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2 (2010): 54–68; James Welker, “Beautiful, Borrowed, and Bent: Boys’ Love and Girls’ Love in Shôjo Manga,” Signs: Journal of Women in Culture and Society 31, no. 3 (2006): 841–870. 6 See for example Michael Bitz, “The Comic Book Project: Forging Alternative Pathways to Literacy,” Journal of Adolescent and Adult Literacy 47, no. 7 (2004): 574–586; Stephen Cary, Going Graphic: Comics at Work in the Multilingual Classroom (Portsmouth, NH: Heinemann, 2004); Kerry Cheesman, “Using Comics in the Science Classroom,” Journal of College Science Teaching 35, no.
Wonder Woman v2 #50 (January 1991), DC Comics; George Perez (a), Brian Bolland (a), Marie Severin (a), Cynthia Martin (a), Linda Medley (a), Kevin Nowlan (a), Adam Hughes (a), Chris Bachalo (a), Matt Wagner (a), P. Craig Russell (a), and Sergio Aragones (a). ” Wonder Woman v2 #50 (January 1991), DC Comics; George Perez (w), Mindy Newell (w), Chris Marrinan (p), and Romeo Tanghal (i). ” Wonder Woman v2 #41 (April 1990), DC Comics. 13 Emad, “Reading Wonder Woman’s Body,” 969, 976. , “Ways of Seeing: Evidence and Learning in the History Classroom,” The Journal of American History 92, no.
18 This activity made an especially positive impact on my own students’ learning. In the future, I also plan to include in-class comparison exercises with other types of primary sources from the relevant time period. Listing how historians might interpret different types of primary sources—side by side with comic books—could help students make the cognitive leap to seeing comic books as just another type of primary source, with both possibilities for advancing knowledge and limitations on what it can tell us about the past.
