Brian K. Vaughan’s and Marcos Martin’s science fiction comics series, Barrier (2015‐18), is a five-issue story set on the US-Mexican border and contributing to the continuing public discourse surrounding undocumented immigration in the United States. First appearing as a webcomic on Vaughan’s Panel Syndicate website and later published in comic book form by Image Comics, Barrier’s story of two characters, a Honduran refugee and a Texas rancher who struggle with and eventually come to rely on one another, depicts linguistic and cultural boundaries and borders, as well as the frustration and hostility they can generate. As comics, Barrier’s very medium works by means of crossing boundaries and borders: binaries (like word and image) are complicated if not subverted, and the borders of each panel remain closed yet open for sequential art to function as a medium for narrative. Moreover, as a bilingual webcomic crossing into print yet all but encouraging an ongoing virtual engagement through web searches and Google Translate, the series demands further creative energy from the reader in reimaging various barriers, borders and positions of liminality. Although stories that represent various kinds of borders (social, cultural and geopolitical) and various ways of establishing, challenging, crossing or deconstructing borders are frequently found in graphic narratives, Barrier demonstrates the south-west border to be one the medium of comics is especially suited to explore. Barrier is a work that takes as its very subject, to borrow a phrase from Ramzi Fawaz, ‘spatially drawn analogies’ in order to engage graphically matters of genuine political import. In doing so, Barrier not only reflects obliquely on its own form, but also engages creatively with one of the most politically and culturally contested spaces in contemporary US culture.
布莱恩·k·沃恩(Brian K. Vaughan)和马科斯·马丁(Marcos Martin)的科幻漫画系列《屏障》(2015 - 18)是一个以美墨边境为背景的五期故事，对美国无证移民的持续公共讨论做出了贡献。《屏障》最初以网络漫画的形式出现在沃恩的Panel Syndicate网站上，后来由Image Comics以漫画的形式出版。《屏障》讲述了两个角色的故事，一个是洪都拉斯难民，一个是德克萨斯州的农场主，他们相互斗争，最终相互依赖，描绘了语言和文化的界限和边界，以及他们可能产生的挫折和敌意。作为漫画，Barrier的媒介作品是通过跨越边界和边界的方式完成的:二元(如文字和图像)即使没有被颠覆，也很复杂，每个面板的边界保持封闭但又开放，以便连续艺术作为叙事媒介。此外，作为一部即将出版的双语网络漫画，除了通过网络搜索和谷歌翻译鼓励持续的虚拟参与外，该系列还需要读者进一步的创造力，以重新想象各种障碍、边界和阈限的位置。尽管在图形叙事中经常可以找到代表各种边界(社会、文化和地缘政治)的故事，以及建立、挑战、跨越或解构边界的各种方式，但《屏障》表明，西南边界是漫画特别适合探索的媒介之一。借用拉姆齐·法瓦兹的一句话，《屏障》是一部以“空间类比”为主题的作品，目的是通过图形化的方式处理真正具有政治意义的问题。在这样做的过程中，“屏障”不仅间接地反映了其自身的形式，而且创造性地融入了当代美国文化中最具政治和文化争议的空间之一。
{"title":"Panelling without walls: Narrating the border in Barrier","authors":"Daniel Pinti","doi":"10.1386/stic_00031_1","DOIUrl":"https://doi.org/10.1386/stic_00031_1","url":null,"abstract":"Brian K. Vaughan’s and Marcos Martin’s science fiction comics series, Barrier (2015‐18), is a five-issue story set on the US-Mexican border and contributing to the continuing public discourse surrounding undocumented immigration in the United States. First\u0000 appearing as a webcomic on Vaughan’s Panel Syndicate website and later published in comic book form by Image Comics, Barrier’s story of two characters, a Honduran refugee and a Texas rancher who struggle with and eventually come to rely on one another, depicts linguistic\u0000 and cultural boundaries and borders, as well as the frustration and hostility they can generate. As comics, Barrier’s very medium works by means of crossing boundaries and borders: binaries (like word and image) are complicated if not subverted, and the borders of each panel remain\u0000 closed yet open for sequential art to function as a medium for narrative. Moreover, as a bilingual webcomic crossing into print yet all but encouraging an ongoing virtual engagement through web searches and Google Translate, the series demands further creative energy from the reader in reimaging\u0000 various barriers, borders and positions of liminality. Although stories that represent various kinds of borders (social, cultural and geopolitical) and various ways of establishing, challenging, crossing or deconstructing borders are frequently found in graphic narratives, Barrier demonstrates\u0000 the south-west border to be one the medium of comics is especially suited to explore. Barrier is a work that takes as its very subject, to borrow a phrase from Ramzi Fawaz, ‘spatially drawn analogies’ in order to engage graphically matters of genuine political import. In\u0000 doing so, Barrier not only reflects obliquely on its own form, but also engages creatively with one of the most politically and culturally contested spaces in contemporary US culture.","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":"45992791","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}
