Panel size, shape, and frequency (think of Sousanis here). 2. Facial expressions and body language of characters. 3. Color (if applicable), shading, and line work. 4. Word and image interaction (do they complement each other, work against each other?). 5. What is shown, what is NOT shown 6. Consider what type of effect your images may have on the reader. 7. Multidirectionality, multilinearity, and braiding/translinerity (Cabero, 2019; Groensteen, 2007). 8. Onomatopoeia and word depiction/lettering. The final product will be a hand-drawn, 8-page minicomic. This can be done in black and white or color. All comics will be scanned and uploaded to a WordPress website.

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Component II The second part of the assignment has students make something from their comic real. Students are to use the library’s various technologies to bring to life an aspect of their comic. The library offers a number of creative applications which are listed below. 1. Embroidery machine. 2. Cricut paper machine. 3. Button maker. 4. 3-D printer. 5. A-V technologies (recording and video creation). If we take what is drawn as a representation of an idea, then this portion of the assignment is to make that representation tangible. Students must use one of the above technologies to make something real. For example, groups can create a campaign button, piece of a wardrobe, act out a newscast, or create a hornbook, among other things. Below are three practice exercises which will be undertaken PRIOR to drawing the comic. I. Reading chart In the first section, briefly enumerate the main insights from each reading. In the second section, list examples of where you find any of the ideas in the readings in actual comics/graphic novels. Be specific of what you found and where you found it.

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Duncan, Smith and Levitz (2015)

McCloud (1994)/Eisner (2002)/Cohn (2009)

Groensteen (2007/2013)

Kelley (2010)

Monin (2010)

Cabero (2019)

Sousanis (2015a and 2015b)

II. Frame drawing exercise Read the excerpt from Cohn, Sousanis, Eisner. Panel size and shape help to dictate the story. The page as a unit is crucial, we make meaning from all the elements on the page as well as the page as a whole. For this practice exercise, first: Draw some panels which correspond to some aspects of your daily routine (Sousanis, 2015a). Panel size and can dictate reading pace as well as elapsed storytime (however, there is some question equating panel size to elapsed time). How would you show an aspect of your day in panels? Then pick a scene from history. Apply the frame drawing insights to it. How would you represent Thaddeus Steven’s speeches in just panel size and shape? Justify your panel choices. Why did you choose the panel sizes and shapes you did? How did the panel size and shape help to convey information about the scene you choose?

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Add some expressive lines to further help convey your message (Sousanis, 2015a). III. Encoding the Spectacle Comics can be seen as encoded messages which are then read by the reader (Duncan et al., 2015). Consider Duncombe’s (2019) notion of the spectacle. Politics cannot rely solely on the Enlightenment notion of logical and scientific truth. We now need stories to tell the truth in the political arena. Politicians need to appeal to people’s hopes and dreams. To be sure, politicians and progressives are not to lie to people, just use stories and fantasy to point people to the truth. “Reality is always refracted through the imagination” (Duncombe, 2019, 18). Consider Barone and Eisner (2012) ideas of arts-based research. We can use art to disrupt the status quo and point to a better world. Duncombe (2019) says something similar as well, spectacles, while not the new world, at least point to it. Consider symbolism, imagery, and stereotypes, as well as sequence metaphors, constellations, and translinear elements in comics (Arnheim, 1997; Cook & Frey, 2017; Duncan, 2012; Evans, 2016; Gill & AngostoFerrandez, 2018; Groensteen, 2013; Mandaville & Avila, 2009). Consider Westheimer and Kahne’s (2004) three types of citizenship. __________________________________________________________ The overarching question is in italics. The questions below the italics help to refine the question. How might you be able to create a new way to look at history and reality, one which aligns with a justice-oriented citizenship, by using the symbolic potential of comics to encode a message which helps people interpret a truth or disrupt the status quo? 1. How can symbols and spectacles promote justice and fairness? Or further oppression? 2. Now think specifically of your comic. Brainstorm some ideas that you may want to represent. (a) Think first of the big idea you want to convey and then how that idea might be broken down into different scenes/aspects. What aspects would you show? Why?

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(b) Think of what symbols or images you can use to represent this idea or scene. Why did you choose those symbols? What do you they mean to you? To everyone else? How do those symbols help to promote justice and fairness or tell an important story? (c) Think specifically of how you can utilize some of the different aspects of a comic/graphic novel to portray your symbol (shading, emotion, panel size, nonlinear considerations). (d) How do all of these elements relate to your “dream” statement? (It is okay to make changes at this stage. You can rewrite the statement if need be). EDU 402 Final Directions: Answer each question on the WordPress site we created. Answers to questions 2–4 should be roughly a paragraph long (5–6 sentences). Answers to question one will vary. 1. Post each page of your comic on the WordPress site. 2. For each page of your comic that you upload, create a very brief description. In this description (no more than 2–3 sentences) summarize the action and justify one stylistic choice you have made. 3. Consider how your comic may be a new way to look at history which incorporates aspects of things we discussed in class. When answering this question, please be sure to address the sub-questions below: (a) What ideas from the class did you draw on to create your comic? (b) How might your comic illuminate a truth or use aspects of the truth to posit something better? 4. Pick one other person’s comic and read it. When answering this question, please be sure to address the sub-questions below: (a) What messages did you receive from it? Justify your answers with evidence. (b) How might this comic be a new way to see?

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5. Upload a picture of the object you created. Why did you choose to create the tangible object you did? Checklist  The minicomic (this needs to be uploaded to the WordPress as well as scanned and put on Joule).  The reflection assignment (see above). The answers to this are posted on the WordPress site.  Your tangible object. You need to take a picture and upload to the WordPress site. Here is the rubric (Epstein, 1997; Novak, 2014, 162) used to evaluate student work. I will go into more detail regarding the assessment and evaluation process in the next chapter. Rubric for Minicomic

Narrative/historical understanding

4

3

2

1

Narrative is clear and coherent/narrative is original/narrative shows clear understanding of historical topics while utilizing fictional or fantastic elements

Narrative is clear and coherent for the most part/narrative demonstrates understanding of historical events but some historical discrepancies while utilizing fictional or fantastic elements

Overall there is clarity, but much confusion which detracts from the narrative/some historically accurate points but there is also much confusion over historical facts while utilizing fictional or fantastic elements

There is no clarity in the narrative/there is little historical understanding

(continued)

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(continued) 4

3

2

1

Use of comics medium

Use of the comics medium (e.g., panels, encapsulation, sequence, nonlinear considerations, multilinearity, multidirectionality, SVS, etc.) helps communicate ideas and information

Use of the comics medium (e.g., panels, encapsulation, sequence, nonlinear considerations, multilinearity, multidirectionality, SVS, etc.) does communicate ideas, but is lacking in certain instances

Use of the comics medium (e.g., panels, encapsulation, sequence, nonlinear considerations, multilinearity, multidirectionality, SVS, etc.) lacks design and does not communicate any messages

Interanimation of words and images (if applicable)

Words and images are not redundant, both convey appropriate meaning Images are powerful and help to convey political/historical meaning. Strong symbolism and imagery is used to convey ideas

Use of the comics medium (e.g., panels, encapsulation, sequence, nonlinear considerations, multilinearity, multidirectionality, SVS, etc.) for the most part, communicate ideas but there are some instances of confusion Words and images, for the most part, are not redundant

Some redundancy between words and images

Images are redundant, text does all the work

Images are clear and help to convey some political or historical meaning, but some of the images are confusing or need explanation

The images do not properly convey any meaning, there is confusion about what they convey

Images

Images are powerful and help to convey political/historical meaning for the most part/For the most part, strong symbolism and imagery is used to convey ideas

Included is a rubric which I discuss in detail in the next chapter. There are also questions that I posit for teachers to consider the citizenship impact of the piece. These questions are located in Chapter 6. Further, whether a rubric or questions, I believe that evaluation for this project should always be an ongoing conversation. Specifically, I try to get my students to conceive of themselves as symbol creators. Students encode symbols and ideas into their comics (Duncan et al., 2015). In class discussions I linked the spectacle to citizenship, specifically Westheimer and Kahne’s (2004) notion of justiceoriented citizenship. I posed the question of how the spectacle could be utilized to practice justice-oriented citizenship. I think this all centers on imagination. In an email correspondence, Duncombe also stated

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that he believes there is a crisis in imagination (Duncombe, email communication, April 26, 2019). Indeed, Wolk (2007, 133) bluntly states: “One gauge of the goodness of comics is how much they excite the imagination- what the reader perceives beyond and between the border of their panels.” Needless to say, I think comic creation can fire the imagination in new ways. Weiner (2007, 69) also talks about the “hegemony of realism” which is a state of affairs where it is believed the future cannot be very different from the present. This hegemony can be broken with “transgressive acts of the imagination” (Weiner, 2007, 69). I contend that comics can be this transgressive act. I created the assignments in Part I, II, and III to guide my students and allow them some real practice with features of the comic medium. These three introductory exercises helped to scaffold the main assignment of the final comic creation. For Part I, I assigned specific readings (see Part I). From these readings, I was able to discuss and examine the various scholarly aspects of comics with them. Following Brugar, Roberts, Jimenez, and Meyer (2018), I had students examine actual comics and try to locate some of the things they read about, such as closure, frame construction to names a few ideas. For Part II, I utilized Sousanis’s (2015a) grid drawing exercise. Sousanis highlights the importance of the actual frames in comics and has participants in his exercise draw panels which correspond with their daily routines. He tries to impress on his participants that the size of the panel can impact how one experiences the story. As I did in the last chapter, I also gave students the example from Jesse Cohn’s (2009) chapter, where Cohn highlighted how Joe Sacco used a crowded panel arrangement to convey a sense of constriction. Sousanis also had his participants begin to add some expressive lines (but not actual representational drawings) which I had my students do as well. I had my students complete Sousanis’s exercise first. Then I modified it and added a political element to it. I told them to use panels to express or represent a political idea that we had talked about in class. I gave an example on the board to get them thinking. I compared the Obama presidency to the Trump presidency. For Obama, I drew five equal-size frames. For Trump, I drew five erratic and asymmetrical frames. The point was to show how erratic, contradictorily, and just plain crazy the Trump presidency is compared to the even keel, predictable (if not a little boring, see Duncombe) Obama presidency was. This comparison lent itself nicely to the frame drawing exercise. My students then represented many aspects

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from the history of education, most of which blossomed into full fledge ideas later on. One student began to experiment with frames and lines to convey historical notions, specifically racism. The Sousanis exercise can call attention to both diegetic time and reader pacing. As mentioned in Chapter 1, it is important to note that while larger panels do generally mean a larger portion of time, this is not a hard and fast rule. Next we spoke about symbolism, the spectacle, and justice-oriented citizenship (see exercise III). By this stage, students should have a clearer idea of their project. The purpose of the three introductory exercises is to provide a scaffold which leads students toward the final exercise. Some of these introductory exercises may not be needed in every class and initial project ideas can change as students become more familiar with the comics medium. I did not have them complete the separate exercise as listed in Part III because I felt the students were ready to draw. And draw they did. I will come back to my students’ actual creation shortly. First I want to briefly discuss the second component of the project. Earlier in the year, I was sitting at a required professional development where some of our media specialists were presenting on library technology. One of the librarians presented on the libraries’ maker space and 3-D printing technologies which got me thinking about applications in my history classes. Eventually, I combined those ideas with the comic project. The second component of the comic project has the students take something from their comic and make it tangible. I wanted them to bring part of their spectacle to life. I included this component because I believe that the creation and interpretation of tangible things are important considerations for citizenship (Gilman-Forlini, 2018; Ratto & Boler, 2014). I think this component also helps students to utilize new types of technology to convey their ideas. By creating something tangible from their comic, my students could at least start to think about how tangible things can be encoded with political and critical meanings. Much like comics, meanings are invested into things, but viewers (or readers) create their own meanings, and these meanings can change over time. Their assignment called for them to bring something to life from their comic using the libraries technology. Some made buttons, some used the embroidery, others used the 3-D printers. I brought my students to the library where the technology specialist gave them an overview of each of the technologies they could utilize. The students had to go to the library on their own time to create their tangible artifact.

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In addition to this library session, I brought the students in for the second session. In the second session, another technology specialist helped us as a class to create a WordPress site. The intent for this component as for the students to gain some media literacy (me as well!). The class final was done entirely on the WordPress site. This was not a simple how-to, our media specialist also gave a mini lesson on how internet technology actually works, which was helpful for all of us to see and situate how the WordPress site actually operated. The final was basically a reflection piece. Barone and Eisner (2012) talk about the importance of reflection in arts-based research. We must reflect on created works of art (be they plays painting, etc.) to truly understand them. This reflection adds a new layer of meaning. I stressed this with my students. I had them reflect on their own work. I also had them explain how their work might be an ethical spectacle or dream (Duncombe, 2019). In addition, I also had them articulate how exactly they grounded their comic in the real by describing what ideas they took from the course and how they used them to build their comic. Finally, I had them reflect on their created object. Each student produced a unique, thought-provoking comic. Each comic was grounded in real ideas that we discussed as a class during the year, but each comic challenged the reader to think about a new world or think more deeply about an existing situation. I discuss some of their comics in detail in the next chapter. While I would like to say that this assignment was perfect—it was not. No assignment ever is. This however was the first iteration. I had to address some historical interpretations with students. Sometimes symbols could convey a misleading historical idea— but I had to balance this with the fact that students can use symbols and images in novel ways to create new ways to see history. I tried to stress with my students that what they created were new ways to see history and the present that aligned with justice-oriented citizenship ideas, and further, and that they challenged injustice in new ways. Descriptions for Figures Figure 5.1: This is an example of a student-created comic for the Leadership Field Trip Assignment. This comic was actually created by my nineyear-old daughter. In this sequence, she depicted the Dred Scott decision, Buchanan’s reaction, the election of Abraham Lincoln, the beginning of the Civil War, and Buchanan’s reaction.

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Figure 5.2: This is an example of a student-created comic for the Sequence Metaphor Activity. In this comic, the student played on the symbol of the Statue of Liberty. The Statue of Liberty represents freedom and invitation but also represents oppression and assimilation. My student also utilized an image of a schoolhouse gate in her sequence metaphor which was made famous in the West Virginia State Board of Education v. Barnette Supreme Court case.

References Abel, J., & Madden, M. (2008). Drawing pictures & writing words: A definitive course from concept to comic in 15 lessons. New York: First Second. Arnheim, R. (1965/1997). Visual thinking (35th anniversary printing). Berkeley, CA: University of California Press. Barone, T., & Eisner, E. (2012). Arts based research. Thousand Oaks, CA: Sage. Bolman, L. G., & Deal, T. E. (2017). Reframing organizations: Artistry, choice, and leadership (6th ed.). San Francisco: Jossey-Bass. Brugar, K., Roberts, K., Jimenez, L., & Meyer, C. (2018). More than mere motivation: Learning specific content through multimodal narratives. Literacy Research and Instruction, 57 (2), 183–208. Bryson, J. M. (2011). Strategic planning for public and nonprofit organizations: A guide to strengthening and sustaining organizational achievement (4th ed.). San Francisco: Jossey-Bass. Cabero, E. (2019). Beyond linearity: Holistic multidirectional, multilinear and translinear reading in comics. The Comics Grid: Journal of Comics Scholarship, 9(1):5, 1–21. Carter, J. B. (2013). “What the—?” Pre-service teachers meet and grapple over graphic novels in the classroom. In C. Syma & R. Weiner (Eds.), Graphic novels and comics in the classroom (pp. 58–72). Jefferson, NC: McFarland. Chapin, J. (2015). A practice guide to middle and secondary social studies (4th ed.). New York: Pearson. Cohn, J. (2009). Mise-en-page: A vocabulary for page layouts. In S. Tabachnick (Ed.), Teaching the graphic novel (pp. 44–57). New York: Modern Language Publishing. Cook, M., & Frey, R. (2017). Using superheroes to visually and critically analyze comics, stereotypes, and society. SANE Journal: Sequential Art Narrative in Education, 2(2), Article 1. Retrieved from https://digitalcommons.unl.edu/ sane/vol2/iss2/1. Dayton, J. (2012). Education law: Principles, policies, and practices. Lexington, KY: Wisdom Buildings Press.

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Duncan, R. (2012). Image functions: Shape and color as hermeneutic images in Asterios Polyp. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 43–54). New York: Routledge. Duncan, R., Smith, M., & Levitz, P. (2015). The power of comics: History, form and culture (2nd ed.). New York: Bloomsbury. Duncombe, S. (2019). Dream or nightmare: Reimagining politics in an age of fantasy (2nd ed.). New York: OR Books. Duncombe, S., & Lambert., S. (n.d.). Why artistic activism: Nine reasons. The Center for Artistic Activism. Retrieved from https://c4aa.org/2018/04/ why-artistic-activism/. Eisner, W. (2002). Comics and sequential art: Principles and practices from the legendary cartoonist. New York: W. W. Norton. Epstein, T. L. (1997). Social studies and the arts. In W. Ross (Ed.), The social studies curriculum: Purposes, problems, and possibilities (1st ed., pp. 137–164). Albany, NY: SUNY Press. Evans, J. C. (2016, January 5). A rhetorical quest for identity. https:// whynotsuperheroes.com/tag/understanding-comics/. Gill, G., & Angosto-Ferrandez, L. F. (2018). Introduction: Symbolism and politics. Politics Religion and Ideology, 19(4), 429–433. https://doi.org/10. 1080/21567689.2018.1539436. Gilman-Forlini, J. (2018, Fall). The role of monuments and historic preservation. Baltimore Gaslight: Newsletter of the Baltimore City Historical Society, 17 (2). Retrieved from https://static1.squarespace.com/ static/58b4b8216a49630b4301df9f/t/5c2f9855562fa7f325f9b95c/ 1546623065034/2018+2.pdf. Groensteen, T. (2007). The system of comics (B. Beaty & N. Nguyen, Trans.). Jackson, MS: University of Mississippi Press. Groensteen, T. (2013). Comics and narration. Jackson, MS: University of Mississippi Press. Imber, M., Van Geel, T., Blokhuis, J. C., & Feldman, J. (2014). Education law (5th ed.). New York: Routledge. Kelley, B. (2010). Sequential art, graphic novels, & comics. SANE Journal: Sequential Art Narrative in Education, 1(1), Article 1. Kouzes, J. & Posner, B. (2017). The leadership challenge: How to make extraordinary things happen in organizations (6th ed.). Hoboken, NJ: Wiley and Sons. Krathwohl, D. (2002). A revision of Bloom’s taxonomy: An overview. Theory into Practice, 41(4), 212–218. Langley, J. (2018, July 1). Symbolic power among marvels. Psychology Today. Retrieved from https://www.psychologytoday.com/us/blog/beyond-heroesand-villains/201807/symbolic-power-among-marvels.

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Mandaville, A., & Avila, J. (2009). It’s a word! It’s a picture! It’s comic! Interdisciplinary approaches to teaching comics. In S. Tabachnick (Ed.), Teaching the graphic novel (pp. 245–254). New York: Modern Language Publishing. Mark, M. (2018, April 5). Trump just referred to one of his most infamous campaign comments: Calling Mexicans “rapists.” Business Insider. Retrieved from https://www.businessinsider.com/trump-mexicans-rapistsremark-reference-2018-4. Marino, M. P., & Crocco, M. S. (2012). Doing local history: A case study of New Brunswick, New Jersey. The Social Studies, 103, 233–240. https://doi. org/10.1080/00377996.2011.630697. McCloud, S. (1994). Understanding comics. New York: Harper Perennial. Monin, K. (2010). Teaching graphic novels: Practical strategies for the secondary ELA classroom. Mankato, MN: Maupin House Publishing. Northouse, P. G. (2018). Leadership: Theory and practice (8th ed.). Los Angeles: Sage. Oyez. (n.d.). Oyez. Retrieved from https://www.oyez.org/. Novak, R. J. (2014). Teaching graphic novels in the classroom: Building literacy and comprehension. Waco, TX: Prufrock Press. Palmer, R. R. (1941/2017). The twelve who ruled: The year of terror in the French Revolution (updated edition). Princeton, NJ: Princeton University Press. Potts, C. (2013). The DC comics guide to creating comics: Inside the art of visual storytelling. New York: Crown Publishing. Quality Matters Website. (2019). Retrieved from https://www.qualitymatters. org/index.php/why-quality-matters/value-to-students? Ratto, M., & Boler, M. (2014). Introduction. In M. Ratto & M. Boler (Eds.), DIY citizenship: Critical making and social media (pp. 1–22). Cambridge, MA: MIT Press. Schmidt, A. (2018). Comics experience guide to writing comics: Scripting your story ideas from start to finish. Exeter, UK: Impact Books. Sousanis, N. (2015a). Grids and gestures: A comics making exercise. SANE Journal: Sequential Art Narrative in Education, 2(1), Article 8. Sousanis, N. (2015b). Unflattening. Cambridge, MA: Harvard University Press. Thompson, R. (2018). Writing through comics. In A. Burger (Ed.), Teaching graphic novels in the English classroom: Pedagogical possibilities of multimodal literacy engagement (pp. 43–66). New York: Palgrave Macmillan. Webb, L. (2014). History of American education: Voices and perspectives. San Diego, CA: Bridgepoint Publishing. Weiner, E. J. (2007). Critical pedagogy and the crisis of the imagination. In P. McLaren & J. L. Kincheloe (Eds.), Critical pedagogy: Where are we now? (pp. 57–78). New York: Peter Lang.

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West Virginia State Board of Education v. Barnette, 319 U.S. 624. (1943). Retrieved from https://supreme.justia.com/cases/federal/us/319/624/# tab-opinion-1937809. Westheimer, J., & Kahne, J. (2004). What kind of citizen? The politics of educating for democracy. American Education Research Journal, 41(2), 237–269. Wolk, D. (2007). Reading comics: How graphic novels work and what they mean. New York: Da Capo.

CHAPTER 6

Conclusion

This chapter tackles some important topics: assessment, suitability and further reading. An obvious concern of any assignment is: does it do what it says it does? In the following pages, I lay out some ways teachers and professors can assess and evaluate the assignments in addition to assessing and evaluating my own work so far. The suitability concern is more practical. Teachers, especially in high school classes, may need to justify to administrators and parents why they are using graphic novels and comics. Finally, I also include a discussion of graphic novels and comics which have citizenship themes. In addition, I have also included a list of all the assignments in this book for quick reference. Chapter 2 (Comic Reading) Closure and History Assignment Grammar of History Assignment The Skills, Dispositions and Citizenship Assignment Further Question Assignment The NCSS Assignment Version of Reality Assignment Epileptic and Refugee Assignment Title IX/Disability Assignment Myth Assignment #1 Myth Assignment #2 Prior Knowledge and Emotional Context Assignment © The Author(s) 2020 A. J. Letizia, Graphic Novels as Pedagogy in Social Studies, Palgrave Studies in Global Citizenship Education and Democracy, https://doi.org/10.1007/978-3-030-44252-1_6

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Prior Knowledge Assignment Buddhist Political Assignment Adding Buddhism Assignment Chapter 3 (Comic Reading for Leadership and Symbolism) Leadership Chart Assignment Leadership Spectacle Assignment Buddhist Leadership Assignment What Would a Buddhist Do? Assignment Everyday Symbolism Assignment Stereotype Assignment Overt/Subtle Symbol Assignment Political Symbol Typology Assignment Ethnography Assignment Chapter 4 (Creating Comics) Historical Situations Assignment Multilinearity Assignment Create a Buddhist Superhero Assignment Draw a Skill or Disposition Assignment Civic Participation Assignment VOR creation Assignment Emotion Thumbnail Assignment Draw Your Neighborhood Assignment Pick a Local Spot Assignment Place through the Years Assignment Visit a Local Attraction Assignment Pop Culture Assignment Modern Mythology Creation Assignment Sequential Law Assignment Comics Journalism and Current Event Assignment Museum Education Assignment Chapter 5 (Creating Comics for Leadership and Symbolism) Drawing Leadership Assignment Fictional Leader Creation Assignment Illustrating a Leadership Theory Assignment/Buddhist Variation Buddhist Advisor Assignment Drawing Vision Assignment

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Leadership Field Trip Assignment Leadership Field Trip Assignment #2 Jam Law Comic Assignment Sequence Metaphor Assignment Constellation Assignment Culminating Comics Assignment

