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Record W2972722128 · doi:10.1353/jeu.2019.0006

Introduction: "Indigenous Comics and Graphic Novels: An Annotated Bibliography"

2019· article· en· W2972722128 on OpenAlex

Why this work is in the frame

A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.

venuePublished in a venue whose home country is Canada.
aboutThe title or abstract carries a Canadian signal from the geographic lexicon.
no affNo Canadian affiliation: this work is invisible to an affiliation-only frame.
No Canadian affiliation. An affiliation-only frame, the usual design, would never have seen this work. It is one of the works that make the case for inverting the frame.

Bibliographic record

VenueJeunesse Young People Texts Cultures · 2019
Typearticle
Languageen
FieldArts and Humanities
TopicComics and Graphic Narratives
Canadian institutionsnot available
Fundersnot available
KeywordsComicsIndigenousArt historyReading (process)NewspaperArtLiteratureVisual artsHistoryMedia studiesSociologyPhilosophy

Abstract

fetched live from OpenAlex

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...

Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.

Full frame distilled prediction

Teacher imitation

Not calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.

metaresearch head score (Codex)0.000
metaresearch head score (Gemma)0.000
Version: codex-gemma-dda1882f352aValidation status: machine_predicted_unvalidated
Candidate categoriesnone
Consensus categoriesnone
DomainCandidate signal: none · Consensus signal: none
Study designCandidate signal: Not applicable · Consensus signal: none
GenreCandidate signal: Empirical · Consensus signal: Empirical
Teacher disagreement score0.605
Threshold uncertainty score0.993

Codex and Gemma teacher scores by category

CategoryCodexGemma
Metaresearch0.0000.000
Meta-epidemiology (narrow)0.0000.000
Meta-epidemiology (broad)0.0000.000
Bibliometrics0.0020.001
Science and technology studies0.0010.000
Scholarly communication0.0010.001
Open science0.0000.000
Research integrity0.0000.000
Insufficient payload (model declined to judge)0.0010.000

Machine scores (provisional)

The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.

Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.

Opus teacher head0.010
GPT teacher head0.228
Teacher spread0.217 · how far apart the two teachers sit on this one work
Validation statusscore_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it