Mark Russell and Steve Pugh’s The Flintstones comic book (2016‐17) addresses US colonialism much more directly than most popular media but focalizes its story through a white, settler American. Thus, it represents an unwillingness and/or inability to think outside of that narrow perspective, i.e. while it is anti-colonial, it is not postcolonial. The book was published through a licensing agreement between Hanna-Barbara and DC Comics in which several Hanna-Barbera cartoons were combined with contrasting genres to create grim and/or mature stories. DC’s The Flintstones, in particular, takes on a collection of social issues, including religion as cynical manipulation, military-industrial propaganda, exploitation of foreign/immigrant labour and media depictions of the environmental crisis. However, it consistently undermines its own messages, often through visual jokes that end up confirming the ideas the book satirizes but also through sincere pronouncements that prevent the satirical critique from reaching a concrete conclusion. The overarching narrative of the series is about the lingering trauma of colonization. It equates the colonization of the land presently held by United States with that country’s war in Vietnam. This equation results from depicting the literal colonization of an Indigenous space and land but using imagery that reflects US media depictions of their war in Vietnam: colonialist soldiers in green fatigues use fire (i.e. napalm) to exterminate racist caricatures of Southeast Asian guerrilla fighters in order to clear a forest and expose the literal bedrock from which the Flinstone’s city will be built. Fred Flintstone, who represents a settler American, states quite directly that he ‘participated in a genocide’ as a soldier in that invasion, thus confirming an anti-colonialist critique. However, the book never takes on the perspective of the colonized peoples, who by then have been wiped out, which is why it stops short of a postcolonialist critique.
{"title":"Fire in the jungle: Genocide and colonization in Russell and Pugh’s The Flintstones","authors":"Orion Ussner Kidder","doi":"10.1386/stic_00032_1","DOIUrl":"https://doi.org/10.1386/stic_00032_1","url":null,"abstract":"Mark Russell and Steve Pugh’s The Flintstones comic book (2016‐17) addresses US colonialism much more directly than most popular media but focalizes its story through a white, settler American. Thus, it represents an unwillingness and/or inability to think outside\u0000 of that narrow perspective, i.e. while it is anti-colonial, it is not postcolonial. The book was published through a licensing agreement between Hanna-Barbara and DC Comics in which several Hanna-Barbera cartoons were combined with contrasting genres to create grim and/or mature stories. DC’s\u0000 The Flintstones, in particular, takes on a collection of social issues, including religion as cynical manipulation, military-industrial propaganda, exploitation of foreign/immigrant labour and media depictions of the environmental crisis. However, it consistently undermines its own\u0000 messages, often through visual jokes that end up confirming the ideas the book satirizes but also through sincere pronouncements that prevent the satirical critique from reaching a concrete conclusion. The overarching narrative of the series is about the lingering trauma of colonization. It\u0000 equates the colonization of the land presently held by United States with that country’s war in Vietnam. This equation results from depicting the literal colonization of an Indigenous space and land but using imagery that reflects US media depictions of their war in Vietnam: colonialist\u0000 soldiers in green fatigues use fire (i.e. napalm) to exterminate racist caricatures of Southeast Asian guerrilla fighters in order to clear a forest and expose the literal bedrock from which the Flinstone’s city will be built. Fred Flintstone, who represents a settler American,\u0000 states quite directly that he ‘participated in a genocide’ as a soldier in that invasion, thus confirming an anti-colonialist critique. However, the book never takes on the perspective of the colonized peoples, who by then have been wiped out, which is why it stops short of a postcolonialist\u0000 critique.","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":"48422848","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}
Serbian-Canadian cartoonist Nina Bunjevac’s third book, Bezimena (2019), embeds child sexual abuse and murder in an improbable geography where myth and fairy tale work together to create an otherworldly atmosphere, by turns mesmerizing and horrifying. Bunjevac’s previous work (Heartless [2012] and Fatherland [2014]) testifies to her continued commitment to exploring issues that are relevant to the feminist project, such as domestic violence, abortion, sexual assault and discrimination against female immigrant workers. In this article, we are particularly interested in exploring the manner in which Bezimena frames the figure of the perpetrator, as the context of the final question of the book ‐ ‘who were you crying for?’ ‐ repositions the entire ethical premise of the narrative by suggesting that responsibility for perpetration may lie both within and without the body and consciousness of the perpetrator himself. In conversation with scholars who attempt to expand the narrow category of ‘perpetrator’, such as Michael Rothberg or Scott Strauss, we explore how graphic narratives can contribute to a more nuanced understanding of perpetration, particularly in the case of sexual assault, and analyse Bezimena’s innovative approach to the representation of perpetration, as the book’s depiction of perpetrators and accomplices is mixed with elements of fantasy and mythology.
{"title":"‘Who were you crying for?’: Empathy, fantasy and the framing of the perpetrator in Nina Bunjevac’s Bezimena","authors":"D. Manea, M. Precup","doi":"10.1386/stic_00036_1","DOIUrl":"https://doi.org/10.1386/stic_00036_1","url":null,"abstract":"Serbian-Canadian cartoonist Nina Bunjevac’s third book, Bezimena (2019), embeds child sexual abuse and murder in an improbable geography where myth and fairy tale work together to create an otherworldly atmosphere, by turns mesmerizing and horrifying. Bunjevac’s previous\u0000 work (Heartless [2012] and Fatherland [2014]) testifies to her continued commitment to exploring issues that are relevant to the feminist project, such as domestic violence, abortion, sexual assault and discrimination against female immigrant workers. In this article, we are\u0000 particularly interested in exploring the manner in which Bezimena frames the figure of the perpetrator, as the context of the final question of the book ‐ ‘who were you crying for?’ ‐ repositions the entire ethical premise of the narrative by suggesting that\u0000 responsibility for perpetration may lie both within and without the body and consciousness of the perpetrator himself. In conversation with scholars who attempt to expand the narrow category of ‘perpetrator’, such as Michael Rothberg or Scott Strauss, we explore how graphic narratives\u0000 can contribute to a more nuanced understanding of perpetration, particularly in the case of sexual assault, and analyse Bezimena’s innovative approach to the representation of perpetration, as the book’s depiction of perpetrators and accomplices is mixed with elements of\u0000 fantasy and mythology.","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":"48989903","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}
In Thien Pham’s comic Sumo, simple graphics, iconic figures and limited dialogue assist in efficiently conceptualizing the notion of the transitive, the ability to convey meaning, to allow images to translate concepts quickly, including that of transnationalism itself. Character Scott, a failed American football player, relocates to Japan to take up sumo. His physical transnational move and eventual accommodation to a new sport, new city and new friends are reflected in Pham’s loose OuBaPo form: sections of the comic occurring in Japan and those in the United States follow a fairly strict panel count, diminishing evenly as the narrative progresses, suggesting Scott’s amalgamation of and acceptance in the East from his arrival from the West. But neither is privileged in Pham’s use of nearly equal numbers of panels representing Scott’s past in the United States, present in Japan and future in a smooth amalgamation of football and sumo, East and West, strength and flexibility, failure and success. Sumo uses efficient visual approaches ‐ the unique play inherent in OuBaPo as a drawing exercise in constraints, colour-coded panels and iconicity ‐ to accommodate and unify race and national differences.