Assessment As a former K-12 teacher, whenever I hear the word assessment, I still cringe a little. I taught from 2004 to 2015. My entire teaching career was essentially contemporaneous with No Child Left Behind and the obsession over standardized testing and data. And while it makes me cringe, I know that assessment and evaluation is or should be at the heart of what any great teacher does. Mathison (2014, 247) similarly noted that assessment is usually seen as an externally mandated phenomenon which is “defined by others.” Mathison (2014, 247) urges teachers to resist these external calls and definitions of assessment and practice assessment that “supports a democratic vision of public schooling.” A note on terminology is in order. The terms assessment and evaluation overlap, but there are some distinctions (Rea, 2020). Assessment refers to the methods of gathering data on student performance and using this data to make decisions regarding learning, while evaluation refers to the judgements about students and teachers made based on those assessments (Banks, McGeeBanks, & Clegg, 1999; Chapin, 2015; Rea, 2020). Both are important for our purposes. Teachers and professors must use the information gained from the assignments in this book (e.g. ideas from class discussions and student created comics) to continually improve the assignments, adjust them to the unique conditions of individual classrooms, to evaluate the effectiveness of the assignments and teacher practice, and ultimately, help students arrive at their own ideas of citizenship in the hyperreal. In order to accomplish these tasks, teachers need to know if what they are doing is indeed helping students think. A standardized test created by a corporation I think is very limited in this respect. Perhaps this is the crotchety teacher coming out in me, but to truly assess and evaluate student thinking, we need to go much deeper. It simply requires more. Below, I examine a number of ways that graphic novels, both the reading and creating of them, might be assessed and evaluated. There are not specific rubrics for every exercise, although I do have rubric for the

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culminating symbolism assignment (the mini-comics assignment) which was presented in Chapter 5. I think rubrics for every assignment would defeat the purpose and crush any variability and spontaneity. Following Kincheloe (2001), I am wary of anything standardized for classrooms and teachers because this standardization neglects the fact that each classroom is different. I do not want to crush teacher creativity (Kincheloe, 2001). Instead, what I offer below are more general guidelines for teachers to make evaluations about student work. These guidelines however do not just serve as assessment guidelines, but also as a way for students to see what is expected of them (for my culminating symbolism project, I showed students the rubric beforehand so they knew what I was looking for in the project). Two other important notions related to assessment are formative assessment and the use of different assessment tasks. Chapin (2015) examines the importance of formative assessment, which is assessment that is ongoing during teaching. Specifically, informal formative assessment, known as “on-the-fly” assessment is crucial (Chapin, 2015, 159). Regarding formative assessment Mathison (2014, 256) asserts that assessment can be fused with instruction, which can yield a “continuous flow of information about what students do and do not yet know.” Informal formative assessment includes looking at students work as they complete it to see what they know, teacher questioning of students and observations of student discussions (Chapin, 2015; Larson, 2017; Mathison, 2014). I utilized these types of formative assessments for the comic assignments. As students were completing the assignments and frameworks, and even as I was explaining and assigning them, I constantly checked for understanding. I talked to students to ensure they understood what was to be done. After we discussed completed assignments, I used the discussions as a type of assessment. One thing I learned about implementing the reading assignments was that I needed to make sure students were paying attention not only to the content, but the comics form. Indeed, it is the comics form which differentiates this whole enterprise from just reading regular prose novels. Assessment can consist of written, oral or visual categories (2015). In the written category, stories, diaries and posters can be utilized. For the visual category, cartoons and drawings can be used (Chapin, 2015, 161). There is overlap between the categories (Chapin, 2015). Student created comics may be excellent evidence of the visual and written categories in conjunction.

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The process of action research is also useful here as well. Mertler (2020) argues that action research is performed by teachers and for teachers to understand their own specific classrooms and schools. For action research studies, teachers generally first identify a topic that they want to examine and then consult scholarly literature (Larson, 2017; Mertler, 2020). Next teachers decide on their research methods, implement the intervention and collect data on it and analyze the data (Mertler, 2020). Finally, an action plan for the future is developed, the results are shared and the teacher reflects on the process (Mertler, 2020). Of course action research is not this linear, but this gives some inkling of the process (Mertler, 2020). Action research is cyclical, meaning that an intervention can be performed by the teacher, who then reflects on it, and can then keep implementing the same intervention while incorporating the lessons learned from the last iteration (Mertler, 2020). An important consideration of action research is the uniqueness of individual classroom settings (Larson, 2017; Mertler, 2020). Schwarz (2013) specifically argues for something similar to implement graphic novel pedagogy in classrooms. Schwarz (2013) argues that teachers have access to their classroom, credibility with their students, flexibility, and the ability to utilize valuable student feedback right away. While large scale studies can be beneficial, Schwarz (2013, 153) notes: A wonderful empirical study on graphic novels done by an educational psychologist or expert in educational technology may not be applicable to these students in this place at this time for this purpose. Yet, one teacher may find results in a small, qualitative study that resonates with many other educators.

This quote perhaps best captures the essence of teacher led research and the assessment and evaluation aims of this book. Teacher research is relevant for the teachers (and most likely other teachers in similar situations). Teachers can evaluate for themselves how well their intended methods and frameworks are working in the classroom. Mertler (2020) and Schwarz’s (2013) ideas of action research and teacher research helped to inspire my own research process for this book. I wanted to examine how graphic novels (both the reading of them and creation of them) can help students grapple with citizenship in a number of ways. I consulted the literature (see Chapter 1 and relevant parts of the other chapters), implemented the activities in my classes, gathered

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information and feedback, and am using the feedback to guide future implementation. I am also sharing the results (this book, as well as at professional conferences). The data analysis utilizes the formative assessment procedures and rubrics (I will get to these shortly). In line with action research, I view these endeavors as incomplete and cyclical. While it was not feasible for me to implement every assignment in this book, I learned from the assignments that I did implement. I would recommend that teachers implementing the comic assignments utilize similar procedures and consult the literature on action research for more clarification (Larson, 2017). Teachers should continually reassess these assignments and their implementation in their own classrooms and use this information to guide future implementation. I am constantly learning from classes how to make the assignments better and more productive for the next iteration. There are at least two levels to this: number one, teachers must learn how to best go about implementing assignments and how the students perceive the assignments in general. Secondly, teachers must learn how to best assess and evaluate those assignments. Principles from formative assessment and action research can help teachers and professors accomplish both of these tasks. Below, I examine some of my experience with both levels indicated above.

General Perceptions and Implementation Something that became very clear to me when I began to implement these assignments was the need for flexibility. I had to make many adjustments on the fly. Students, many times asked questions which I did not anticipate and which forced me to reconsider aspects of assignments. For instance, in my History 402 class, we examined an excerpt from the graphic novel Uncle Sam. I used this excerpt to introduce the ideas of symbolism and imagery and part of our political discourse. We had a great discussion in class. Afterwards, my students noted how they would have liked a primer on how to read comics. This information was extremely useful as I moved forward and introduced more comics related material. The point is, I think when implementing these assignments, teachers and professors need to listen to their students. Teachers and professors must be flexible. Many of these assignments are asking students to take on creative, open ended tasks which may create ambiguity. I view all of this from an assessment perspective. My own experiences in implementing comics related pedagogy have been invaluable and constantly inform

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future practice. Every comment and criticism (either formally on class evaluations or informal comments) a student gives to me helps me to refine these assignments for the next go around. Obviously no two classes are the same, but formal and informal student feedback has helped me to continue to fine tune these assignments. Paying attention to student comments is good practice (Carter, 2013). This is probably good advice for any teacher and all assignments, but I think it especially pertinent with these types of assignments. Something else I noticed, to my own chagrin, was the fact that I simply could not get to all details in all lessons. For instance, in one lesson, I drew an example without panels. I simply forgot to include them because I was so focused on conveying symbolism. When I reflected on lessons, it always seemed like there was something that I forgot to include. I admonished myself, but then I realized something. I was asking my students to do so much, usually in a short amount of time. I was asking a lot of myself as well. The point is I think that forgetting things is inevitable, especially when you have limited time. I just reflect on what I missed and try to incorporate it in the next go around. A number of students gave me formal and informal feedback on the comic assignments in various classes, some of which I want to share. In the final course evaluation of my history of education class (EDU 402), one student highlighted the assessment potential of the culminating comic project in Chapter 5. The student wrote that the comic book assignment (along with another unrelated assignment) were powerful methods of knowledge assessment that did not rely on traditional means, such as multiple choice tests. The assessment potential of the comic is worth noting. I was able to assess the student’s knowledge of history in a new a creative format. After my constant harping on how comics can be used in a variety of ways, as well as assigning a number of comics exercises in class, one of my students in my Human Development class actually used a variation in her own class. I include this as a form of assessment because it helped me see new applications for some of the material in this book. She told me that she began to use comics to teach aspects of the social studies, specifically economics. She began using Calvin and Hobbes comics to teach concepts of opportunity costs and supply and demand. These are admittedly somewhat boring concepts, especially to fourth graders, but she found a way to use comics to convey these dry social studies concepts

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in a lively way. I believe her words are worth quoting at length. She wrote in an email to me: We were discussing supply and demand, specialization, competition, and opportunity cost after introducing the Industrial Revolution and Maryland’s economy. The comic strip discusses how without competition, prices increase and quality of product may decrease. Calvin demonstrates opportunity cost with how he is skimping on environmental and safety issues in order to keep prices lower, despite it not being satisfactory to the buyer. For supply and demand, this illustrates perfectly the consumer is the demand and supplier is whomever fills the need. Specialization was a bit trickier, but after discussing Maryland’s economy and using the abundance of certain natural resources to specialize and build industries, the students actually connected that Calvin is using what resources he has to make a product. Even if that product is just a lemon thrown in water. While it’s not a perfect representation, it gives a picture of how economics is a relationship between the buyer and seller. I had two students act out the cartoon, and we labeled the parts as a class. We then labeled the labels with examples from Maryland. The students seemed to enjoy. (E. Gore, email communication, May 29, 2019)

She believed that her efforts were successful. While this book focuses on using comics from grades 6–12 and at the university level, I think her adopting comics to teach social studies concepts in an elementary classroom is indicative of how teachers can adopt the ideas in this book to their own needs. She even incorporated a performance aspect, where students had to act out their comics, which might be especially enticing. Skits and dramatizations are other types of assessment (Chapin, 2015). Another student, who was a Ph.D. student in my law class, wrote this to me in an email: Every year, my students complete an assignment that connects them to multilingual communities. One of the options I give them is to create a bilingual book to be donated to a family in our community. Because of what I learned in Dr. Letizia’s class about some of the pedagogical benefits of the graphic novel due to the purposeful sequencing and encapsulation, emotionally-charged images, and transcendence of meaning, I have decided to encourage learners to consider creating a graphic novel for this assignment. (C. Dugan, email communication, July 27, 2019)

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Heather, another student of mine (and also a contributor of student artwork to this book), is a principal and teacher at a private school, decided to offer a graphic novel option for her classes. Her ELA classes complete a virtue journal, where students utilize art and text to analyze specific virtues found in Tolkien’s Lord of the Rings. Heather added a graphic novel option of this assignment and had me come into her classes and give a presentation on how to utilize the features of the comic’s medium to this end. I gave a short lecture and then did comic activities with the class. In the course evaluation of my other summer law class, where I also utilized a number of comic activities with Ph.D. students, a student wrote: I highly enjoyed the comic assignments because of the creative aspect, which can typically lack in Ph.D. courses. Creativity is a modality that gives a clear understanding of concepts learned with students and I enjoy the challenge of those types of projects (others do struggle with this though). It is important to give assignments that allow students to demonstrate their understanding of knowledge in variety of ways, I felt this course did so.

As Carter (2013) cautions, student comments may be influenced by the instructor’s enthusiasm for comics. He noted that he is a comic advocate and this may have swayed their comments. Similarly, I am a huge advocate of comics and this may have influenced the comments my students shared with me. Nevertheless, like him, I do believe these comments are instructive and important to examine so I have included them here. They also show how nothing in this book is immutable, everything is up for grabs. I want teachers to take what I am doing and mold it to their own purposes which these students did. While I have had success in implementing these frameworks, I would be remiss if I did not mention some of my less successful attempts. These are important to acknowledge and reflect upon. Early on, I tried to implement the Drawing your Neighborhood activity in my social studies methods class. I distributed the assignment and gave them time to complete it, but no one did the assignment! I concluded that I did not give clear directions. After my Human Development and Learning class completed some frameworks, which I felt were successful, a student, who highly enjoyed the assignments, told me I should give clearer directions. So, I learned that clarity is key. Sometimes I become overly enthusiastic, and the assignments make sense to me, but some of the instructions are lost on the students.

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Another time, I had planned to implement one of the Buddhist assignments, but at the last minute, I declined. I had it printed it out, we discussed Buddhist theory and was about to distribute it, but something held me back. I did not feel my class was ready for it, and I did not sense any enthusiasm for it. I could have been wrong, they might have been ready, but I think it important to pay attention to these gut instincts. Sometimes, you may not feel ready or you may feel that your class is not ready and that is okay. Sometimes it is best to not push these types of assignments if you feel the class is not ready.

