Dave Barnhart's Academic Portfolio

Theology and Comix (Syllabus under construction)

Instructor: David Barnhart
Semester: Fall, 1492
Location: 241 Yoyoma Hall 8:00 AM
Course Website: http://www.institution.edu/barnhart/fall/rel2223
Office Hours: MWF 10-12:00
email: dbarnhart@university. edu
Office: 322 Poslethwaite Hall
phone:777-7777

Syllabus Contents:

1) Course Information, Course Description, Course Goals
2) Course Requirements
3) Honor Policy, Required Readings, Recommended Readings
4) Course Outline, Essential Dates
5) Course Schedule

Course Description:

This is a 5-week course designed as an interim-term class. It may be that at some point it will expand into an entire semester, but cost considerations, explained below, make it difficult to do so. A full 14-16 week course might use supplemental texts.

Comic books, or as Art Spiegelmann prefers, "comix," provide an unique opportunity for serious study. These are far more than stories with illustrations. They combine visual art and text in such a way that they blend and reveal different aspects of each other. Text which might be taken at face value can have an ironic twist or a dramatic effect that otherwise may not be present when presented alone. The art and the text may subvert each other; on the other hand, they may have a synergistic effect. This is why Spiegelmann uses the word "comix." It is a co-mixing, a mingling of visual and linguistic interpretation. I prefer Spiegelmann's term, since "comic book" is a misleading phrase which seems very trite when examining the works we will be studying.

Our cultural prejudice against comix may come from our Protestant distrust of images. Or it may come from the way we associate visual art with pre-literate children. Or it may come from stereotypes of comix that portray heroes with bulging muscles and voluptuous figures wearing skin-tight costumes. Comix creators can use our prejudice against their medium to their advantage: comix are almost inherently subversive. They critique culture.

This course will focus on 4 main comix creators or creator teams: Art Spiegelmann, Frank Miller, Neil Gaiman, and Alan Moore/Dave Gibbons. There are two works by each creator. Students will be expected to read examples from each of these creators and be able to relate their work to the work of major theologians and philosophers. Students will also be expected to have sufficient art appreciation background to be able to talk about form, design, and how they function in the work. Though the population of creators from which to draw is overwhelmingly white and male, I am currently working on a revised reading list and hope to be able to include similar double-works by minority artists and writers.

A final warning: comix are expensive. The cost of multi-color printing and the demand for good quality graphic novels means that even short comix can cost upwards of twenty dollars. For this reason, I am offering two possible sets of required texts, the idea being that, in the classic spirit of adolescent comix-readers, we can share. You may desire to acquire all the texts, in which case you are free to do so - but it is not necessary.

Course Goals:

Explore comix as a medium for story, cultural criticism, and theology.
Critically examine the commentary comix make on society.
Apply the thought of a major thinker in theology or philosophy to a particular comix creator.
Develop an aesthetic appreciation for this under-appreciated medium.
Practice discussion of an ambiguous art form and use practical theology to critique culture.

Requirements:

Individual performance will be evaluated by the following criteria.

Class participation (30%) - Attendance and active engagement in discussion are essential parts of this class. Most classes will have an introductory lecture followed by discussion. Please come to class having done the assigned readings. Most readings are not long, and can be done in one sitting. However, comix should not be read too quickly. It takes some patience to learn to read slowly, to appreciate the art in each panel or page, and to gather cues from the art about a given context. Reading these comix will require the same critical skills as any aesthetics, philosophy, or literature class.

One short paper (10%) - One three-page critical analysis of a single aspect of a single book. For example, one might write on the portrayal of the Presidential Office in Miller's Dark Knight or Give Me Liberty.

One long paper (40%) - One 6- to 8-page paper examining the work of one of our comix creators in light of a particular philosopher or theologian. Topics will need to be cleared in advance.

Final examination (20%) - The final will be written, oral, or a mixture of both. Students will be expected to use their best critical skills in engaging the books we've read, and discussing their relation to social issues and ideas. If we have a written exam, it will take the form of 3 or 4 essay questions. If we have an oral exam, small groups may focus on a particular area and schedule a time for an interview. The form of the exam will depend upon the schedule involved.

Honor System and Citing Research:

The institutional policy of the honor code will be strictly followed. Please cite all sources in your final paper by either footnoting or using professional standards (MLA, APA, etc.) The short paper may use internal citation.

Required Readings (Group A, in reading order):

Art Spiegelmann. Maus (Vol. 1). A CD-ROM with multimedia material of the Maus project will be on reserve.
Frank Miller. The Dark Knight Returns.
Neil Gaiman. The Sandman: Fables and Relfections.
Alan Moore, Dave Gibbons. The Watchmen.

Required Readings (Group B, in reading order):

Art Spiegelmann. Maus (Vol 2). A CD-ROM with multimedia material of the Maus project will be on reserve.
Frank Miller. Give Me Liberty.
Neil Gaiman. The Books of Magic.
Alan Moore, Dave Gibbons. The Watchmen.

Recommended Readings (Perhaps a Group C):

Peter Kuper. The System
Frank Miller. Sin City and Batman: Year One.
Neil Gaiman. Sandman series, Books of Faerie.
Mark Waid and Alex Ross. Kingdom Come.

**Scott McCloud. Understanding Comics: The Invisible Art
Ian Pollock. Illustrated King Lear.

Basic Outline of the Course:

I. History and structure of comix

A. From pulp novels to comix
B. The development of the hero
C. The Other and the villain
D. Narrative devices: panels, thought bubbles, and narration

II. Comix creators

A. Spiegelmann
B. Miller
C. Gaiman
D. Alan Moore, David Gibbon

III. Comix and culture

A. Subversive forms of storytelling
B. Critique of mainstream media
C. Critique of modern life
D. The dangers of nostalgia

Course Schedule:

Week One:

Monday and Wednesday: History and structure of comix
Friday: (Spiegelmann) A story of cats, mice, and the Holocaust
Readings: Spiegelmann

Week Two:

Monday: (Spiegelmann) Does suffering enoble? The experience and character of Vladek
Wednesday: (Spiegelmann) Heremeneutics and history
Friday: (Miller) What makes a hero? Martha Washington meets Superman.
Readings: Finish Spiegelmann, begin Miller. Handout from first Batman/Superman crossover. Handout from Benhabib.

Week Three:

Monday: (Miller and Benhabib) The politics of difference: race, gender, and sexuality.
Wednesday: (Miller) A critque of the media
Friday: (Gaiman) Reinterpreting myth
Readings: Finish miller, begin Gaiman. Handout from Chomsky.

Week Four:

Monday: (Gaiman) A cheerful Death: femininity and power in Sandman.
Wednesday: (Gaiman) Using metaphor against nihilism.
Friday: (Moore/Gibbon) Who watches the Watchmen?
Readings: Finish Gaiman, begin the Watchmen. Handout from Nietzsche.

Week Five:

Monday: (Moore/Gibbon) The problem with heroes
Wednesday: Subversive forms of storytelling and the critique of mainstream media
Friday: (Kuper) The critique of modern life and the dangers of nostalgia.
Conclusion: (Exam) Saints and icons: the religious uses of images in comix.
Readings: Finish Moore. Work on paper.