Introduction: "Indigenous Comics and Graphic Novels: An Annotated Bibliography"
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Notice bibliographique
Résumé
Introduction:"Indigenous Comics and Graphic Novels: An Annotated Bibliography" Camille Callison (bio), Candida Rifkind (bio), Niigaan James Sinclair (bio), Sonya Ballantyne (bio), Jay Odjick (bio), Taylor Daigneault (bio), and Amy Mazowita (bio) This is an introduction to the open-access online resource "Indigenous Comics and Graphic Novels: An Annotated Bibliography," posted at: jeunessejournal.ca/index.php/yptc/resources. Click for larger view View full resolution Figure 1. Jimmy Adams fish camp [image description: John Vaneltsi and his grandson Clifford Vaneltsi sit inside a canvas wall tent lined with spruce boughs. Clifford sits reading a comic book. A baby sling hangs behind a wood stove on cans. Possibly at a camp near Shiltii Rock].1 CREDIT: NWT Archives/James Jerome fonds/N-1987-017: 0035. [End Page 139] Graphic writing—now called comic books—are the oldest and most creative form of Indigenous writing. From rock faces to skin to panels and pages, comic books encapsulate histories and dreams of Peoples and nations. —Niigaanwewidam James Sinclair As a child, I believed I was a super hero. I had become car sick and threw up all over a full-page spread of kryptonite in the Superman comic I was reading. I was around 5. Suddenly, it was all clear to me: • the mistreatment I received because of my Native ancestry • the bullying I endured because I was a girl • my grandmother's constant fear that making myself stand out would put me in danger was all because of my Kryptonian ancestry! Like Kal-El of Krypton, I was the last of a line of strong peoples nearly destroyed by circumstances beyond their control. I was the last hope for my people. But what of my powers? I was just a little Rez girl with stringy hair and a big mouth. I was not capable of saving the world! Then I remembered that Kal-El had to discover his powers with time and realized that I would to. I would treasure each comic book I was able to buy as they were rare to obtain in Northern Manitoba. They were how I saw the world and helped form my image of what a true hero was. But I never saw a girl like me in one. I realized that one of the powers I was waiting to blossom was my ability to write. My gift to the world would be making sure that another little Rez girl with stringy hair and a big mouth would not be without her hero. —Sonya Ballantyne [End Page 140] We live in exciting times insofar as Indigenous books, publishing and comics go—I am older than I look, or so I like to think, anyway—and I remember a time when Indigenous comics were few and far between, but they're becoming much more readily prevalent and available. It's important for people to see themselves represented in media—especially honestly, accurately and positively. I believe comics are way ahead of many other forms of media in that regard. Comics are a vast and diverse medium that should encompass all genres—and in that way are a great way to show the dynamic nature and diversity of Indigenous peoples! —Jay Odjick Part 1: Introduction to the Annotated Bibliography Online Resource —Candida Rifkind I came to this project as a settler scholar of Canadian and social justice comics, interested in learning from and about Indigenous comics and graphic novels. As I started to add more Indigenous comics to my Canadian comics undergraduate courses at the University of Winnipeg, I realized that students, teachers, researchers, and comics fans needed a clearer sense of the shape and scope of this field. This annotated bibliography is the result of my desire to learn more about the diversity and depth of Indigenous work in this area. The following introduction reflects what I have learned from the process of compiling these resources and from collaborating with the other members of the project team. Ultimately, this annotated bibliography can only ever offer a selection of works, rather than an exhaustive survey; however, I hope it will open up the field of Indigenous comics and graphic novels to more students, researchers, and comics fans. The...
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,002 | 0,001 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,001 | 0,001 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle