Review of: Key Terms in Comics Studies, Erin La Cour, Simon Grennan and Rik Spanjers (eds) (2022) Cham: Palgrave Macmillan, 390 pp., ISBN 978-3-03074-974-3, p/bk, £24.99
书评:漫画研究中的关键术语，Erin La Cour, Simon Grennan和Rik Spanjers(编辑)(2022)Cham: Palgrave Macmillan, 390页，ISBN 978-3-03074-974-3, p/bk, 24.99英镑
{"title":"Key Terms in Comics Studies, Erin La Cour, Simon Grennan and Rik Spanjers (eds) (2022)","authors":"Gareth Brookes","doi":"10.1386/stic_00087_5","DOIUrl":"https://doi.org/10.1386/stic_00087_5","url":null,"abstract":"Review of: Key Terms in Comics Studies, Erin La Cour, Simon Grennan and Rik Spanjers (eds) (2022)\u0000 Cham: Palgrave Macmillan, 390 pp.,\u0000 ISBN 978-3-03074-974-3, p/bk, £24.99","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48510898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is a feminist enquiry into the image of the grieving victim of sexual assault in the nation state of India; it is also a critical analysis of what it means to depict trauma, graphically, in this political climate where the rhetoric of women’s empowerment is constantly being strategically adapted within the Saffron camps of extremist Hindu forces. This article deals with the ideal victim of trauma in three Indian comics on rape and sexual assault through the lens of feminist discourses around justice, victimhood and feminist art history. The glorified, ideal victimhood is often placed within a narrative of Hindu iconography, which ironically, sometimes, manifests through a religio-political rhetoric of women’s empowerment. I read the image of this ‘ideal’ victimhood with reference to the comics series Priya’s Shakti, Pratheek Thomas’s graphic narrative Hush (2011) and my own comic Naming and Shaming (2018). I posit the reading of my own comics on the #MeToo movement and discuss my immense urge and severe unease while putting forth a visual representation of victimhood – and seeking that very act, as a point of departure – and a way of challenging the idea of an ideal victim.
{"title":"The perfect victim: Reading trauma and victimhood in rape narratives in Indian comics","authors":"Shromona Das","doi":"10.1386/stic_00091_1","DOIUrl":"https://doi.org/10.1386/stic_00091_1","url":null,"abstract":"This article is a feminist enquiry into the image of the grieving victim of sexual assault in the nation state of India; it is also a critical analysis of what it means to depict trauma, graphically, in this political climate where the rhetoric of women’s empowerment is constantly being strategically adapted within the Saffron camps of extremist Hindu forces. This article deals with the ideal victim of trauma in three Indian comics on rape and sexual assault through the lens of feminist discourses around justice, victimhood and feminist art history. The glorified, ideal victimhood is often placed within a narrative of Hindu iconography, which ironically, sometimes, manifests through a religio-political rhetoric of women’s empowerment. I read the image of this ‘ideal’ victimhood with reference to the comics series Priya’s Shakti, Pratheek Thomas’s graphic narrative Hush (2011) and my own comic Naming and Shaming (2018). I posit the reading of my own comics on the #MeToo movement and discuss my immense urge and severe unease while putting forth a visual representation of victimhood – and seeking that very act, as a point of departure – and a way of challenging the idea of an ideal victim.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48930734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Surrounding his early work in art and comics, this 2020 interview conducted with Dave McKean investigates his first years within the comics community with comics luminaries such as Neil Gaiman, Grant Morrison and Karen Berger. In it, McKean reflects on his early years in the world of art, those first meetings with DC Comics alongside Gaiman, and their inculcation into the ‘independent spirit’ of the Vertigo aesthetic and brand. McKean offers direct remark and commentary on his work on books such as The Sandman, Black Orchid and Hellblazer. In the end, even many years later, he still remains somewhat ‘conflicted’ and ‘undecided’ about DC’s editorial department and Karen Berger in her capacities as an editor, or, at least, as his editor.