{"title":"Graphic panelling and the promotion of transnational affiliations in Thien Pham’s Sumo","authors":"Monica Chiu","doi":"10.1386/stic_00030_1","DOIUrl":"https://doi.org/10.1386/stic_00030_1","url":null,"abstract":"In Thien Pham’s comic Sumo, simple graphics, iconic figures and limited dialogue assist in efficiently conceptualizing the notion of the transitive, the ability to convey meaning, to allow images to translate concepts quickly, including that of transnationalism\u0000 itself. Character Scott, a failed American football player, relocates to Japan to take up sumo. His physical transnational move and eventual accommodation to a new sport, new city and new friends are reflected in Pham’s loose OuBaPo form: sections of the comic occurring in Japan and\u0000 those in the United States follow a fairly strict panel count, diminishing evenly as the narrative progresses, suggesting Scott’s amalgamation of and acceptance in the East from his arrival from the West. But neither is privileged in Pham’s use of nearly equal numbers of panels\u0000 representing Scott’s past in the United States, present in Japan and future in a smooth amalgamation of football and sumo, East and West, strength and flexibility, failure and success. Sumo uses efficient visual approaches ‐ the unique play inherent in OuBaPo as a drawing\u0000 exercise in constraints, colour-coded panels and iconicity ‐ to accommodate and unify race and national differences.","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":"43588874","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}
Argha Manna is a cancer-researcher-turned cartoonist. He worked as a research fellow at Bose Institute, India. After leaving academic research, he joined a media-house and started operating as an independent comics artist. He loves to tell stories from the history of science, social history and lab-based science through visual narratives. His blog, Drawing History of Science (https://drawinghistoryofscience.wordpress.com), has been featured by Nature India. Argha has been collaborating with various scientific institutes and science communicator groups from India and abroad. His collaborators are from National Centre for Biological Science (NCBS, Bangalore), Centre for Cellular and Molecular Biology (CCMB, Hyderabad), Jadavpur University (Kolkata), Heidelberg Center for Transcultural Studies (University of Heidelberg, Germany) and a few others. Last year, he received STEMPeers Fellowship for creating comics on the history of vaccination and other aspects of medical histories, published in Club SciWri, a digital publication wing of STEMPeers Group. Currently, Argha is collaborating in a project, ‘Famine Tales from India and Britain’ as a graphic artist. This is a UK-based project, funded by the Arts and Humanities Research Council, led by Dr Ayesha Mukherjee, University of Exeter. In this interview, Partha Bhattacharjee and Priyanka Tripathi speak with Indian ‘alternative’ cartoonist Argha Manna to trace his journey from a cancer researcher to a cartoonist. Manna is a storyteller of history of science, in visuals. Recently, his works reflect social problems under the light of historical and scientific theories. Bhattacharjee and Tripathi trace Manna’s shift from a science-storyteller in a visual medium to a medical-cartoonist who is working on issues related to a global pandemic, its impact on life and literature vis-à-vis social intervention. They also focus on Manna’s latest comics on COVID-19.
{"title":"Interview with Argha Manna","authors":"P. Bhattacharjee, P. Tripathi","doi":"10.1386/stic_00038_7","DOIUrl":"https://doi.org/10.1386/stic_00038_7","url":null,"abstract":"Argha Manna is a cancer-researcher-turned cartoonist. He worked as a research fellow at Bose Institute, India. After leaving academic research, he joined a media-house and started operating as an independent comics artist. He loves to tell stories from the history of science, social\u0000 history and lab-based science through visual narratives. His blog, Drawing History of Science (https://drawinghistoryofscience.wordpress.com), has been featured by Nature India. Argha has been collaborating with\u0000 various scientific institutes and science communicator groups from India and abroad. His collaborators are from National Centre for Biological Science (NCBS, Bangalore), Centre for Cellular and Molecular Biology (CCMB, Hyderabad), Jadavpur University (Kolkata), Heidelberg Center for Transcultural\u0000 Studies (University of Heidelberg, Germany) and a few others. Last year, he received STEMPeers Fellowship for creating comics on the history of vaccination and other aspects of medical histories, published in Club SciWri, a digital publication wing of STEMPeers Group. Currently, Argha is collaborating\u0000 in a project, ‘Famine Tales from India and Britain’ as a graphic artist. This is a UK-based project, funded by the Arts and Humanities Research Council, led by Dr Ayesha Mukherjee, University of Exeter. In this interview, Partha Bhattacharjee and Priyanka Tripathi speak with Indian\u0000 ‘alternative’ cartoonist Argha Manna to trace his journey from a cancer researcher to a cartoonist. Manna is a storyteller of history of science, in visuals. Recently, his works reflect social problems under the light of historical and scientific theories. Bhattacharjee and Tripathi\u0000 trace Manna’s shift from a science-storyteller in a visual medium to a medical-cartoonist who is working on issues related to a global pandemic, its impact on life and literature vis-à-vis social intervention. They also focus on Manna’s latest comics on COVID-19.","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":"42490024","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}
In our times of confinement, cultural production has become as important as it is precarious. