#Barefoot Gen 2 The Day After PDF

In this graphic depiction of nuclear devastation, three survivors of the bombing of Hiroshima--Gen, his mother, and his baby sister--face rejection, hunger, and humiliation in their search for a place to live.

To say that graphic novels, comics, and other forms of sequential art have become a major part of popular culture and academia would be a vast understatement. Now an established component of library and archive collections across the globe, graphic novels are proving to be one of the last kinds of print publications actually gaining in popularity. Full of practical advice and innovative ideas for librarians, educators, and archivists, this book provides a wide-reaching look at how graphic novels and comics can be used to their full advantage in educational settings. Topics include the historically tenuous relationship between comics and librarians; the aesthetic value of sequential art; the use of graphic novels in library outreach services; collection evaluations for both American and Canadian libraries; cataloging tips and tricks; and the swiftly growing realm of webcomics.

This book analyses graphic novels which document social crises. It demonstrates that artists' documentary use of this medium is a form of social realism, inextricably bound up with politics and ideology. Theoretical and visual approaches are employed throughout, introducing the principal themes of the graphic novels under scrutiny: political realism, visual documentary, traumatic childhood, ethnic discrimination, state oppression, and military occupation. The key works examined are Keiji Nakazawa's Barefoot Gen, Joe Sacco's Palestine, Marjane Satrapi's Persepolis, W.G. Sebald's Emigrants and Art Spiegelman's Maus. Innovative techniques, radical methods of depiction, sequence and text organisation are analysed throughout to explain how the authors use visual realism to represent these social crises. The book is well illustrated as a visual support for its exploration of this emerging and vital documentary medium.

Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'. Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit. The volume features illustrations from the works discussed and an extensive annotated bibliography. Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.

Can comics be documentary, and can documentary take the form of, and thus be, comics? Examining comics as documentary, this book challenges the persistent assumption that ties documentary to recording technologies, and instead engages an understanding of the category in terms of narrative, performativity and witnessing. Through a cluster of early twenty-first century comics, Nina Mickwitz argues that these comics share a documentary ambition to visually narrate and represent aspects and events of the real world.

Comics, the Holocaust and Hiroshima breaks new ground for history by exploring the relationship between comics as a cultural record, historiography, memory and trauma studies. Comics have a dual role as sources: for gauging awareness of the Holocaust and through close analysis, as testimonies and narratives of childhood emotions and experiences.

Young adults are actively looking for anything that connects them with the changes happening in their lives, and the books discussed throughout Literature for Young Adults have the potential to make that connection and motivate them to read. It explores a great variety of works, genres, and formats, but it places special emphasis on contemporary works whose nontraditional themes, protagonists, and literary conventions make them well suited to young adult readers. It also looks at the ways in which contemporary readers access and share the works they're reading, and it shows teachers ways to incorporate nontraditional ways of accessing and sharing books throughout their literature programs. In addition to traditional genre chapters, Literature for Young Adults includes chapters on literary nonfiction; poetry, short stories, and drama; cover art, picture books, illustrated literature, and graphic novels; and film. It recognizes that, while films can be used to complement print literature, they are also a literacy format in their own right-and one that young adults are particularly familiar and comfortable with. The book's discussion of literary language--including traditional elements as well as metafictive terms--enables readers to share in a literary conversation with their students (and others) when communicating about books. It will help readers teach young adults the language they need to articulate their responses to the books they are reading.

After World War II, U.S. documentarians engaged in a rigorous rethinking of established documentary practices and histories. Responding to the tumultuous transformations of the postwar era--the atomic age, the civil rights movement, the Vietnam War, the emergence of the environmental movement, immigration and refugee crises, student activism, the globalization of labor, and the financial collapse of 2008--documentary makers increasingly reconceived reality as the site of social conflict and saw their work as instrumental to struggles for justice. Examining a wide range of forms and media, including sound recording, narrative journalism, drawing, photography, film, and video, this book is a daring interdisciplinary study of documentary culture and practice from 1945 to the present. Essays by leading scholars across disciplines collectively explore the activist impulse of documentarians who not only record reality but also challenge their audiences to take part in reality's remaking. In addition to the editors, the volume's contributors include Michael Mark Cohen, Grace Elizabeth Hale, Matthew Frye Jacobson, Jonathan Kahana, Leigh Raiford, Rebecca M. Schreiber, Noah Tsika, Laura Wexler, and Daniel Worden.

