Review of: Drawing on Religion: Reading and the Moral Imagination in Comics and Graphic Novels, Ken Koltun-Fromm (2020) University Park, PA: The Pennsylvania State University Press, ISBN 978-0-271-08775-7, p/bk, £27.95
{"title":"Drawing on Religion: Reading and the Moral Imagination in Comics and Graphic Novels, Ken Koltun-Fromm (2020)","authors":"Rae Hancock","doi":"10.1386/stic_00060_5","DOIUrl":"https://doi.org/10.1386/stic_00060_5","url":null,"abstract":"Review of: Drawing on Religion: Reading and the Moral Imagination in Comics and Graphic Novels, Ken Koltun-Fromm (2020)\u0000University Park, PA: The Pennsylvania State University Press,\u0000ISBN 978-0-271-08775-7, p/bk, £27.95","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42987086","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}
Through the sagacious insights of Jean-Marie Apostolidès about Hergé’s well-known character Tintin, this article gathers a comparative investigation on the relationship between the child and the absence of family. More specifically, we address the figure defined by Apostolidès as ‘superchild’ through a comparison between the publications Corriere dei Piccoli (CdP), in Italy, TBO, in Spain and, in the Belgian case, of the figure that motivated the term used by Apostolidès, Tintin. The article forms a comparative comics exercise from a hermeneutical-historical, narratological methodology linked to the figural study of images (Brenez 1998; Bellour 2013), in order to underline some of the singularities of the bond between the superchild and the absent family.
本文通过让-玛丽·阿波斯托利顿对雨果笔下著名人物丁丁的深刻见解，对儿童与家庭缺失之间的关系进行了比较研究。更具体地说，我们通过比较意大利的《Corriere dei Piccoli》(CdP)、西班牙的《TBO》(TBO)和比利时的《丁丁》(Tintin)等出版物，来处理apostolid定义为“超级儿童”的数字。这篇文章形成了一个比较漫画练习，从解释学的历史，叙事学的方法联系到形象的研究(Brenez 1998;Bellour 2013)，以强调超级儿童与缺席家庭之间关系的一些奇异之处。
{"title":"Out of family, into history: A comparative study of the superchild in Corriere dei Piccoli, TBO and The Adventures of Tintin","authors":"Ivan Pintor Iranzo, Eva Van de Wiele","doi":"10.1386/stic_00047_1","DOIUrl":"https://doi.org/10.1386/stic_00047_1","url":null,"abstract":"Through the sagacious insights of Jean-Marie Apostolidès about Hergé’s well-known character Tintin, this article gathers a comparative investigation on the relationship between the child and the absence of family. More specifically, we address the figure defined by Apostolidès as ‘superchild’ through a comparison between the publications Corriere dei Piccoli \u0000(CdP), in Italy, TBO, in Spain and, in the Belgian case, of the figure that motivated the term used by Apostolidès, Tintin. The article forms a comparative comics exercise from a hermeneutical-historical, narratological methodology linked to the figural study of images (Brenez 1998; Bellour 2013), in order to underline some of the singularities of the bond between the superchild and the absent family.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42590958","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}
Influenced by Art Spiegelman and Joe Sacco, Kashmiri artist Malik Sajad’s graphic narrative Munnu: A Boy from Kashmir calls the reader’s attention to the ongoing conflict in Kashmir, a South Asian region controlled by India, Pakistan and China since the 1940s. Using the hangul elk (an engendered species) to represent Kashmiris while portraying others as human characters, Sajad’s deliberate choice visually sets Kashmiris apart from the rest of the world. This article examines how the main character’s development from a boy with intermittent schooling to a cartoonist with political awareness is interlaced with the escalating violence in Kashmir from the early 1990s to the 2010s. In particular, it discusses how Sajad’s book presents massacres, curfews, crackdowns, mass graves and cover-ups as normalcy in Kashmiri daily life, how it experiments the conventions of comics, interrupts the temporal and spatial arrangements of the panels and creates gaps in the visual and verbal narratives often without foreshadowing or explanations and how it presents history as experiences lived instead of knowledge learned. Sajad’s graphic narrative does not provide a solution and ‘frustrates a reader looking for closure’. The closing panel visualizes Munnu disappearing into the all-encompassing darkness with only a flashlight guiding his way. Filling in the blanks of the ‘K-word’, the story comes to a stop without a sense of conclusion or a direction for the future, thus prompting the reader to contemplate the status of Kashmiris who have been left in a political limbo for decades and continue to be ‘endangered’.
