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31 Mar 2019, 02:06
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Trevor Getz is a historian and, a few years ago, he collaborated with the artist Liz Clarke to produce a history in comic-book form. Together, they created “Abina and the Important Men” (2012), a graphic history of a 19th-century court case in colonial West Africa. Dozens of graphic histories have been produced in English since then. They point out both the particular interpretive and communicative advantages of the genre, and the kind of work that should be done to make the most of those opportunities.
Recently, an American comedian lashed out at his fellow countrymen that only a country that considers comic books to be ‘the literature’ could have elected Donald Trump. We have all heard, at some point or the other, that comics dumb down our discourse. It’s not all that surprising, really, given the resistance that faced documentary films and digital data visualization when they were first presented as ways to interpret the past. But the value of historical comics has already been affirmed in other parts of the world.
Shigeru Mizuki’s series “Showa” (1988-89) on Japan’s 20th-century history and his manga memoir “Onward Towards Our Noble Deaths” (1973), which details his experience in the Japanese army, are practically canonical in that country. Jacques Tardi is seen as something of a laureate in France for his visceral account of civilization turned to savagery during the First World War in “It Was a War of the Trenches” (1993). Last but not the least, Art Spiegelman’s “Maus” (1991), a reflection on the intergenerational trauma of the Holocaust, had a lasting and broad impact on American culture. Each of these books directly helped people learn about, recognize and grapple with the trauma and history of devastating conflict.
Why does the author mention the works of Shigeru Mizuki and Jacques Tardi?
A. to prove that American people are less likely than the Japanese are to acknowledge the brilliance of history in comic-book form.
B. to indicate that American people attach more importance to the format in which literature is presented than to the message conveyed by the literature concerned.
C. to prove that worthwhile historical comics are not produced in America because there is no audience for such literature.
D. to indicate that American people do not want to read history in the comic-book form as much as the Japanese do.
E. to indicate that reading history in comic-book form can be a worthwhile exercise although most Americans don’t think that it is.
5. Which of the following statements is most strongly supported by the passage?
A. In America, it is easier to be a comedian than a historian.
B. In America, it is more profitable to author a comic-book than to write a history.
C. In Japan and France, war has the greatest potential as a subject matter for literature.
D. Since 2012, history in comic-book form has grown in popularity across English-speaking places.
E. Reading comic-books do not dumb us down.
Recently, an American comedian lashed out at his fellow countrymen that only a country that considers comic books to be ‘the literature’ could have elected Donald Trump. We have all heard, at some point or the other, that comics dumb down our discourse. It’s not all that surprising, really, given the resistance that faced documentary films and digital data visualization when they were first presented as ways to interpret the past. But the value of historical comics has already been affirmed in other parts of the world.
Shigeru Mizuki’s series “Showa” (1988-89) on Japan’s 20th-century history and his manga memoir “Onward Towards Our Noble Deaths” (1973), which details his experience in the Japanese army, are practically canonical in that country. Jacques Tardi is seen as something of a laureate in France for his visceral account of civilization turned to savagery during the First World War in “It Was a War of the Trenches” (1993). Last but not the least, Art Spiegelman’s “Maus” (1991), a reflection on the intergenerational trauma of the Holocaust, had a lasting and broad impact on American culture. Each of these books directly helped people learn about, recognize and grapple with the trauma and history of devastating conflict.
Why does the author mention the works of Shigeru Mizuki and Jacques Tardi?
A. to prove that American people are less likely than the Japanese are to acknowledge the brilliance of history in comic-book form.
B. to indicate that American people attach more importance to the format in which literature is presented than to the message conveyed by the literature concerned.
C. to prove that worthwhile historical comics are not produced in America because there is no audience for such literature.
D. to indicate that American people do not want to read history in the comic-book form as much as the Japanese do.
E. to indicate that reading history in comic-book form can be a worthwhile exercise although most Americans don’t think that it is.
5. Which of the following statements is most strongly supported by the passage?
A. In America, it is easier to be a comedian than a historian.
B. In America, it is more profitable to author a comic-book than to write a history.
C. In Japan and France, war has the greatest potential as a subject matter for literature.
D. Since 2012, history in comic-book form has grown in popularity across English-speaking places.
E. Reading comic-books do not dumb us down.
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31 Mar 2019, 19:41
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workout, Can you format the passage as per RC rules?
Archived Topic
Hi there,
This topic has been closed and archived due to inactivity or violation of community quality standards. No more replies are possible here.
Where to now? Join ongoing discussions on thousands of quality questions in our Reading Comprehension (RC) Forum
Still interested in this question? Check out the "Best Topics" block above for a better discussion on this exact question, as well as several more related questions.
Thank you for understanding, and happy exploring!
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