{"title":"Imagining: An interview with Dave McKean on the early years","authors":"J. Sommers","doi":"10.1386/stic_00072_7","DOIUrl":"https://doi.org/10.1386/stic_00072_7","url":null,"abstract":"Surrounding his early work in art and comics, this 2020 interview conducted with Dave McKean investigates his first years within the comics community with comics luminaries such as Neil Gaiman, Grant Morrison and Karen Berger. In it, McKean reflects on his early years in the world of art, those first meetings with DC Comics alongside Gaiman, and their inculcation into the ‘independent spirit’ of the Vertigo aesthetic and brand. McKean offers direct remark and commentary on his work on books such as The Sandman, Black Orchid and Hellblazer. In the end, even many years later, he still remains somewhat ‘conflicted’ and ‘undecided’ about DC’s editorial department and Karen Berger in her capacities as an editor, or, at least, as his editor.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45158327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Disappearing traffic jams, endless rain and the transformation of a city and of its inhabitants’ urban life due to mysterious and eventful incidents: these are the possibilities of everyday life in the short comic series Procurando São Paulo. Created by Fábio Moon and Gabriel Bá, Procurando São Paulo explores the artists’ own relationship with their native city, expanding on the city’s existing urban imaginaries to approach a specific characterization and critique of its sociocultural and urban spaces. In other words, the urban imaginary is filled with alternative possibilities of the same city, offering different albeit real perspectives, as is the case with the Brazilian city of São Paulo in this comic. My analysis engages with the dynamics between this urban imaginary and a reality where hypothetical and fantastical situations are evoked within a realistic setting of everyday stories and places. This creative narrative used in a critical fashion precipitates examples of significance and identification with urban spaces, integrated with the whimsical situations depicted in the comic. Due to this comic’s engagement with both reality and imagination, I build upon Edward Soja’s concept of thirdspace and Alejo Carpentier’s concept of the marvellous real. This article calls for an improvement in the scope of comic studies to include the questioning of urban experiences and spatial representation. In addition, the case study investigated by this article calls for a critical postcolonial perspective to be brought forward in the construction of global comics production. More than just an escape from reality, Procurando São Paulo reflects on the real city and its issues, simultaneously questioning its conditions and the relationships between inhabitants and spaces through imagination.
{"title":"The ins and outs of possible cities in comics: Procurando São Paulo1","authors":"T. A. Cardoso","doi":"10.1386/stic_00063_1","DOIUrl":"https://doi.org/10.1386/stic_00063_1","url":null,"abstract":"Disappearing traffic jams, endless rain and the transformation of a city and of its inhabitants’ urban life due to mysterious and eventful incidents: these are the possibilities of everyday life in the short comic series Procurando São Paulo. Created by Fábio Moon and Gabriel Bá, Procurando São Paulo explores the artists’ own relationship with their native city, expanding on the city’s existing urban imaginaries to approach a specific characterization and critique of its sociocultural and urban spaces. In other words, the urban imaginary is filled with alternative possibilities of the same city, offering different albeit real perspectives, as is the case with the Brazilian city of São Paulo in this comic. My analysis engages with the dynamics between this urban imaginary and a reality where hypothetical and fantastical situations are evoked within a realistic setting of everyday stories and places. This creative narrative used in a critical fashion precipitates examples of significance and identification with urban spaces, integrated with the whimsical situations depicted in the comic. Due to this comic’s engagement with both reality and imagination, I build upon Edward Soja’s concept of thirdspace and Alejo Carpentier’s concept of the marvellous real. This article calls for an improvement in the scope of comic studies to include the questioning of urban experiences and spatial representation. In addition, the case study investigated by this article calls for a critical postcolonial perspective to be brought forward in the construction of global comics production. More than just an escape from reality, Procurando São Paulo reflects on the real city and its issues, simultaneously questioning its conditions and the relationships between inhabitants and spaces through imagination.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44154770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Within the melange of comics studies, migration studies and autobiography studies, this article investigates the process in which the collective trauma as well as the personal trauma of refugee women has been portrayed through the visual medium in Malini Gupta and Dyuti Mittal’s ‘The Taboo’, Syeda Farhana’s ‘Little Women’ and Maria M. Litwa’s ‘Welcome to Geneva Camp’. These stories focus on the issues faced by women who migrated to Bangladesh from parts of Bengal and Bihar and thereby experienced a crucial, grief stricken life in refugee camps during the Indo–Bangladesh–Pakistan partition. Life in these refugee camps meant not only meagre resources but also a loss of nationality. In the absence of such validation, these migrants faced an extreme sense of identity or existential crisis. The group photographs, family photographs, complex roadmaps and the map of the subcontinent in the aforementioned graphic narratives are merged to serve as the ‘narreme’, the base of narratives. They are organized on the basis of experiences of women from various classes, castes and provinces, contesting with the interminable psychological violence of partition and post-partitioned reality.
{"title":"Penning the pain of partition: Refugee camp narratives in Indian comics","authors":"P. Bhattacharjee, P. Tripathi","doi":"10.1386/stic_00062_1","DOIUrl":"https://doi.org/10.1386/stic_00062_1","url":null,"abstract":"Within the melange of comics studies, migration studies and autobiography studies, this article investigates the process in which the collective trauma as well as the personal trauma of refugee women has been portrayed through the visual medium in Malini Gupta and Dyuti Mittal’s ‘The Taboo’, Syeda Farhana’s ‘Little Women’ and Maria M. Litwa’s ‘Welcome to Geneva Camp’. These stories focus on the issues faced by women who migrated to Bangladesh from parts of Bengal and Bihar and thereby experienced a crucial, grief stricken life in refugee camps during the Indo–Bangladesh–Pakistan partition. Life in these refugee camps meant not only meagre resources but also a loss of nationality. In the absence of such validation, these migrants faced an extreme sense of identity or existential crisis. The group photographs, family photographs, complex roadmaps and the map of the subcontinent in the aforementioned graphic narratives are merged to serve as the ‘narreme’, the base of narratives. They are organized on the basis of experiences of women from various classes, castes and provinces, contesting with the interminable psychological violence of partition and post-partitioned reality.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45985474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Authorizing Superhero Comics: On the Evolution of a Popular Serial Genre, Daniel Stein (2021) Columbus, OH: The Ohio State University Press, 315 pp., ISBN 978-0-81425-802-6, h/bk, $34.95
{"title":"Authorizing Superhero Comics: On the Evolution of a Popular Serial Genre, Daniel Stein (2021)","authors":"Tiffany Hong","doi":"10.1386/stic_00088_5","DOIUrl":"https://doi.org/10.1386/stic_00088_5","url":null,"abstract":"Review of: Authorizing Superhero Comics: On the Evolution of a Popular Serial Genre, Daniel Stein (2021)\u0000 Columbus, OH: The Ohio State University Press, 315 pp.,\u0000 ISBN 978-0-81425-802-6, h/bk, $34.95","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41977407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article will analyse some noteworthy Italian specialty comic publishers that are combining artistic independence with a ‘new approach’ in production. After an examination of self-publishing, alternative and independent comic publishing and its greatest challenges, the focus will be on three entities that accompanied us through two decades of comics in Italy: the publishing Canicola Edizioni, established in 2004, the self-publishing collective Associazione Mammaiuto, formed in 2011, and the editorial line Progetto Stigma, founded in 2017. We will focus on their different production approaches – use of pre-order, crowdfunding, pre-publication in webcomics, cooperation with other publishing for the distribution, cultural projects around their books – by which they are building their own identity and communities of readers.
{"title":"Alternative publishing in contemporary Italian comics: The case studies of Canicola, Mammaiuto and Stigma1","authors":"Lisa Maya Quaianni Manuzzato","doi":"10.1386/stic_00065_1","DOIUrl":"https://doi.org/10.1386/stic_00065_1","url":null,"abstract":"This article will analyse some noteworthy Italian specialty comic publishers that are combining artistic independence with a ‘new approach’ in production. After an examination of self-publishing, alternative and independent comic publishing and its greatest challenges, the focus will be on three entities that accompanied us through two decades of comics in Italy: the publishing Canicola Edizioni, established in 2004, the self-publishing collective Associazione Mammaiuto, formed in 2011, and the editorial line Progetto Stigma, founded in 2017. We will focus on their different production approaches – use of pre-order, crowdfunding, pre-publication in webcomics, cooperation with other publishing for the distribution, cultural projects around their books – by which they are building their own identity and communities of readers.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46286670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bianca Stone’s poetry comics often cast narrative and common panel transitions aside to centre the lyricism and playfulness of text and image, while retaining some ‘hallmarks’ of comics such as the speech bubble and pictorial sequence. Stone’s Poetry Comics from the Book of Hours is one of the few single-authored collections of poetry comics currently in print. In addition to her poetry comics, Stone has collaborated with poets to create illustrated texts. Notably, her collaboration with the poet and translator Anne Carson produced a new translation of Antigone (Antigonick), which moves beyond a strictly illustrated text without becoming a full-fledged graphic novel. Most recently, Stone ‘illustrated’ a Gertrude Stein poem to make a children’s book, A Little Called Pauline; she notes that this book would be challenging to read to children since images are a further abstraction of an already abstract text. Like much of Stone’s work, A Little Called Pauline defies a direct adaptation of the text. Despite all her work in the field, Stone’s comics remain largely unstudied. By examining three of her books, this article will illuminate Stone’s important, ongoing, role in the world of comics hybridity and rightfully place her in the rich history of dynamic creators who beg us to reimagine the comics medium and its definitions. To better understand her techniques, we consider her work using existing ideas about comics from a variety of creators and scholars. As we explored Stone’s work, we found that poetry comics is a rich genre, often opposing traditional definitions of comics, that could benefit from more study by comics scholars.
{"title":"Troubling the sequential image: The poetry comics of Bianca Stone","authors":"Nora Hickey, A. Ketcham","doi":"10.1386/stic_00084_1","DOIUrl":"https://doi.org/10.1386/stic_00084_1","url":null,"abstract":"Bianca Stone’s poetry comics often cast narrative and common panel transitions aside to centre the lyricism and playfulness of text and image, while retaining some ‘hallmarks’ of comics such as the speech bubble and pictorial sequence. Stone’s Poetry Comics from the Book of Hours is one of the few single-authored collections of poetry comics currently in print. In addition to her poetry comics, Stone has collaborated with poets to create illustrated texts. Notably, her collaboration with the poet and translator Anne Carson produced a new translation of Antigone (Antigonick), which moves beyond a strictly illustrated text without becoming a full-fledged graphic novel. Most recently, Stone ‘illustrated’ a Gertrude Stein poem to make a children’s book, A Little Called Pauline; she notes that this book would be challenging to read to children since images are a further abstraction of an already abstract text. Like much of Stone’s work, A Little Called Pauline defies a direct adaptation of the text. Despite all her work in the field, Stone’s comics remain largely unstudied. By examining three of her books, this article will illuminate Stone’s important, ongoing, role in the world of comics hybridity and rightfully place her in the rich history of dynamic creators who beg us to reimagine the comics medium and its definitions. To better understand her techniques, we consider her work using existing ideas about comics from a variety of creators and scholars. As we explored Stone’s work, we found that poetry comics is a rich genre, often opposing traditional definitions of comics, that could benefit from more study by comics scholars.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46866965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Mise en scène, Acting, and Space in Comics, Geraint D’Arcy (2020) Cham: Nature Switzerland AG, 136 pp., ISBN 978-3-03051-113-5, p/bk, $69.99
评论：Mise en scène，《漫画中的表演与空间》，Geraint D'Arcy（2020）瑞士商会：Nature Switzerland AG，136页，ISBN 978-3-03051-113-5，p/bk，69.99美元
{"title":"Mise en scène, Acting, and Space in Comics, Geraint D’Arcy (2020)","authors":"J. Nagtegaal","doi":"10.1386/stic_00082_5","DOIUrl":"https://doi.org/10.1386/stic_00082_5","url":null,"abstract":"Review of: Mise en scène, Acting, and Space in Comics, Geraint D’Arcy (2020)\u0000 Cham: Nature Switzerland AG, 136 pp.,\u0000 ISBN 978-3-03051-113-5, p/bk, $69.99","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45618789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This introduction summarizes the contents of the issue, listing the articles and their main themes, the reviews we have included, and the details of the comics. It points towards the range and breadth of the articles, interviews, reviews and comics gathered here, which take in the intersections of comics and music, poetry, trauma, tradition and humour. It concludes that, taken together, this issue’s content pushes at the boundaries of what might be considered comics: by considering the medium’s relationships with other media, deconstructing its history, iconography and traditions, and exploring the processes, places and influences that underpin its creation.
{"title":"Editorial","authors":"J. Round","doi":"10.1386/stic_00092_2","DOIUrl":"https://doi.org/10.1386/stic_00092_2","url":null,"abstract":"This introduction summarizes the contents of the issue, listing the articles and their main themes, the reviews we have included, and the details of the comics. It points towards the range and breadth of the articles, interviews, reviews and comics gathered here, which take in the intersections of comics and music, poetry, trauma, tradition and humour. It concludes that, taken together, this issue’s content pushes at the boundaries of what might be considered comics: by considering the medium’s relationships with other media, deconstructing its history, iconography and traditions, and exploring the processes, places and influences that underpin its creation.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41349845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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