受阿特·斯皮格尔曼（Art Spiegelman）和乔·萨科（Joe Sacco）的影响，克什米尔艺术家马利克·萨贾德（Malik Sajad）的平面叙事《蒙努：克什米尔男孩》（Munnu：A Boy from Kashmir）引起了读者对克什米尔持续冲突的关注。克什米尔是一个自20世纪40年代以来由印度、巴基斯坦和中国控制的南亚地区。Sajad用hangul麋鹿（一种产生的物种）来代表克什米尔人，同时将其他人描绘成人类角色，他深思熟虑的选择在视觉上将克什米尔人与世界其他地区区分开来。这篇文章探讨了主人公从一个间歇性上学的男孩到一个有政治意识的漫画家的发展如何与20世纪90年代初至2010年代克什米尔不断升级的暴力交织在一起。特别是，它讨论了萨贾德的书如何将屠杀、宵禁、镇压、乱葬坑和掩盖行为描述为克什米尔日常生活的常态，它如何实验漫画的惯例，打断了小组的时间和空间安排，并在视觉和语言叙事中制造了空白，通常没有预兆或解释，以及它如何将历史呈现为生活的经验而不是学习的知识。萨贾德的图文叙述并没有提供解决方案，“让寻求结尾的读者感到沮丧”。最后的面板显示，蒙努消失在包罗万象的黑暗中，只有一个手电筒在指引他的方向。填补了“K字”的空白，故事结束了，没有结论感，也没有未来的方向，从而促使读者思考克什米尔人的地位，他们几十年来一直处于政治边缘，并继续受到“威胁”。
{"title":"Drawing childhood in conflict: Malik Sajad’s Munnu: A Boy from Kashmir","authors":"Lan Dong","doi":"10.1386/stic_00050_1","DOIUrl":"https://doi.org/10.1386/stic_00050_1","url":null,"abstract":"Influenced by Art Spiegelman and Joe Sacco, Kashmiri artist Malik Sajad’s graphic narrative Munnu: A Boy from Kashmir calls the reader’s attention to the ongoing conflict in Kashmir, a South Asian region controlled by India, Pakistan and China since the 1940s. Using the hangul elk (an engendered species) to represent Kashmiris while portraying others as human characters, Sajad’s deliberate choice visually sets Kashmiris apart from the rest of the world. This article examines how the main character’s development from a boy with intermittent schooling to a cartoonist with political awareness is interlaced with the escalating violence in Kashmir from the early 1990s to the 2010s. In particular, it discusses how Sajad’s book presents massacres, curfews, crackdowns, mass graves and cover-ups as normalcy in Kashmiri daily life, how it experiments the conventions of comics, interrupts the temporal and spatial arrangements of the panels and creates gaps in the visual and verbal narratives often without foreshadowing or explanations and how it presents history as experiences lived instead of knowledge learned. Sajad’s graphic narrative does not provide a solution and ‘frustrates a reader looking for closure’. The closing panel visualizes Munnu disappearing into the all-encompassing darkness with only a flashlight guiding his way. Filling in the blanks of the ‘K-word’, the story comes to a stop without a sense of conclusion or a direction for the future, thus prompting the reader to contemplate the status of Kashmiris who have been left in a political limbo for decades and continue to be ‘endangered’.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43032088","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}
José Antonio Morlesín Mellado, Enrique del Rey Cabero
{"title":"A Portrait of Two Sisters by José Antonio Morlesín Mellado","authors":"José Antonio Morlesín Mellado, Enrique del Rey Cabero","doi":"10.1386/stic_00054_3","DOIUrl":"https://doi.org/10.1386/stic_00054_3","url":null,"abstract":"","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47734835","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}
Gemma Sou, John Cei Douglas, Fernanda Díaz-Basteris
{"title":"After Maria by Gemma Sou and John Cei Douglas","authors":"Gemma Sou, John Cei Douglas, Fernanda Díaz-Basteris","doi":"10.1386/stic_00055_3","DOIUrl":"https://doi.org/10.1386/stic_00055_3","url":null,"abstract":"","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46703530","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 is an interview with comics artist Ellen Forney, author of Marbles: Mania, Depression, Michelangelo, and Me: A Graphic Memoir and Rock Steady: Brilliant Advice From My Bipolar Life. In the interview, Forney reflects on her personal experience with bipolar disorder and its representation in the comics medium. The interview also presents recent trends in graphic medicine (intersection of comics and health) and the role and use of visual metaphors in delineating mental illness experiences, through examples drawn from Forney’s own work.
{"title":"Mapping the bipolar mind through comics: An interview with Ellen Forney","authors":"Sweetha Saji, Sathyaraj Venkatesan","doi":"10.1386/stic_00057_7","DOIUrl":"https://doi.org/10.1386/stic_00057_7","url":null,"abstract":"This is an interview with comics artist Ellen Forney, author of Marbles: Mania, Depression, Michelangelo, and Me: A Graphic Memoir and Rock Steady: Brilliant Advice From My Bipolar Life. In the interview, Forney reflects on her personal experience with bipolar disorder and its representation in the comics medium. The interview also presents recent trends in graphic medicine (intersection of comics and health) and the role and use of visual metaphors in delineating mental illness experiences, through examples drawn from Forney’s own work.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44322960","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}
As demonstrated by a widely circulated Japanese proverb ‘men should never enter the kitchen’, kitchens, as well as food and the act of cooking, have been deeply suffused with heteronormative gender ideology. While domestic cooking has traditionally been associated with women and femininity in Japanese society and popular media, ‘gourmet manga’, emerging in shōnen manga in the 1970s, foregrounded male chefs as figures of authenticity and authority, and ever since, have successfully constructed the site of food and cooking as a professional, masculine domain. While shōnen manga tropes of battle, competition and victory have contributed to the construction of hegemonic masculinity in gourmet manga, some popular gourmet manga also employ female bodies to conflate food and sex, by repeatedly showcasing graphically explicit representations of orgasm in the scenes of women eating. These texts promulgate painstakingly prepared food as a catalyst not only for masculine maturity but also for ‘healthy’ heteronormative desire and, by extension, procreation. However, in more recent gourmet manga, non-competitive, pleasure-based cooking and eating have become salient, along with the gradual diversification of the representations of gender and sexuality. This article examines the queer interrelationship among food, gender and sexuality, in Yoshinaga Fumi’s Kinō Nani Tabeta? (What Did You Eat Yesterday?) and Hiiragi Yutaka’s Shinmai Shimai no Futari Gohan (‘Let’s have a meal together’). In these texts, the site of ‘gourmet’ is relocated from the public/professional to the private/domestic, wherein the pleasures of cooking and eating create new, non-heteronormative forms of intimacy and eroticism. Food is thus redefined as a catalyst for a queer kinship, which enables both the cooks and the eaters to create their own space and time outside the logics of domesticity and reproduction.
正如一句广为流传的日本谚语“男人永远不应该进入厨房”所表明的那样，厨房以及食物和烹饪行为都充斥着非规范的性别意识形态。虽然在日本社会和流行媒体中，家庭烹饪传统上与女性和女性气质联系在一起，但20世纪70年代出现在日本漫画中的“美食漫画”将男性厨师视为真实和权威的人物，并从那时起，成功地将食物和烹饪网站打造成一个专业的男性领域。虽然shōnen漫画中关于战斗、竞争和胜利的比喻有助于美食漫画中霸权男性气质的构建，但一些流行的美食漫画也利用女性的身体将食物和性混为一谈，在女性进食的场景中反复展示性高潮的形象。这些文本揭示了精心准备的食物不仅是男性成熟的催化剂，也是“健康”的异性欲望的催化剂，进而也是生育的催化剂。然而，在最近的美食漫画中，随着性别和性的逐渐多样化，非竞争性的、以快乐为基础的烹饪和饮食变得突出。这篇文章在吉永富美的《KinōNani Tabeta？（你昨天吃了什么？）和Hiiragi Yutaka的Shinmai Shimai no Futari Gohan（“让我们一起吃顿饭”）。在这些文本中，“美食”的位置从公共/专业转移到了私人/家庭，烹饪和饮食的乐趣创造了新的、非异性的亲密和色情形式。因此，食物被重新定义为一种奇怪的亲缘关系的催化剂，这种亲缘关系使厨师和食客都能够在家庭生活和繁殖的逻辑之外创造自己的空间和时间。
{"title":"Queering the palate: The erotics and politics of food in Japanese gourmet manga","authors":"Keiko Miyajima","doi":"10.1386/stic_00029_1","DOIUrl":"https://doi.org/10.1386/stic_00029_1","url":null,"abstract":"As demonstrated by a widely circulated Japanese proverb ‘men should never enter the kitchen’, kitchens, as well as food and the act of cooking, have been deeply suffused with heteronormative gender ideology. While domestic cooking has traditionally been associated with women\u0000 and femininity in Japanese society and popular media, ‘gourmet manga’, emerging in shōnen manga in the 1970s, foregrounded male chefs as figures of authenticity and authority, and ever since, have successfully constructed the site of food and cooking as a professional,\u0000 masculine domain. While shōnen manga tropes of battle, competition and victory have contributed to the construction of hegemonic masculinity in gourmet manga, some popular gourmet manga also employ female bodies to conflate food and sex, by repeatedly showcasing graphically explicit\u0000 representations of orgasm in the scenes of women eating. These texts promulgate painstakingly prepared food as a catalyst not only for masculine maturity but also for ‘healthy’ heteronormative desire and, by extension, procreation. However, in more recent gourmet manga, non-competitive,\u0000 pleasure-based cooking and eating have become salient, along with the gradual diversification of the representations of gender and sexuality. This article examines the queer interrelationship among food, gender and sexuality, in Yoshinaga Fumi’s Kinō Nani Tabeta? (What\u0000 Did You Eat Yesterday?) and Hiiragi Yutaka’s Shinmai Shimai no Futari Gohan (‘Let’s have a meal together’). In these texts, the site of ‘gourmet’ is relocated from the public/professional to the private/domestic, wherein the pleasures of cooking\u0000 and eating create new, non-heteronormative forms of intimacy and eroticism. Food is thus redefined as a catalyst for a queer kinship, which enables both the cooks and the eaters to create their own space and time outside the logics of domesticity and reproduction.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49548879","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}
Conceptual metaphor theory proposes that metaphor is a mental function, rather than solely a literary device. As such, metaphors may be present in any by-product of human cognition, including pictorial art. Crawford and Juricevic previously proposed two heuristic frameworks for the identification and interpretation of metaphor in pictures, which have been shown to be capable of describing how pictorial metaphors are identified and interpreted in the comic book medium. The present study tested artists’ preference for combinations of contextual and structural pictorial information in comic book cover images. We analysed usages of exaggerated size in comic book cover art, as exaggerated size is a pictorial device, which may be used both literally and metaphorically. The goal was to assess how contextual and structural information is combined, and how literal and metaphorical information interacts, both when it is congruent and incongruent. This analysis of the use of exaggerated size in comic book art indicates that artists prefer to produce images that have congruent combinations of literal and metaphoric pictorial information, or the incongruent combination of metaphoric contextual information and literal structural information. Artists do not, however, prefer to produce images that have the incongruent combination of metaphorical structural information and literal contextual information. Taken together with the Corpus Analysis Relevance Theory (CART) argument, this pattern suggests that when processing information, our cognitive systems prefer metaphorical interpretations over literal interpretations and contextual information over structural information.
{"title":"Understanding pictorial metaphor in comic book covers: A test of the contextual and structural frameworks","authors":"Christopher A. Crawford, Igor Juricevic","doi":"10.1386/stic_00034_1","DOIUrl":"https://doi.org/10.1386/stic_00034_1","url":null,"abstract":"Conceptual metaphor theory proposes that metaphor is a mental function, rather than solely a literary device. As such, metaphors may be present in any by-product of human cognition, including pictorial art. Crawford and Juricevic previously proposed two heuristic frameworks for the\u0000 identification and interpretation of metaphor in pictures, which have been shown to be capable of describing how pictorial metaphors are identified and interpreted in the comic book medium. The present study tested artists’ preference for combinations of contextual and structural pictorial\u0000 information in comic book cover images. We analysed usages of exaggerated size in comic book cover art, as exaggerated size is a pictorial device, which may be used both literally and metaphorically. The goal was to assess how contextual and structural information is combined, and how literal\u0000 and metaphorical information interacts, both when it is congruent and incongruent. This analysis of the use of exaggerated size in comic book art indicates that artists prefer to produce images that have congruent combinations of literal and metaphoric pictorial information, or the incongruent\u0000 combination of metaphoric contextual information and literal structural information. Artists do not, however, prefer to produce images that have the incongruent combination of metaphorical structural information and literal contextual information. Taken together with the Corpus Analysis\u0000 Relevance Theory (CART) argument, this pattern suggests that when processing information, our cognitive systems prefer metaphorical interpretations over literal interpretations and contextual information over structural information.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43778383","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}
An interview with Andy Fanton, a current writer for the Beano UK children’s humour comic. Andy got his break writing and drawing for the sadly now-defunct Dandy weekly, and currently writes legacy characters such as Minnie the Minx and The Bash Street Kids. The interview covers Andy’s and DC Thomson’s working practices and methods, considers the role and relevance of Beano in the transmedia age, and defends Beano from accusations that the comic has lost its edge and is no longer as cheeky or rebellious as it once was.
采访Andy Fanton，英国Beano儿童幽默漫画的现任作家。安迪在为现已停刊的《花花公子》周刊写作和绘画的间隙，目前创作了一些遗留角色，如Minnie the Minx和the Bash Street Kids。采访涵盖了Andy和DC Thomson的工作实践和方法，考虑了Beano在跨媒体时代的作用和相关性，并为Beano辩护，使其免受漫画失去了优势，不再像以前那样厚颜无耻或叛逆的指责。
{"title":"Interview with Beano writer Andy Fanton","authors":"J. Caro","doi":"10.1386/stic_00039_7","DOIUrl":"https://doi.org/10.1386/stic_00039_7","url":null,"abstract":"An interview with Andy Fanton, a current writer for the Beano UK children’s humour comic. Andy got his break writing and drawing for the sadly now-defunct Dandy weekly, and currently writes legacy characters such as Minnie the Minx and The Bash Street Kids.\u0000 The interview covers Andy’s and DC Thomson’s working practices and methods, considers the role and relevance of Beano in the transmedia age, and defends Beano from accusations that the comic has lost its edge and is no longer as cheeky or rebellious as it once was.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48676248","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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