Calculate the price elasticity of demand for an increase i…
Questions
Cаlculаte the price elаsticity оf demand fоr an increase in price frоm G to H. You can infer this price movement is..
All the fоllоwing stаtements cоncerning the generаtion-skipping trаnsfer tax (GSTT) are correct for 2026 except:
In recent yeаrs, the medium оf cоmics hаs emerged аs an impоrtant topic of research in literary studies. The Comics Studies Society holds an annual academic conference on the topic, and the academic journals MELUS and Modern Fiction Studies have both had special issues on comics. You can even take classes on comic books; in fact, one of the leading comic book scholars, Charles Hatfield, teaches nearby at CSUN. As such, comic books have come a long way from being considered subliterate trash to being held up as a form of high art. Much of this transformation can be credited to Art Spiegelman’s Maus (1980-1992), which tells the story of how Spiegelman’s father and mother survived the Holocaust and the intergenerational effects of this trauma. While previously the genre had exclusively associated with superheroes, a genre that still dominates the American comic book industry, Spiegelman’s work showed that comics could be used to tell serious stories was celebrated for doing so when it won the Pulitzer Prize. The serious works that have followed in Maus’s wake, and which have been awarded the status of “high culture,” have largely been works of memoir that involve questions of trauma and social injustice. The most obvious examples that come to mind are Joe Sacco’s comics journalism Palestine (1993) and Safe Area Goražde: The War in Eastern Bosnia, 1992-95 (2000); Marjane Satrapi’s Persepolis (2000-4), a memoir about the Iranian Revolution; Alison Bechdel’s Fun Home (2006), a memoir about Bechdel’s coming out as a lesbian and discovering that her father was gay; Congressman John Lewis’s March trilogy (2013-7), about his time during the Civil Rights Movement; and Thi Bui’s The Best We Could Do (2017), a memoir about the author’s parents and their escape from Vietnam during the war. What all these works have in common, in their bid for seriousness, is a rejection of the genre trappings of superhero comics or humorous comic strips. The name graphic novel is itself part of this bid for legitimacy. Coined in 1978 by the cartoonist Will Eisner for his work Contract with God, the term is an effort to claim for comics the cultural cache of the novel which over the past two hundred years has established itself as the premier mode for narrative art. While the term was apt for Eisner’s fictional story about Jews mostly living in the Bronx, the term ill serves all of those titles listed above. The term “novel” has long been used to designate an extended piece of prose fiction, but Maus and its comic book descendants are all true stories. The word “comic” also does not do a good job of describing the medium. This name was used because comic books were originally extended versions of the funny pages that came with newspapers. However, there is little that is funny about genocide in Bosnia or fighting for one’s civil rights. The cartoonist and comics theoretician Scott McCloud has put forth the name “sequential art” to describe the art form, although this would exclude comics like Ziggy (1971-present), The Far Side (1979-1995), or Bizarro (1985-present) because although they combine words and pictures, they consist of only a single panel and are therefore not sequential. Hillary Chute, the most prominent comics scholar working today, has suggested that we use the term “graphic narrative” because it encapsulates both fictional works like Contract with God as well as the work of the memoirists mentioned above. While each of these terms has its limitations, for our purposes any of the above terms will do. I prefer comics as it is a word that everyone knows. Regardless of what we call comics, it is important to understand how comics work and what they are. Chute describes them thusly when she writes: Comics moves forward in time through the space of the page, through its progressive counterpoint of presence and absence: packed panels (also called frames) alternating with gutters (empty space). Highly textured in its narrative scaffolding, comics doesn’t blend the visual and the verbal—or use one simply to illustrate the other—but is rather prone to present the two nonsynchornosly; a reader of comics not only fills in the gaps between panels but also works with the often disjunctive back-and-forth of reading and looking for meaning. (452) In a written narrative, the fundamental unit of meaning is the sentence. In Chute’s conception of comics the fundamental unit is the panel and its arrangement on the page. Scott McCloud also stresses this relationship between panel and page when he describes sequential art as, “Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or produce an aesthetic response in the viewer” (9). In a sense then, what we can understand about comics, and what makes them so radically modern, is that they turn the space of the page into narrative time. Q: Which of the above names do you prefer? Which definition, McCloud’s or Chute’s, do you prefer?
Nоt оnly dоes Scott provide us with а vocаbulаry for panel-to-panel progression, but he also provides us with the vocabulary for understanding the artistic style of comic book artists. McCloud develops the idea of the picture plane, represented here as a triangle. At the top of the triangle is pure abstraction. Here images are mere shapes. As we move further towards the base of the triangle, images become more representational or mimetic. On the left side of the triangle is what McCloud terms “reality.” Although an object depicted in this portion of the picture plane is no more real than the shapes at the triangle’s top point, it visually approximates reality. If the object here being depicted were a human face, it would be photographic in its verisimilitude. However, as images moves to the right of the triangle, they become less particular and more iconic. The face on the far left pictured above could only be one person; the face in the middle could be one of thousands; however, the face on the far right could belong to just about anyone. Just outside the pictorial field is language itself. The word “face” could, of course, refer to anyone’s face. The openness of these more iconic forms, McCloud argues, makes these figures more universal. They also solicit more investment from readers as they fill in the details. Q: Look at the picture plane pyramid above and then look at the image from Eleanor Davis’s “In Our Eden” below. Where would you place it in the pyramid and why?