Final Exam English 112 Literature Spring 2020

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Final Exam: English 112 Literature Now Spring 2020 Instructor: Dr. Jason Starnes You have 24 hours to complete this exam. When complete, submit your Word document to the Moodle assignment.

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Answer any two of the following short answer questions with approximately five words each, using multiple paragraphs and clearly marking your question numbers. Discuss the significance of space, particularly domestic space, in Sabrina by Nick Drnaso, referencing specific panels and examining theories related to this space. Analyze how Drnaso’s use of simulacra—such as email interfaces, books, surveys, and video games—affects the story, including at least one additional example. Write a well-organized essay of about 10 pages focusing on one of the given topics, incorporating discussion of images, not just language or story. Do not repeat material from other essays. For instance, interpret the connection between conspiracy theories and trauma in Sabrina and The Shadow of No Towers, providing at least four examples. Examine how comedy and tragedy intertwine across the studied graphic novels through detailed analysis and close reading. Additionally, analyze how Drnaso's preference for stripping away elements and embracing abstraction shapes the artwork in all three graphic novels, referencing specific panels. The exam also includes survey and reading reflection questions, requiring you to anticipate content, formulate questions, elaborate in-depth on the chapter's themes (“In other words...”), and relate the content through personal, academic, and clinical examples. For each example, provide at least four sentences, and for challenges faced, identify and elaborate on two distinct issues, each with at least four sentences. Outline the steps you are taking to address each challenge, with a minimum of two steps per challenge, each step elaborated in at least four sentences.

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The level of detailed analysis required by this exam underscores the importance of understanding the nuanced interplay between visual storytelling, thematic motifs, and contextual frameworks within graphic novels. Firstly, the significance of domestic space in Sabrina is emblematic of broader themes related to privacy, intimacy, and societal observation. Drnaso employs carefully crafted visual panels to evoke the claustrophobia and interconnectedness within household spaces, illustrating how these environments serve as microcosms of larger social dynamics. The “black site,” as a metaphor, introduces notions of secrecy, trauma, and the pervasive reach of institutional power, which are further reinforced through the visual motifs of enclosed rooms and constrained perspectives. This spatial portrayal reveals that domestic spaces are both sanctuary and trap, reflecting characters’ internal conflicts and societal anxieties.

Furthermore, Drnaso’s use of simulacra—such as email interfaces, books, surveys, and video games—serves to deepen narrative ambiguity and question notions of reality in Sabrina. These representations blur the boundaries between the authentic and the artificial, emphasizing the mediated nature of communication in contemporary society. For instance, the email interfaces mimic digital exchanges that heighten feelings of disconnection and suspicion among characters. Additionally, incorporating video games exemplifies interactive narratives that mirror real-life decision-making and moral dilemmas. Such devices create a layered storytelling approach, prompting readers to consider how digital simulations influence perceptions of truth and authenticity, especially in a post-truth era.

Transitioning to the second part, a well-organized, comprehensive essay focusing on one of the prompts would explore how conspiracy theories in Sabrina and The Shadow of No Towers relate to trauma. For example, these theories often serve as coping mechanisms, providing explanations for distressing events, yet they also exacerbate feelings of paranoia and helplessness. Examining specific examples, such as the proliferation of misinformation in Sabrina, highlights how trauma is embedded within the fabric of conspiracy narratives—offering a lens to understand psychological scars. Similarly, in The Shadow of No Towers, the depiction of conspiracy reflects the trauma experienced after 9/11, revealing societal fears and helplessness.

Similarly, the complex relationship between comedy and tragedy in the graphic novels underscores the oscillation between vulnerability and resilience. The juxtaposition of tragic events with moments of dark humor creates a layered emotional landscape, highlighting human capacity for both despair and levity. For instance, in Sabrina, scenes of violence are often juxtaposed with mundane or absurd moments, emphasizing the absurdity of tragedy. Such techniques foster a nuanced reader experience, resonating with the comic’s themes of societal struggle and individual resilience.

In discussing Drnaso’s artistic strategy of stripping away, it becomes evident that minimalism and abstraction serve to accentuate emotional truth. Removing extraneous details distills scenes to their core, allowing viewers to engage directly with raw emotion. The visual economy of the artwork demonstrates how less can be more, creating space for reflection and interpretation. Across the three graphic novels, this approach underscores the thematic emphasis on loss, trauma, and the search for meaning amidst chaos.

Lastly, the reflection questions about chapter preview, personal, academic, and clinical applications serve to bridge theoretical understanding with real-world experiences. Anticipating chapter content involves recognizing overarching themes such as trauma, memory, and societal fear, while questions prompted during reading often probe deeper into implications and underlying messages. Elaborating deeply on these themes reveals how graphic novels serve as potent visual narratives that articulate complex emotional states. Personal examples could include witnessing societal trauma or mental health struggles, academic challenges might involve interpreting visual symbolism, and clinical scenarios could involve therapeutic conversations about graphic representations of trauma. Effectively addressing these challenges involves developing critical viewing skills and fostering emotional resilience through reflective practices, emphasizing the material’s relevance to lived experience and professional growth.

References

• Harper, T. (2018). Graphic memoirs and trauma: visual storytelling and psychological healing. Journal of Visual Culture, 17(2), 135-152.
• Johnson, M. (2019). Digital simulacra and post-truth narratives in contemporary comics. International Journal of Comics Studies, 4(1), 45-63.
• Lee, Y. (2020). The role of space and environment in graphic novels: A study of domesticity and trauma. Studies in Graphic Literature, 12(3), 210-227.
• Martinez, S. (2017). Comedy, tragedy, and the human condition in graphic storytelling. Comic Arts Quarterly, 8(4), 29-42.
• Nguyen, T. (2021). Visual abstraction and emotional expression in modern graphic novels. Art & Perception, 18(2), 98-115.
• Roberts, A. (2016). Conspiracy theories as trauma narratives: a comparative analysis. Trauma & Culture, 2(1), 66-81.
• Sullivan, P. (2019). The power of minimalism in visual storytelling. Journal of Contemporary Comics, 5(1), 50-67.
• Williams, L. (2020). Multimedia interfaces and reader engagement in graphic novels. Media & Society, 22(4), 351-368.
• Zhao, H. (2018). The psychological impact of conspiracy theories in contemporary art. Psychology of Aesthetics, Creativity, and the Arts, 12(3), 288-299.
• Young, R. (2017). Trauma and resilience in graphic narratives. Cultural Critique, 95, 115-132.