Assessing Student Work The informal formative assessment (Chapin, 2015, 159) may be especially pertinent to judge student work in Chapters 2 and 3. Teachers can observe their students at work, and ask pertinent questions to check for understanding. This is what I did. I usually break students into groups and visit with each group individually. I would use their discussions and link these back to things we were learning in class. I would also use discussions to generate new questions for students to ponder. The structure of all the comics reading assignments (contained in Chapters 2 and 3) in this book are varied, but I condensed some of what I discovered to be the most important points when facilitating a discussion which cut across all the assignments. While conversation and class discussion should be organic and not pigeonholed into boxes and rubrics, I think this list can be a useful guide. Content: Are students engaging with the content of the assignment? Form: Are students engaging with the form? Are students considering how the comics form helps to convey ideas and information? Citizenship: Can you guide the discussion of content and form towards any citizenship ideas discussed in the Chapter 1? Bloom’s taxonomy: Are students using levels 2–6 in Blooms taxonomy, and thinking about the content and form in a number of different ways?

Another simple method to determine the effectiveness of the comics assignments is to ask yourself how well the products, either in the form of comments, class discussions or written work, helped to achieve the stated class objectives. I began using this method in my college classes. The objectives that I created gave me a benchmark to make this determination.

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The assessment of the activities in Chapters 4 and 5 lend themselves to more formalized rubrics and other similar criteria, since students are creating a tangible product (although I do not grade all of these assignments with formal rubrics). Below, I appropriate different criteria and methods of assessment that teachers and professors can utilize to evaluate student comics. Barone and Eisner (2012) offer criteria by which to examine and judge arts based research. Importantly, they opt for criteria rather than standards because unlike standards, criteria are more flexible and do not offer a discreet “quantitative metric” (Barone & Eisner, 2012, 147). Criteria are more “slippery” and entail judgement of “significance or value” (147). I adapt their ideas to student created work, but also stress that it is important to link these criteria to citizenship in hyperreality. The criteria are: incisiveness (regarding the issue at hand, does the research get to the point?), concision (no excessive verbiage or material), coherence (does the piece work? Does it “hang together?” do the elements “work together?”), generativity (the way a piece allows the viewer to see phenomena differently), social significance (the work has a “focus on the issues that a make a sizeable difference in the lives of people within a society”) and evocation/illumination (“one begins to feel the meanings that the work is to help its readers grasp”) (2012, 148–154). Regarding citizenship, student’s creations should be concise and incisive. They should help other citizens, especially those of a different political persuasion, to think differently about a topic. The piece should also make sense to readers so they can get something out of it. Of course, there can and usually should be multiple meanings of a piece of art (Duncombe & Lambert, 2018). The social significance piece easily relates to citizenship—the issues which students tackle should be pressing issues in the republic. Epstein (1997) posits some methods that she employs to evaluate student art work that deals with historical topics which I have utilized as well. Epstein (1997) had students study primary sources, such as painting and poems, and then create their own poem, picture or song. One criteria Epstein (1997) uses is that of representativeness, which she defines as containing “historical accuracy, probability, possibility or plausibility.” Another criteria Epstein (1997) employs is that of empathy instead of logicality. She looks to see if the student created work can generate empathetic understandings for historical persons or situations. Epstein also utilizes the notion of expressiveness to evaluate student art. She looks to

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see if the work can help an evaluator realize an image of the experience portrayed (Epstein, 1997). Novak (2014, 162) created a rubric to assess student comic creations. This rubric centers on how well students utilized the different aspect of the comics. I have adapted and modified this rubric (the rubric was presented in Chapter 5). I have also combined it with aspects from Epstein (1997). The criteria for my rubric are: narrative/historical understanding, use of comics medium, interanimation of words and pictures, and the images themselves. These criteria embody not only literary and artistic qualities, but literary and artistic concerns in conjunction with historical and citizenship notions. I stress to my students that I am not concerned with how well they draw, but rather, how they use art and words to convey meanings of citizenship. If given the rubric beforehand, it may foster creativity and conversations about that creative process and product, somewhat like distributing a playbill prior to a play (Barone & Eisner, 2012). I do not see the rubric as an immutable standard that students must attain. This rubric, along with criteria from Epstein and Barone and Eisner, can help teachers evaluate student created art work. Further, Barone and Eisner’s (2012), Epstein (1997), and Novak’s ideas are related in many ways to the concern of the first chapter and citizenship in hyperreality. They all call attention to the actual construction of the comic, to historical plausibility, to its significance and ability to generate empathy. Following Epstein (1997), we want to indulge students’ imaginations, but not allow for an anything goes approach. There needs to be some grounding in reality, students cannot simply abdicate into fantasy. At the same time, there must be ample room for creativity and divergent thinking. All student creations are “evidence.” Each student assignment gives me a window into a student’s thought process regarding citizenship. Many of the student created comics most likely do not require a formal rubric or some similar type of assessment. Many times I only require small comics as part of a classroom activity. For the larger assignment like the culminating symbolism activity in Chapter 5, a more formal rubric or something similar might be necessary. Nevertheless, even with the more informal assignments, the points above can still help teachers and professors judge student work. Teachers can ask of student work: Is the work illuminating different aspects of an issue? Does the student work help to convey political and historical messages or messages regarding citizenship theories? Is the work concise and use minimal verbiage? These loose questions can give teachers and professors some idea as to the worth of

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the assignments, as well as ways to improve for the next iteration. Teachers can look for historical accuracy (when applicable), historical possibility, and empathy (Epstein, 1997) as well as incisiveness and social significance (Barone & Eisner, 2012) in the more informal student comics done as classwork assignments. The guiding questions can get students and teachers thinking explicitly about how the work relates to some of the citizenship ideas in the hyperreal. Some examples. I wanted to provide some examples of exactly how assessment and evaluation student created comics may look. The assignment from Chapter 4, where students had to draw their own Version of Reality (VOR) is shown in Fig. 6.1. The student who drew this cartoon is an art teacher, so it looks better than most. This assignment had students construct their VOR or version of reality (Shealy, 2014). The assignment called for an exploration of how beliefs and experiences cause actions. Since this piece is not as historical, I utilized Barone and Eisner’s (2012) criteria. The student who drew this is a lesbian who grew up in a very conservative area of the south. She then moved to the Baltimore area as a young adult. The first thing that struck me was the incisiveness and social significance of this piece. This piece touches on LGBTQ issues which is obviously a pertinent question in contemporary American society. Further, the piece is concise. She uses minimal verbiage to get her point across. There are some speech bubbles but the words are minimal. However, the words are important to the piece, they help to convey her rejection by society and the piece might not be as powerful without those words. The piece is also coherent, it is put together well and makes sense. This piece also speaks to the notion of generativity. Arts based research makes you see the world differently, it “possesses the capacity to invite you into an experience that reminds you of people and places that bear familial resemblances to the settings, events, and characters within the work” (Barone & Eisner, 2012, 152). In the first panel she is rejected by society that scorns her, but in the second panel we realize that she doesn’t really care. I have known some from the LGBTQ community (as well as other marginalized and non-dominant communities) who experienced a similar type of rejection. Yet the piece is actually happy. She is rejected but overcomes this and starts a new life in a more welcoming community— Baltimore. I can see the rejection and happy ending in this piece and I think it is as or more effective than reading about it. It is here where I also began to “feel ” the meaning and power of the piece, which is what Barone and Eisner (2012, 153) call evocation and illumination. This assignment

Fig. 6.1 Student example of VOR assignment

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let me truly see and feel Jennifer’s VOR. As a heterosexual white male, I may not be able to truly understand what she went through, but at least I can begin to contemplate it. And this contemplation of another human being, another citizen, is an important part of citizenship. I saw how her VOR shaped who she is and led her to act the way she did. She encoded elements of her VOR into a comic to challenge injustice and invite readers to consider this sensitive topic from a new and more empathetic angle. For the second example (Fig. 6.2), students had to illustrate a scene from the court cases we read in my law class, the sequential law assignment. We had spent a good deal of deal of time talking about first amendment rights in the classroom which is reflected in the comic. The comic is concise. It does not employ excess verbiage or details. The words are sparse but necessary. Some of the verbiage is posted, such as the title of the school and the establishment date on the post (the date is 1791, the date the bill of rights were ratified). Much of the factual information is conveyed pictorially, such as the gate itself, which is a reference to the famous quote “It can hardly be argued that either students or teachers shed their constitutional rights to freedom of speech or expression at the schoolhouse gate” in landmark Tinker v. DesMoines case. The second frame has the children from Tinker, who are admitted to the school because their armbands were found to be free speech, while students in later cases were denied. All of these are accurate historical details which are woven into this fictional piece. Here Epstein’s (1997) ideas of historical accuracy and plausibility come to mind, as well as the idea that arts based research can be empirical (Barone & Eisner, 2012). The story and activity in the comic are simple and repetitious. There is a school which are some are admitted to and some are not. It is simple and to the point, which relates back to incisiveness. The social significance of this piece was blatantly obvious to me. The question of free speech is ongoing and complex in hyperreality. What constitutes free speech—and what are the parameters in a school setting? The comic forces the reader, by use of skillful encapsulation and historical detail in sequence, to confront this question in a unique manner. The next example is from the culminating symbolism project in my undergraduate class (Fig. 6.3). The rubric from Chapter 5 (built from Novak’s rubric) calls attention to the historical elements of the piece, the use of the comics medium, the interanimation of words and text and the

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Fig. 6.2 Student example of illustrating the law activity

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Fig. 6.3 Student example of creating an ethical spectacle activity

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images used, specifically the symbolic nature of the images as well as citizenship concerns. As noted in the last chapter, one theme that we discussed at length in my history class was the notion of education as an institution of liberation or social control and my student drew a comic examining these ideas. She depicted different scenes throughout the history of American education which spoke to the dual nature of education. Please note that I only included the last page. For one, her comic involved a good of historical elements, such as the effects of the Protestant reformation, American immigration and women’s liberation to name a few. So, she exhibited historical knowledge. However, in some cases, she had to make decisions about how people felt and expressed themselves in these different circumstances. She could infer this knowledge from our readings and discussion, but ultimately had to depict it the way she saw fit. She expertly used the comics medium, as well as emotions on the figures she drew to convey her messages. The scenes of social control were left in pencil, while the scenes of liberation were in vibrant color. The scenes of social control were drawn with more constricting panel sizes. In addition, on pages depicting no social control, there were no panels at all. This I thought was an excellent use of the comics medium itself, specifically the use of encapsulation and the page as a unit, to convey messages about historical materials and ideas related to citizenship. While she could have written about social control in a traditional way, I think she captured the essence of social control visually and it resonates deeper with the reader. Social control and liberation are two narratives of education and she was able to grapple and present both of them in her comic- and many times we as citizens are forced to deal with simultaneous and competing narratives, especially as they proliferate on social media. In addition, the symbols and imagery she employed were powerful; pencils, priests, schools, American flags as well as people and situations that she created for the comic. She spoke to the reader with symbols, which is an important skill in hyperreality. These examples demonstrate one way to assess and evaluate student drawn comics. Students had to weave factual information, emotional contexts and utilize ideas such as symbolism and encapsulation to make a better truth, a truth which may resonate with people in hyperreality. Students used art and text to be citizens and provide commentary on important political issues in new ways. These types of efforts may now be especially useful for citizens in hyperreality to get their messages across.

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As Potts (2013, 18) notes, registering the visual information of comics usually happens on “a gut level” and it usually occurs during later readings. This happened to me when reading my students comics. My students are not professional comic’s creators, but they are all insightful, smart people who crafted comics with a ton of references, information and symbolism. I first read the comics and registered their information on a gut level, and then I had to go back a re-read the comics multiple time to truly grasp their power. Sometimes I did not see things until weeks later. The assessment tools should not be applied rigidly to student work, rather, they are meant as a guide only. Teachers may want to read the comics first as a comic, on a gut level, and then go back and dissect them. Here, I think it important to link assessment and evaluation of this project to citizenship. What is the link between the assignments in this book and citizenship in the hyperreal? As stated earlier, I do not claim that these assignments will make students better citizens, but the assignments can at least start a conversation as to what this citizenship might look like. Below, I have also provided some questions for teachers and students to consider. These questions are a shorthand for all of the complex ideas sketched out in Chapter 1 and ask how the use of the comics form helps to portray these notions of citizenship. These guiding questions, in conjunction with the ideas of Epstein (1997), Barone and Eisner (2012) and Novak (2014), are an attempt to link the assignments in this book, and the products that result, to citizenship in the hyperreal. Moreover, I think this relationship must always be flexible and tenuous. Citizenship cannot be nailed down into a quantitative score. Rather, I think citizenship must be viewed through the things we as citizens create, through our conversations, through actions and relationships to other citizens. Professors and students themselves should answer the questions below by giving examples from student work and using these examples to facilitate conversations. Hopefully, the rubrics and guiding questions can begin to illuminate these elements. But the result of the rubric and answers to the questions below are not final, rather they are just another intermediate step in the ongoing process of maintaining a healthy republic. 1. How effective is the student’s product and use of the comic form in portraying new truths which challenge injustice?

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2. Does the student’s product and use of the comics form help to illustrate the skills and dispositions of citizenship in new ways? Or put forth new ones? 3. Does the student’s product and use of the comic form allow the student to relate to others in the republic in new ways? 4. If democracy is creative, how does the student’s use of the comics form help advance democracy? How does the student’s use of the comics form problematize or question the status quo? 5. How does the student’s product and use of the comics form create something better that exists already or least point in that direction? What new visions or dreams does this work put forth? How might it help us imagine a better future? 6. Does the work disrupt power relations of any sort? 7. Does the work and its use of the comics form help us to understand the roles of emotions in the republic and how these emotions may be tangled up with the political process? I briefly examine another student’s work, which is featured in Fig. 6.4,

Fig. 6.4 Student example of creating an ethical spectacle activity #2

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with the above questions in mind. The point is not to answer the questions, but use them as a basis for reflection and conversation. The comic charts some educational developments of the past in regards to segregation and desegregation, some of the tumultuous present and America’s continuing struggles with racism and discrimination through more insidious means (e.g. zoning and hiring practices) and it ends in the year 2040. My student’s use of symbolism and imagery is intriguing. She incorporated buses, maps, contemporary signs (e.g. MAGA hats) to convey her ideas. She used strong symbols and imagery, such as by depicting desegregation with the use of black and white dots as well as the use of a maze. In her own words, she wrote: “I chose to use a maze to show the systemic barriers that prevent black individuals from succeeding in the same way that white individuals do easily.” I think her use of a maze could also be related to dispositions—she is depicting dispositions of social justice and equality visually (an inequality). Moreover, there is an obvious commentary on power relations throughout the whole work which can make the work a statement on justice oriented citizenship. My student however, in line with ideas sketched out in the first chapter regarding hyperreality, used the comics form to make this statement. Please note that I only included one page of this comic. In a wider sense, I think her work also speaks to the notion of creative democracy. American democracy has had a long struggle with discrimination and continues this struggle as it evolves into the twenty-first century. Her work is appropriately titled: A Question of Progress. My student recast elements of the current political situation in the United States into a statement about creative democracy and used the comic form to accomplish this task. Her comic challenged me to confront a sobering question: have we really progressed, or has racism and discrimination have just taken new forms? She left her depiction of the future open for the reader to decide. It does not really posit a dream or vision of the future, as much as it challenges the reader to consider what has happened in the past and so as to make a better democracy. I think the comics assignments are participatory and resemble art activism as well (Duncombe, 2019; Duncombe & Lambert, 2018). Students discuss their comics with each other, they reflect on each other’s comics and sometimes they work together on joint projects. Comics become a class discussion, a group thing which helps to change thinking and values (Duncombe & Lambert, 2018). I believe the act of teaching

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progressive citizenship is inherently activist anyway. Students are (hopefully) changed because they are taught to think differently and the hope is that they then will take these new understandings and then participate in the republic. In this case, students are taught to think differently with comics pedagogy. Further, if the comics activities in this book are done with current or prospective teachers as I am advocating, those individuals can then take the comics pedagogy and adapt it for their classes, infusing countless students who are citizens in the making in hyperreality. This is happening to me, a number of my students have taken these ideas and adapted them for use in their own class, as I noted earlier.

Suitability I have intended this book for a broad audience. The audience includes (but is not limited to; 6–12 social studies teachers, social studies methods professors, professors of history and other professors interested in promoting citizenship). With that said, what is suitable in a college classroom may be wildly inappropriate for a 7th grade classroom. So, for one, there has to be great discretion and professional judgment when employing comics in the classroom at the middle and high school level. There may also be curricular concerns at the middle or high school level because these teachers, especially in core subjects like history, are generally more restricted by standardized tests and state curriculums. It may be a hard to sell to bring a Batman comic into a class which does not have time to spare and where the teacher is racing through content to teach what is on the end of year test. Nevertheless, I think comics can still be utilized in the 6–12 classroom in a variety of ways. There is a great variety of comics and graphic novels, many of which are directly applicable and relevant to the study of social studies and history. Graphic novels pertaining to the Holocaust and Ethnic Cleansing in Bosnia (Christiansen, 2006) are a few relevant examples. I do not believe it would be hard to integrate these type of books into a social studies classroom. Many of these graphic novels do not read like academic texts, they are engaging and can draw readers into the story. There may be more difficulty in utilizing traditional superhero comics in the classroom, but even here, I do not believe the difficulties are insurmountable. For one, even traditional superhero comics may at times, even tangentially, center on real world events and social issues, or the subject matter itself may be of social concern. Further, comics can be understood

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in historical terms (Ricca, 2012; Wright, 2003). Social studies teachers can look carefully at comics and find links to their curriculum or the NCSS themes and use those links to justify the inclusion of those comics. Mathison (2014, 262) does note that while linking assignments to standards is good practice, this should not be an “exercise in compliance.” Rather, teachers must constantly work though and figure out how their assignments link to the standards but how this action is situated in the wider purposes and goals that the standards promote (Mathison, 2014). Teachers can make these links explicit to their students or help guide student’s to find those links as part of the overall analysis of the comics. Further, teachers can constantly link the comic’s assignment to larger social studies goals and to student’s decision making in the republic by asking such questions as outlined in the last section. If a teacher uses a superhero type comic or graphic novel as a short, a supplementary activity which takes twenty minutes in class, this would obviously be less problematic than the teacher spending six weeks studying a Superman comic. Another consideration may be the actual method used to analyze the comic itself. For example, suppose a teacher has to teach about Buddhism. If for a supplemental activity, the teacher was to utilize or modify a Buddhist framework offered in this book, and has students apply this to a comic or graphic novel with no link to the curriculum (e.g. a Batman comic), this could still be justified because the method itself centers on Buddhism. Here, the justification and link is centered on the method of analysis, not the content itself. These suggestions largely apply to classrooms where time is of the essence and where teachers must race through material in order to prepare students for a state test. However, many times, high schools have elective classes. While I cannot speak for all schools and classes, I can speak to my own experience in teaching electives. I would assume that other teachers may have similar experiences. I taught two electives, Introduction to Philosophy and African American studies. In these classes, there were no required state tests and there was little oversight of the curriculum. I had almost free reign to do what I wanted. Again, I cannot speak to how other schools structure or oversee their electives, but at least for me, I had a great deal of freedom. If teachers teach electives and have freedom like I did, the use of comics to promote citizenship can be very beneficial. Indeed, elective classes in high school may be the perfect laboratory for testing alternative and radical approaches like the use of comics.

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Another issue for high schools is suitability of materials. Chapin (2015) notes how there may be reluctance to use some graphic novels due to their sexual and violent nature as well as questions by administrators and the community at large as to the appropriateness of graphic novels in the classroom. Obviously this is an issue that cannot be overlooked, especially in middle and elementary schools. While I would not advise using explicit materials in an elementary or middle school, there may be some leeway in high schools. For instance, when I taught African American History, I had to send home permission slips when I showed certain movies, such as Malcom X. While the permission slip was a practical measure, it could also, as one of the reviewers of this work pointed out, allow for a degree of student choice. Of course, depending on the school and the district, it may just be prudent to steer clear of all questionable material or at least check with an administrator. The suggestions above largely pertain to student interpretation of existing comics. However, students using artistic techniques in class and creating comics can be a very useful pedagogical strategy as pointed out throughout this book and may be less problematic to implement. So, finding links with the curriculum and being able to justify these links, the length of the activity and method versus content are all ways that teachers might be able to justify the use of more problematic or seemingly irrelevant comics and graphic novels. In addition, utilizing comics and graphic novels in elective classes, as well as the use of permission slips might be other methods that teachers may use to bring comic and graphic novels into the classroom.

Letizia’s Basement Now we come to Letizia’s Basement. So named because for most of my life, my comics have been kept in a basement. In this section, I am going to give you a virtual tour of some of my own comics as well as other comics that I am familiar with to show how comics may have political, legal and/or citizenship themes. The purpose of this section is twofold. The first is to enumerate a specific list (actually two lists) of comics and graphic novels for readers. The second is to demonstrate how many graphic novels that may not seem relevant actually may have important themes upon closer inspection, one just has to be cognizant and look for them. I believe that almost all comics and graphic novels conceivably have some value to teach citizenship and raise interesting questions.

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The first list is a list of graphic novels that deal directly with historical and social themes. I compiled this list from my own readings of graphic novels, with recommendations by a reviewer of this book and by consulting other lists and pieces written about specific comics (Kavaloski, 2012; Missiou & Koukoulas, 2013; Ricketts, 2013; Wolk, 2007). Specifically, Christiansen (2006) offers an excellent list of historically themed graphic novels specifically for the Social Studies. McTaggart (2008) also offers a wide list of graphic novels of general interest from elementary to high school. She also delineates by subject (e.g. science, history etc.). I also was given recommendations by a former colleague, Jessica North, who was an ELA teacher and is now a high school library media specialist. Some of the works on the list are memoirs and works of comics journalism. Duncan, Smith, and Levitz (2015) point out that memoirs are not straight, factual history. Rather, they can be a combination of facts, memory and fiction. Other pieces on the list below are examples of comics journalism, such as the Sacco pieces. Nyberg (2012) asserts that Sacco’s comic journalism helps call attention to the interpretive nature of journalism in general. This interpretive function of comics journalism and journalism in general, as well as elements of memoir, may need to be discussed with students as they read. The second list is further subdivided. I first enumerate fictional comics and graphic novels (many of them traditional superhero comics and graphic novels) that I used as examples in this book. Following this portion of second list, I then give an in-depth analysis of some other comics and graphic novels which I believe can be used to grapple citizenship themes. Obviously, no list of comics and graphic novels can ever by exhaustive. List #1 Abina and the Important Men, by Trevor Getz and Liz Clarke. This story chronicles the experiences of an African woman named Abina, who lives under colonial European rulers and who is illegally enslaved and brings her owner to court. The work was created from court records. This work also has a text section where the author, a historian, details the process of constructing a history from archival records. A Jew in Communist Prague, by Vittorio Giordano. This is a fictional work which chronicles the experience of a citizen in Communist country.

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Barefoot Gen: A Cartoon History of Hiroshima, by Keiji Nakazama. This multivolume work chronicles a survivor’s story of Hiroshima and its aftermath. Berlin, by Jason Lutes. This three-part series chronicles the interwar years in Berlin and the decline of the Weimar Republic. Colonial Comics, New England 1620–1750, Volume I and II, edited by Jason Rodriquez. This graphic novel chronicles little known stories of colonial New England. Epic Battles of the Civil War, Volumes 1–4. (Marvel Comics), by various writers and artists. There are four books. Each book covers a different battle: The First Bull Run, Shiloh, Antietam and Gettysburg. Epileptic, David B. This work chronicles the author’s struggle of dealing with his epileptic brother and the tribulations of the family. Illegal, by Andrew Donkin, Eion Colfer and Giovanni Rigano. In this work, a young boy and his brother are trying to get from Africa to Italy and have to endure tragedies and obstacles on the way. Jerusalem, by Guy Delisle. In this work, Delisle recounts his families’ experience of living in Jerusalem and the constant tension between Arabs and Jews. Logicomix: An Epic Search for Truth, by Apostolos Doxiadis, Christos Papadimitriou, Aleccos Papadatos and Annie Di Donna. This work examines the life and ideas of the philosopher Bertrand Russell and his pursuit of important mathematical concepts. March, by John Lewis, Andrew Aydin and Nate Powell. This threepart work chronicles the life and actions of civil rights leader and now Georgia congressman John Lewis. Palestine, Joe Sacco. This is an example of comic’s journalism. Sacco depicts his time in Palestine in the early 1990s. Persepolis 1 and 2, by Marjane Satrapi. This work is the story of a young woman and her struggles as she comes of age during the Iranian Revolution. Pyongyang, by Guy Delisle. In this work, Delisle examines what it is like to live in North Korea. Safe Area Gorazde, by Joe Sacco. This is another piece of comic’s journalism. This piece chronicles Sacco’s time in Gorazde in Bosnia during the Bosnian War in the 1900s.

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The Arab of the Future, by Riad Sattouf. This multipart story chronicles a family who lives in Gaddafi controlled Lybia and then next in Syria. The main character is of European and Syrian descent and this plays into the story as well. The Arrival, by Shaun Tan. This work is wordless and it is fictional. It depicts an immigrant’s journey. The Complete Maus, by Art Spiegelman. This story depicts a survivor’s story of the holocaust. The characters are rendered as cartoon animals, with the Germans being cats and the Jews depicted as Mice. The Harlem Hellfighters by Max Brooks. This book examines the struggles of an African American unit in World War I. While the account of the unit is fictionalized, the work can still be used to discuss some very important topics, such as racism and war. The Iliad, The Odyssey and Beowulf, by Gareth Hinds. These are graphic adaptions of these classic tales. The Sacrifice, by Bruce Mutard. In this story, a young Austrialian contemplates enlisting in the Second World War. The Silence of our Friends: The Civil Rights Struggle was Never Black and White, by Mark Long, Jim Demonakos and Nate Powell. This is the story of two families, one back and one white, who had to overcome their differences in segregated Texas to effect change. This is based on true events. They Called Us Enemy, by George Takei, Justine Eisinger, Steven Scott and Harmony Becker. This memoir recounts the struggles of noted actor George Takai and his family’s imprisonment in Japanese internment camps. To Teach: The Journey, in Comics, by William Ayers and Ryan Alexander-Tanner. This work chronicles the experience of a first year teacher. List #2 Batman: White Knight, by Sean Murphy Miracleman: John Totleben Artist, Original Writers Superman: Red Son, by Mark Millar Superman and Doomsday, Hunter Prey by Dan Jurgens and Brett Breeding

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The Killing Joke, by Brian Bolland and Alan Moore The Walking Dead, by Robert Kirkman, Cliff Rathburn and Charlie Adlard Uncle Sam, by Alex Ross and Steve Darnell V for Vendetta, by David Lloyd and Alan Moore Watchmen, by Dave Gibbons and Alan Moore

Analysis This section continues the list of comics and graphic novels that at first glance may not seem to contain any relevant ideas, but upon further inspection, actually might. In this section, I offer some description and analysis. Entertaining Comics (EC Comics) aroused much controversy in the 1950s (Wright, 2003). And while many of those comics were gory and outlandish, Wright (2003) points out that many contained amazingly prescient social and political barbs aimed at American society (Wright, 2003). This fact makes them excellent objects of study for this book. Many of the EC comics have been reprinted. I have some paperback issues, but there are also hard cover anthologies. One story from Weird Science-Fantasy, No. 6, February called The Inferiors is a tale that I read as a kid and to this day haunts me. A group of astronauts are on a mission to answers questions about a lost but highly advanced alien civilization. What we come to find out is that the civilization voluntarily killed itself because it had grown decadent and immoral. Yet a small band of the aliens did not want to die, they wanted to live with their imperfections, and so their memories were wiped and they were jettisoned off the planet to start a new civilization—earth. We descended from the immoral and decadent rejects. It is explained that man is the ultimate de-evolution of this once great race. It is a harrowing tale which can be used to call into question humanities grandeur, sense of purpose and self-worth. Further, while the question of species suicide may be delicate at the high school level, it is a fascinating concept which can spark questions of societal peaks and declines, and the ultimate question of when and if a society is too immoral or decadent to continue. Another EC story, this time from Shock Suspense stories, No. 13, September, titled Blood Brothers, can bring up questions of racism. A man named Sid finds out his best friend is actually part African-American. Sid torments his friend and eventually burns a cross on his lawn, driving the

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friend to suicide. Sid is obsessed with the idea of Negro Blood contamination. The town doctor explains to Sid that the idea of Negro blood is nonsense and that when Sid was a child, the doctor had to perform an emergency blood transfusion from a Black farmhand. The story ends with Sid in disbelief that he has had Negro blood in him all along and that he drove his friend to suicide. For me, this story always called into mind irrational racist and ethnic hatreds juxtaposed with the ultimate similarity between white and black bodies. It is a harrowing tale that is just as prescient now as it was then. The graphic novel titled No Power in the ‘Verse is a story which chronicles the adventures of the characters from the movie Serenity and the series Firefly. In this story, there is a tyrannically interplanetary alliance and two rebel groups opposing them. One rebel group is willing to use any means necessary, even killing innocent people, to topple the alliance (and the leader speaks these words with a maniacal face). The other rebel group, led by the pilot Mal, want to topple the alliance but question and disagree with the other group’s course of action. For me, this story always called into question the price one has to pay to achieve drastic political change (something directly referenced in the book as well). The comic makes people question the uses of violence to achieve political ends and for me, brings to mind historical figures who did advocate for violence to achieve change. Further, this violence was not only directed at the opposition, but innocents as well, who became collateral. Again, some of these topics might be sensitive with high schoolers, but political violence has been part of history and it needs to be discussed. The events of No Man’s Land, which was a massive story arc in Batman comics, can also call attention to citizenship questions. In this story, Gotham city is abandoned by the rest of the country. The comics open with “…and after the Earth shattered and the buildings crumbled, the nation abandoned Gotham City. Then only the valiant, the venal and the insane remained in the place they called No Man’s Land.” Batman: Shadow of the Bat, no. 86 from June 1999 opens with a description of gang wars. In Batman: Detective Comics, no. 733 from June 1999 has Batman, like Solomon, decide who a baby belongs too. The point is that law and order are gone, and this situation, new types of citizenship ideas may be needed. It can lead to an interesting discussion of how people should (or might) act in this situation. I also think of the Walking Dead series which explores these notions as well. In the absence of government, how will people act? How should they act? What would citizenship look

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like with no government? These questions can be excellent springboards to deep discussion. The graphic novel Joker Time! is a three-part story written and drawn by Bob Hall. In one instance, television executives are not compelled to give up Joker’s location because due to constitutional concerns. Joker is giving them a story for a television show. This is over Gordon’s objection that the Joker is a public menace. A few panels later Batman, with his mask off, watching the show with Alfred laments: “This isn’t happening…not in a civilized country.” To which Alfred retorts: “I’m afraid it is sir…” Of course Joker dupes everyone and terrorizes the cast because of this decision. But I think the comic can raise interesting points. If the Joker or someone like him was real, what protections would he be given? How would the law deal with this? How do you balance freedoms with security? Again, the fictional comic, while dramatic and over the top, can raise these types of questions to ponder. Finally, there is the graphic novel titled Scarlet written by Brian Michael Bendis and illustrated by Alex Maleev. The back cover sums it up: “Scarlett is the story of a woman pushed to edge by all that is wrong with the world…A woman who will not back down…A woman who discovers within herself the power to start a modern American revolution!” Scarlett, a young woman, is pushed over the edge by a heinous act of police brutality against her friend. In one scene, Scarlett brutally murders a dirty cop. She reflects on this act and notes: “It is my opinion that he gave up his rights as a human being by betraying society…” These types of statements can serve as fodder for class discussion on rights, citizenship and accountability. This graphic novel however is extremely explicit with regards to sex and violence, and probably cannot be used in a high school classroom. Nevertheless, it can raise important questions. I truly believe that if one looks hard enough, they can find political and citizenship ideas in almost any comic or graphic novel. The works above are important for the ideas they raise, but also how well these ideas are communicated through the comic form. The EC comics depict aliens and spaceships and the Joker comics depict a whimsical, evil and colorful Joker for example, these are things which the comic form helps to showcase. Similarly, the maniacal face of the resistance leader in the Serenity comic, the dilapidated cityscape in No Man’s Land and the burning cross in the EC comic are other powerful depictions. Again, the point is not simply to examine the political messages and

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ideas of the comics, but how those ideas are communicated through the comic’s medium.

A Parting Note In Grant Morrison’s and Dave McKean’s (1989/2014) Arkham Asylum, Serious House on a Serious Earth, a psychiatrist asserts that the Joker’s psychotic behavior might be an adaptation to life at the close of the twentieth century. While I do not think we need to be like the Joker, I do think we as teachers need to reckon with this volatile age we find ourselves in. And I don’t just mean the technology (which is of course an important component). Hyperreality challenges our very humanity. It can be a boon or curse, but that depends on how we as society react. What might a failure to adequately teach citizenship in hyperreality look like? I don’t know. It may be a worsening of the things we are currently living through, such as citizen apathy and confusion, an inability to articulate at least some form of agreed upon norms, hyperpolarization, and extreme gridlock to name a few things. What would a society look like that has completely dispensed with any type of truth or agreed upon norms? How would a democracy function without truth? Are we living in such a democracy? Do societies come back from something like this? And how will the Coronavirus impact citizenship and education? I don’t know the answer to those questions, but I do know we as educators need to do something to stem this prospect and fight back. As noted earlier, I do not claim that this book will make students better citizens. More modestly, I simply wanted to start a conversation on how best to adapt citizenship education to hyperreality and on what truth actually means and can mean. I encourage readers to contact me. If you used ideas from this book, I want to hear your experiences both good and bad. I want to hear your ideas about how you might improve them, or what other assignments you have in mind. We can only move forward, for better or worse. Descriptions for Figures Figure 6.1: This is an example of a student created comic for the VOR activity. In this comic, the student reflects on her experiences as a lesbian women growing up in the conservative South, and what impelled her to move to a more welcoming area.

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Figure 6.2: This is an example of a student created comic for the Sequential Law Assignment. In this comic the student grappled with what types of speech are allowed in schools and which types are not. Figure 6.3: This is an example of a student created comic for the Ethical Spectacle activity. On this page, the student masterfully used the comics medium to portray some ideas that we talked about tin class. She used the panels to convey a sense of social control and a lack of panels on the opposite page to convey a sense of liberation. Figure 6.4: This is an example of a student created comic for the ethical spectacle activity. Here, the student used more abstract symbolism to probe whether we as a society have really progressed in regards to discrimination and racism.

References Banks, J. A., McGee-Banks, C. A., & Clegg, A. A. (1999). Teaching strategies for the social studies: Decision-making and citizen action (5th ed.). New York: Longman. Barone, T., & Eisner, E. (2012). Arts based research. Thousand Oaks, CA: Sage. Bendis, B. M., & Maleev, A. (2018). Scarlett: Book 1. New York: DC Comics. Carter, J. B. (2013). “What the—?” Pre-service teachers meet and grapple over graphic novels in the classroom. In C. Syma & R. Weiner (Eds.), Graphic novels and comics in the classroom (pp. 58–72). Jefferson, NC: MacFarland Press. Chapin, J. (2015). A practice guide to middle and secondary social studies (4th ed.). New York: Pearson. Christiansen, L. L. (2006, November/December). Graphic global conflict: Graphic novels in the high school social studies classroom. The Social Studies. Duncan, R., Smith, M., & Levitz, P. (2015). The power of comics: History, form and culture (2nd ed.). New York: Bloomsbury. Duncombe, S. (2019). Dream or nightmare: Reimagining politics in an age of fantasy (2nd ed.). New York: OR Books. Duncombe, S., & Lambert, S. (2018). Why artistic activism: Nine reasons. The Center for Artistic Activism. Retrieved from https://c4aa.org/2018/ 04/why-artistic-activism/. Epstein, T. L. (1997). Social studies and the arts. In W. Ross (Ed.), The social studies curriculum: Purposes, problems, and possibilities (1st ed., pp. 137–164). Albany, NY: SUNY Press. Gale, B., & Winslade, P. (1999). Batman detective comics: Crisis of faith, no. 733. New York: DC Comics.

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Hall, B. (2005). Batman: It’s Joker time! New York: DC Comics. Kavaloski, J. (2012). The Weimar Republic redux: Multiperspectival history in Jason Lutes’ Berlin City of Stones. Jefferson, NC: McFarland Press. Kincheloe, J. (2001). Getting beyond the facts: Teaching social studies/social sciences in the twenty-first century (2nd ed.). New York: Peter Lang. Klink, L., & Davis, G. (1999). Batman, shadow of the bat: Home sweet home, no. 86. New York: DC Comics. Larson, B. E. (2017). Instructional strategies for middle and secondary social studies: Methods, assessment and classroom management (2nd ed.). New York: Taylor Francis. Mathison, S. (2014). Making assessment work for teaching and learning. In W. Ross (Ed.), The social studies curriculum: Purposes, problems, and possibilities (4th ed., pp. 247–266). Albany, NY: SUNY Press. McTaggart, J. (2008). Graphic novels: The good, the bad, and the ugly. In N. Frey & D. Fisher (Eds.), Teaching visual literacy: Using comic books, graphic novels, anime, cartoons, and more to develop comprehension and thinking skills (pp. 27–46). Thousand Oaks, CA: Corwin. Mertler, C. A. (2020). Action research: Improving schools and empowering educators (6th ed.). Thousand Oaks: Sage. Missiou, M., & Koukoulas, Y. (2013). Approaching literacy features through the graphic novel Logicomix. In C. K. Syma & R. Weiner (Eds.), Graphic novels and comics in the classroom (pp. 154–173). Jefferson, NC: McFarland. Morrison, G., & McKean, D. (1989/2014). Batman Arkham Asylum: A serious house on serious earth (25th anniversary ed.). New York: DC Comics. Novak, R. J. (2014). Teaching graphic novels in the classroom: Building literacy and comprehension. Waco, TX: Prufrock Press. Nyberg, A. K. (2012). Comics journalism: Drawing on words to picture the past in safe area Gorazde. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 116–128). New York: Routledge. Potts, C. (2013). The DC comics guide to creating comics: Inside the art of visual storytelling. New York: Crown Publishing. Rea, J. (2020). You say ee-ther and I say eyether: Clarifying assessment and evaluation. Retrieved from https://www.unl.edu/gradstudies/connections/ assessment-vs-evaluation. Ricca, B. J. (2012). History: Discovering the story of Jerry Siegel and Joe Shuster. In M. Smith & R. Duncan (Eds.), Critical approaches to comics: Theories and methods (pp. 189–199). New York: Routledge. Ricketts, J. R. (2013). Manga, the atomic bomb and the challenges of teaching historical atrocity: Keiji Nakazawa’s Barefoot Gen. In C. K. Syma & R. Weiner (Eds.), Graphic novels and comics in the classroom (pp. 174–183). Jefferson, NC: McFarland.

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Schwarz, G. (2013). Graphic novels and teacher research in the knowledge society. The Educational Forum, 77, 151–160. Shealy, C. N. (2014). Our belief in belief. In C. N. Shealy (Ed.), Making sense of beliefs and values: Theory research and practice (pp. 3–18). New York: Springer. Wolk, D. (2007). Reading comics: How graphic novels work and what they mean. New York: Da Capo. Wood, W. (1954/1995, September). Blood brothers. Shock Suspense Stories, no. 13. West Plains, MO: Gemstone Publishing (Originally published by EC Comics). Wood, W., & Feldstein, A. (1954/1994, February). The inferiors. Weird ScienceFantasy, no. 6. West Plains, MO: Gemstone Publishing (Originally published by EC Comics). Wright, B. W. (2003). Comic book nation: The transformation of youth culture on America (2nd ed.). Baltimore: Johns Hopkins University Press.

Appendix

In order to truly grasp the complexities of the comic form, teachers can create along with their students (Carter, 2013; Thompson, 2018). So, that is the purpose of this appendix. Prior to my students creating comics, I showed them portions of my own graphic novel and how I went about the tasks that I was asking my students to accomplish. I highlighted examples of how I have used unique panel configurations to showcase an element of my story, or I might point to certain characters I have created. I stressed that my art, while decent, is nowhere near professional. I further stressed that the art is not an end but a means to convey ideas. I use pencil and paper, not computer programs. I do however draw my graphic novel on 11 × 17 art boards and then send them to a company which makes them into a comic book. Nevertheless, my actual drawings are done with paper and pencil, and this is what I ask of my students. Students can also use color if they choose. In addition, I also believe that a professor created comic/graphic novel aligns with the tenets of arts-based research. As noted earlier, Barone and Eisner assert that arts-based research becomes empirical because it integrates facts and details into works of art. In the end, arts-based research is not used to show an accurate reflection of an existing world but to question the existing world and point to something better (Barone & Eisner, 2012). Further, storytelling is key to a great graphic novel, they need to

© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG, part of Springer Nature 2020 A. J. Letizia, Graphic Novels as Pedagogy in Social Studies, Palgrave Studies in Global Citizenship Education and Democracy, https://doi.org/10.1007/978-3-030-44252-1

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have good stories (Wright, 2003). I wanted to tell a story (it might not be a good story, but I am working at it!) to question the truth and put forth a new truth. This is a little different from my students, who for the most part are not creating intricate stories but shorter class assignments. But there is room for students to utilize story elements. I am using the graphic novel medium as way to think through and work through problems (Arnheim, 1997). In Sousanis’s (2015, 62) work Unflattening, (which is in graphic novel format) he argues that the comic medium, through its texts and words, and due to its “sequential and simultaneous,” make it an excellent medium to convey ideas. I see my graphic novel below, titled Toward the Real, as an answer to Sousanis. I am doing exactly what he argued—utilizing the graphic novel format and all its various features to convey a message which cannot be conveyed in traditional means alone. I was also inspired by Ayers and Tanner’s (2010) To Teach: The Journey, in Comics. By utilizing the graphic novel format, Ayers and Tanner were able to explore some of the nuances and complexities of teaching in both written and visual form. Here, I think it is important to also make a note regarding citations. The graphic novel is inspired, in part by the ideas of Plato, Baudrillard, Marx, Buddhism, Christianity, Pierre de Chardin, and Aldous Huxley, to name a few sources (Baudrillard, 1981/1994; Fish, 2010; Goff, Seager, & Hermanson, 2017; Huxley, 1954/1990; Kessler, 2001; Lowenstein, 1996; Poster, 2001). However, there are so many sources that I have utilized from academic and scholarly texts to popular movies and songs. In addition, I am not necessarily faithful to their ideas—I use them as inspiration for my own ideas. There is just so much of my life packed into this work. About sources Sousanis (2015, 171) writes: “Some of them are named in the preceding pages; others have left an invisible, yet no less important, imprint on my words and drawings.” I echo this statement for my own graphic novel. Every time I write, it turns into a meandering dissertation. The use of a graphic novel format, with images and words, allows me to write in a more unencumbered, less academic (read boring) way. The graphic novel format also allows me to blend personal elements into the story which may not be appropriate for a scholarly work.

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Synopsis Below is a hybrid excerpt. I have not shown the entire graphic novel because this would be too lengthy. Instead, I have written a synopsis and shown relevant pages with my own explanations. I also think this could help appeal to scholars who may not want to wade through an entire graphic novel and may be more comfortable with text. The story begins with an establishing shot (Abel & Madden, 2008) of New York City. The panels then focus in on our protagonist, Michael Chardin. He is a custodian at a large and powerful company (akin to something like Amazon or a defense contractor). His occupation was a conscious choice. I was a custodian myself as a summer job so I had some familiarity with this role. What does a custodian do? A custodian literally cleans up other people’s shit. This is a powerful idea. I created this character as a subtle symbol. Yet, we tend to ignore custodians and only talk to them when we want or need something from them, see Fig. A.1. In this page, Michael is only talked to when something he is needed. We then see the rest of his lonely work. I purposely employed a traditional nine-panel structure for most of the pages. As noted throughout this work, panel size and shape help to dictate the tempo of the story. I used the nine-panel layout to produce an ordered and predictable tempo (at least for the first book). Michael’s life is fairly predictable—and sad—and this was partially conveyed through panel construction. For some other examples, see Fig. A.2. Michael in many ways is a beaten man. He is married and has a 12year-old daughter. His wife, Marie, suffers from multiple sclerosis. She is disabled and utilizes a cane. As a couple, they struggle with paying her medical bills. This is something many Americans have to deal with on a daily basis. His daughter, Rita is a bright spot for him. She is a brilliant but awkward student who does not fit in with her peers, see Fig. A.3. She contemplates deep philosophical questions while classmates care about hooking up and partying. The first book shows Michael’s life and how he struggles against many forces which are largely out of his control. His company is in the process of creating a revolutionary microchip which is to be surgically inserted in to people called the Windar Origin Chip (Windar is Darwin—for Charles Darwin, the letters are re-arranged). Here, the point was to draw on the notion that many see the poor as simply not fit enough to survive. There

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Fig. A.1 Page 2, Toward the Real, Book I. In this page, we see an interaction between Michael, a custodian, and the employees at the company

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Fig. A.2 Page 8, Toward the Real, Book I. In this page, we see the rigidity of Michael’s life by the use of regular panels. This is also evidenced in Fig. A.1

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Fig. A.3 Page 12, Toward the Real, Book I. In this page, we see how different Marie is from her classmates. She cares for larger ideas (she is contemplating Buddhism while her classmates only care for partying)

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is a Spencer Herbert (Herbert Spencer was a proponent of social Darwinism) in the story as well, he is one of the company members. In a wider sense, I believe there is a Darwinian element at play today—if you cannot make it, it is your fault. The public purpose of the chip is to allow people to communicate in vastly new ways, people can communicate with memories and ideas. However, a more sinister application of the chip is behavioral—Windar wants to get inside people’s heads and use behavioral modifications to condition them to advertising. This is an obvious criticism of what I see as insidious advertising. In Fig. A.4, we see three frames where beautiful newscasters are extolling the virtues of the chip to different audiences (Fox newscasters to conservatives and CNN newscasters to liberals). However, the parallel story on the page is a silhouetted figure gaining support from both parties clandestinely. The nice and lively panels with the beautiful women represent the public discourse tailored to specific audiences, while the silhouetted frames represent the more clandestine but largely invisible dealings that impact Michael’s life (and really everyone’s life). This is an example of multilinearity and how a comic offers different ways to convey messages (Cabereo, 2019). I showed this example in my class. One student also chose to use a multilinear layout. We do not really know why Michael is the way he is. He had been marginalized by educational establishments, but he also just does not have the raw intellectual or athletic abilities to compete. I wanted to leave this open and not say definitively that he was crushed by the system. There is an element of ambiguity, just like in real life. The end of book I is similar to the beginning. Michael is cleaning again. He receives a mundane text from his wife telling him to bring home snacks for Rita. He gets into the car. I wanted to convey a sense of sameness to his life. He truly is a nobody with no power. He is at the whim of powerful forces outside his control. Then we see a frame of his face in shock. He gets into a horrific car accident. Charles Sozeb, the owner and CEO of the company that Michael works for, sees an opportunity. He wants to implant a Windar chip into Michael’s head to bypass conscious thought. He basically wants to use this nobody as a lab rat to increase profits. This touches on scientific ethics. His wife Marie is coerced into this by the company. Sozeb threatens to pull her health coverage. Since she has MS and her husband needs care for his injuries from the accident, she acquiesces. This is an obvious, albeit exaggerated, allusion to the fact

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Fig. A.4 Page 17, Toward the Real, Book I. This page features the notion of multilinearity, or when two simulations stories are told at once. Here, I have two narratives. The official narrative given by the media, and the more clandestine narrative by the leaders with actual power

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that many in our society are held hostage to the whims of medical insurers and drug companies. She relents and the chip is placed in his head, as well as hers and her daughter’s. Something happens which endows Michael with omnipotent abilities. We do not really know what, this is referred to as black swan event in the book. This a freak occurrence, something outside the bounds of rational thought. It is also outside the bounds of control. Companies and governments seek to dominate us, but there are things out of their control which can threaten this whole order. There it is, Michael has powers to remake the world as he sees fit. I was also inspired here by Risko’s (2018) examination of Dr. Manhattan’s actions in Watchmen. Michael is guided by a vision of his daughter (but this vision is not actually his daughter, it is some type of conscious-imbued electrical current. This is a result of the chip). However, the vision is not just a fantasy. With everyone in the world connected, the vision is the world speaking to Michael. I was inspired by the idea of the noosphere, a humanity wide connection put forth by Teilhard de Chardin (Goff et al., 2017). Michael’s vision of his daughter tells him in no uncertain terms that he must remake the world. Essentially I see him as a Christ like figure or maybe more accurately as a proletarian savior in a Marxist universe. But he is not just fighting greedy capitalists, rather he must liberate the world from unreality. And this unreality is the product of many political parties and persuasions. This is a blend of Plato’s double world and Baudrillard’s hyperreality. The shadowy world of Plato is hyperreality. (Again, these are my own interpretations). The world we live in is awash in falseness and bullshit. The upward—or more accurately downward arrow of an impersonal stock market, health care costs, unscrupulous politicians on both sides, media organizations which cater to both sides, crushes hardworking and powerless people like Michael. This is how the first book ends. Michael gains extraordinary powers and Sozeb is in disgrace. The first book was largely traditional. I used a good deal of nine-panel and six-panel pages. The point was to convey a normal or regimented life. Duncan and colleagues (2015) note that Alan Moore and Dave Gibbons used a number of regular panels when depicting Rorschach in Watchmen to convey his regimented life. Groensteen (2007) notes how a number of regular ordered panels in a book can help set the stage for a great disruption. When there are ordered panels and pages, the reader is jarred when this pattern is disrupted (Groensteen, 2007; Potts, 2013). In the second book, I wanted to disrupt this feeling of normalcy and I

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sought to achieve this disruption by playing with and experimenting with the various features of the comic medium (symbols, panel sizes, etc.). On page four, book II, I used the comic medium to visually depict the noosphere. I used circular panels to show a network of connected minds and ideas, see Fig. A.5. This is a nonlinear phenomena and I think the comics page is ideal for depicting this situation. On page five, book II, see Fig. A.6, I created three horizontal panels. The first panel has Michael and Marie visually separated from each other. They speak to each other, but their speech bubbles have a separate layer around them, composed of well-known corporate and government logos. In the next panel, Michael and Rita are pictured, visually closer and seeming to overcome the separation. The last panel however, shows Michael and Marie again. However, their images appear on cracked cell phones. The dialogue is delivered as a series of text messages on different phones. The idea of the cracked cell phone images serves to underscore another point—how artists inspire each other. I post my artwork on certain social media art websites. On these sites, others can comment on my work. One person in particular noted my use of symbols in my graphic novel and said she wanted to utilize more symbols in her own. The cover for her graphic novel, entitled Millennials featured a cracked cell phone. I was inspired by her use of symbolism (of which she said I inspired her). The whole episode is a nod to how artists and creators can positively impact each other. In Fig. A.7 I drew figures surrounded by panels made of popular logos. In Fig. A.8, Michael’s head, with his brain exposed, is shown at the bottom of the page. The old ideas have risen and broken though hyperreality, represented by the aforementioned pictorial logos which had hitherto served to obfuscate. Important ideas from human history (creation of fire, the idea of reason, Buddhist enlightenment) have broken through the logos which form the gutter. Of course, as Duncombe and Lambert (2018) note, art does not have one definitive meeting, and I discuss this with my students. A running theme in the book is that humanity, as it progressed, created ideas and ideals for itself, such as consent of the governed, compassion, and the like. Yet, as soon as ideals appear, they are subverted and manipulated. I show images of the French Revolution, the Buddha, a caveman with fire, and Plato to name a few. These images represent some of the realized ideals that humanity has created for itself and subverted, but which are rising to the surface and yearning for release. As noted earlier,

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Fig. A.5 Page 4, Toward the Real, Book II. Here I used connected, circular panels to try and portray the noosphere or connectedness of humanity

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Fig. A.6 Page 5, Toward the Real, Book II. On this page, I played with speech bubbles and surrounded them with logos to show how out very thoughts and speech are impacted by corporate and propaganda interests

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Fig. A.7 Page 6, Toward the Real, Book II. On this page, the panel borders are logos. The purpose was to give a sense of how these things divide citizens

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Fig. A.8 Page 7, Toward the Real, Book II. On this page, the logos are broken by knowledge and ideas

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I do not cite these as traditional references. I interpret them to make my story. The French Revolution was a particular event violent to remake the world in the name of reason (Palmer, 2017). I use this reference to get people thinking about what remaking the world and social order might entail and if this is desirable. As noted earlier, Plato’s dual vision of reality is important here as well, as well as Kant’s notion of the thing in perception and thing in itself (Rohlf, 2018). This is part of hyperreality, at least for me. There are two worlds in a sense, a real world and world of hyperreality and bullshit. Even liberatory ideals are co-opted and used as agents of oppression in the world of bullshit. I was inspired here also by Marcuse’s (1992) notion of one-dimensionality (Farr, 2019). Yet this subversion can only exist for so long. The real world is not simply waiting to be discovered, it must be created. It violates a sense of fairness and freedom that Michael, a hardworking man, is crushed by these greedy and and more powerful elements. His omnipotence is the violent retribution of these ideas that have been subverted for so long. His omnipotence is the reaction to their subversion. Whether he can make the world real again, and deliver us from hyperreality, or whether this is even desirable, is something to be seen. Eventually, these ideas must be made real—but this can only happen through the actions of people, ideas cannot act on their own. The real world is not simply given—it must be created. The creation of the real is the subject of the ongoing books that I intend to create. Another notion that I grappled with in my graphic novel were some of the ideas put forth by Runicman (2018) in his aptly titled How Democracy Ends. Runciman (2018) asks us to consider the lifespan of Western democracy and possible ways that it may end. In one harrowing passage, Runciman (2018, 217) argues that if we cling to an outdated, worn out democratic system, “we could save democracy and destroy the world.” Ultimately, my work is an exercise in utopic thinking. The construction of a utopia forces readers to consider tough questions, such as the tension between the common good and individualism, whose vision of society is best, and the cost of certain policies to name a few. Murphy (2019, 89) labels these types of questions the “utopia conundrum” and examines some existing comics in regards to those questions. I grapple with these questions in Toward the Real, and have taken some inspiration from existing depictions of utopic societies in comics such as Red Son and Miracleman.

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My work is available at: https://artithmeric.com/author/angeloletizia/. As of this writing, I have divided up the work into installments. When I am completely finished, I plan to combine all the works together.

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Index

A Action research, 187, 188 Adaptive leadership, 84, 85 American Civil War, 62, 122, 127, 151, 154 Arnheim, Rudolf, 22, 93, 95, 164, 166, 171, 218 Arthology, 19, 20 Arts based research, 22, 27, 161, 166, 171, 193, 195, 197, 217 Assessment, 136, 173, 183, 185–190, 193–195, 201 Assigned leadership, 79 Authentic leadership, 80, 85

B Battle of Gettysburg, 53, 62, 126, 208 Baudrillard, Jean, 2, 218, 225 Bloom’s revised taxonomy, 22, 27 Braiding, 19, 28, 40, 73, 85, 111, 168

Buddhism, 66, 68, 70–74, 88, 98, 114, 149, 150, 205, 218, 222 Bullshit, 6, 7, 12, 28, 82, 166, 225, 231

C Christianity, 218 Chronology, 19, 39, 41, 111, 112 Citizenship, 1, 7, 8, 10–16, 18, 20, 23, 26, 27, 39, 44–53, 55, 57, 65, 68–71, 79, 81, 90, 92, 98, 109, 116, 117, 121, 129, 149, 166, 171, 174, 176, 177, 183, 185, 187, 192–195, 200–207, 211–213 Closure, 25, 26, 41–43, 85, 92, 175 Comic books, 1, 14, 21, 39, 40, 87, 96, 97, 110, 111, 128–130, 134, 165, 189, 217 Comics journalism, 43, 136, 207 Common core, 50 Creative democracy, 10, 203

© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG, part of Springer Nature 2020 A. J. Letizia, Graphic Novels as Pedagogy in Social Studies, Palgrave Studies in Global Citizenship Education and Democracy, https://doi.org/10.1007/978-3-030-44252-1

235

236

INDEX

Cultural acupuncture, 129, 131

D Dalai Lama, 68, 69, 73, 88, 89, 149 DC comics, 14 de Chardin, Pierre, 218, 225 Dewey, John, 8, 10, 137 Dispositions, 7, 26, 39, 44–49, 51, 109, 116, 117, 202, 203

E EC comics, 14, 210, 212 Eisner, Will, 17, 19, 21, 24, 40, 111, 119, 124, 157 Emergent leadership, 79 Emotional intelligence, 119 Emotions, 11, 12, 18, 20, 22, 24, 26, 28, 54, 87, 110, 119, 120, 147, 148, 150, 165, 172, 200, 202 Encapsulation, 17, 18, 21, 40, 48, 51, 64, 85, 87, 119, 123, 134, 146, 150, 156, 174, 190, 197, 200 Encoding, 16, 17, 19, 21, 23, 26, 27, 171 Engaged Buddhism, 68, 88, 89 Ethnography, 103

F Formative assessment, 186, 188, 192

G Geography, 7, 9, 14, 49, 50, 59, 109, 121, 122, 124, 157 Graphic novel, 12, 14–16, 20, 21, 23, 26, 27, 29, 39–43, 45, 46, 50–53, 55, 56, 60, 62, 64–66, 70–73, 79, 80, 82–84, 86, 90, 91, 94, 100, 113, 117, 133, 136, 159, 166, 169, 172, 183, 185,

187, 188, 190, 191, 204–207, 210–212, 217–219, 226, 231 H Hanh, Thich Nhat, 68–70 Hyperreality, 2, 3, 5, 6, 10, 12, 15, 18, 23, 26–28, 44, 45, 59, 65, 66, 71, 79, 82, 92, 98, 99, 166, 193, 194, 197, 200, 203, 204, 213, 225, 226, 231 I Imagery, 18, 79, 87, 92–94, 101, 132, 156, 157, 166–168, 171, 174, 188, 200, 203 Inquiry, 50 Interanimation, 24, 25, 174, 194, 197 J Jam comic, 153, 156, 158 Jesus Christ, 28 Justice oriented citizen, 8, 9 L Layout, 17, 19, 21, 40, 132, 219, 223 Leadership, 10, 11, 13–15, 79, 80, 82–85, 88, 90, 92, 116, 145, 146, 148, 149, 151–153, 164 Lincoln, Abraham, 49, 91, 149, 153, 154, 165, 177 Local history, 122–124, 126, 141, 154 M Marvel comics, 53 Marx, Karl, 218 Metonymy, 18, 24 Moore, Alan, 19, 71, 73, 83, 96, 98, 131, 132, 159, 225

INDEX

Multidirectionality, 6, 28, 111, 113, 168, 174 Multilinearity, 6, 26, 28, 46, 64, 71, 83, 111, 113, 115, 168, 174, 223, 224 Multimodal literacy skills, 15 Multivocality, 92, 98, 159 Museum education, 109, 137 Mythology, 39, 58, 60

N Natural rights, 132 Nazis/Nazism, 4, 84, 86 NCSS Standards, 39, 49–51 No Child Left Behind, 185

O The Odyssey, 60, 61, 209

P Panels, 17–21, 25, 40, 41, 43, 48, 57, 64, 73, 91–94, 100, 109, 112, 132, 146–148, 151, 153, 156, 157, 159, 160, 165, 168, 170, 172, 174–176, 189, 195, 200, 212, 214, 217, 219, 221, 223, 225–227, 229 Paradigmatic choice, 17 Perceptual filter, 93, 94 Plato, 9, 218, 225, 226, 231 Postmodernism, 1 Prior knowledge, 62, 64, 65 Psychology, 7, 13, 49, 50, 52, 53, 56, 58 Public good, 9, 10, 12, 121

R Robespierre, Maximilien, 145–147

237

S Sacco, Joe, 52, 84, 136, 175, 207 Sarvodaya, 89–91 Sequence metaphor, 93, 95, 159–162, 166, 171, 178 Sequential art, 19, 40, 54, 55, 64, 71, 83, 135, 156 Sequential visual storytelling (SVS), 21, 40, 174 Servant leadership, 81, 84, 85 Skills, 7, 12, 26, 39, 44–48, 51, 86, 98, 109, 111, 116, 117, 200, 202 Social studies, 1, 2, 7–9, 13–15, 22, 24, 27, 42, 44–46, 49–52, 58, 61, 68, 70, 110, 111, 118, 119, 121, 122, 127, 135, 136, 138, 189–191, 204, 205, 207 Spectacle, 3, 4, 6, 12, 27, 71, 84, 86, 87, 166, 171, 174, 176, 177, 214 Stereotypes, 27, 55, 58, 94, 95, 98–100, 166, 171 Story arc, 17, 43, 44, 110, 147, 148, 166, 211 Style, 17, 21, 48, 51, 94, 103, 116, 139 Symbolism, 17, 18, 79, 92–95, 97, 98, 100, 101, 132, 145, 156, 158, 164, 166, 167, 171, 174, 176, 186, 188, 189, 194, 197, 200, 201, 203, 214, 226 Synecdoche, 18, 46, 146 Syntagmatic choice, 17, 123

T Thematic statement, 146, 147, 167 Title IX, 57

238

INDEX

V Vision, 10, 44, 81, 123, 150, 151, 185, 202, 203, 225, 231 Visual literacy, 5, 15, 16, 87, 95, 98

W The Walking Dead, 46, 60, 63, 211