The Blitz Companion offers a unique overview of a century of aerial warfare, its impact on cities and the people who lived in them. It tells the story of aerial warfare from the earliest bombing raids and in World War 1 through to the London Blitz and Allied bombings of Europe and Japan. These are compared with more recent American air campaigns over Cambodia and Vietnam in the 1960s and 1970s, the NATO bombings during the Balkan Wars of the 1990s, and subsequent bombings in the aftermath of 9/11. Beginning with the premonitions and predictions of air warfare and its terrible consequences, the book focuses on air raids precautions, evacuation and preparations for total war, and resilience, both of citizens and of cities. The legacies of air raids, from reconstruction to commemoration, are also discussed. While a key theme of the book is the futility of many air campaigns, care is taken to situate them in their historical context. The Blitz Companion also includes a guide to documentary and visual resources for students and general readers. Uniquely accessible, comparative and broad in scope this book draws key conclusions about civilian experience in the twentieth century and what these might mean for military engagement and civil reconstruction processes once conflicts have been resolved.

Nuclear War: Hiroshima, Nagasaki, and A Workable Moral Strategy for Achieving and Preserving World Peace Raymond G. Wilson "The real truth of the matter is, as you and I know, that a financial element in the large centers has owned the government of the United States since the days of Andrew Jackson." Franklin D. Roosevelt There is considerable reason to believe President Roosevelt's statement is quite true, thus the "financial element in the large centers" shares responsibility and blame for the tens, if not hundreds, of thousands of war deaths in the last two decades. The people of the world need protection from those responsible for provoking nations to war. In the United States this responsibility lies with all elements in the highest levels of government, the decision makers. It lies with those who tinker with political and economic machinations, most likely for the advantage of "a financial element in the large centers." These are probably people young enough and sufficiently uninformed to have no conception of the atrocity of the nuclear confrontations and conflagrations to which they are quite possibly leading the world. This group of people may include most people serving in the U.S. Congress and from personal experience many in the U.S. Military. I have my doubts whether Presidents have seen all of the results of the world's first nuclear war; they are probably shielded from this. Photographs of the victims were confiscated and held confidential for more than 22 years after 1945. There were well more than 210,000 victims; not many photographs were made and survived. You can learn from this book a tiny fraction of the truth about what happens to people caught in nuclear war. (Although the truth from more than 210,000 will never be heard.) In a future war there would be hundreds of thousands, more likely hundreds of millions, of victims. The United States government has not revealed this kind of truth about its first nuclear war. As of early 2014 no sitting president has ever visited Hiroshima or Nagasaki. In Chapter 5 a solution is suggested to save us all from our "nuclear madness." "I hate war as only a soldier who has lived it can, only as one who has seen its brutality, its futility, its stupidity." --Dwight D. Eisenhower, ..".we also possess the seeds of goodness and justice that humankind was given by nature and has fostered over the ages. We have the ability to cultivate self-control and consideration for others and to strive to live together in a humane and harmonious manner with others. The revival of such true humanity--not only between individuals, but also between nations--is an absolute necessity today, for the age has come when one nation's self-centered behavior could lead all humanity to annihilation." --Naomi Shohno, 1986 "America can do whatever we set our mind to." ―Barack Obama

In this graphic depiction of nuclear devastation, three survivors of the bombing of Hiroshima--Gen, his mother, and his baby sister--face rejection, hunger, and humiliation in their search for a place to live.

Seventy years after the nuclear attacks on Hiroshima and Nagasaki, Japan is still dealing with the effects of the bombings on the national psyche. From the Occupation Period to the present, Japanese cinema had offered a means of coming to terms with one of the most controversial events of the 20th century. From the monster movies Gojira (1954) and Mothra (1961) to experimental works like Go Shibata’s NN-891102 (1999), atomic bomb imagery features in all genres of Japanese film. This collection of new essays explores the cultural aftermath of the bombings and its expression in Japanese cinema. The contributors take on a number of complex issues, including the suffering of the survivors (hibakusha), the fear of future holocausts and the danger of nuclear warfare. Exclusive interviews with Go Shibata and critically acclaimed directors Roger Spottiswoode (Hiroshima) and Steven Okazaki (White Light/Black Rain) are included.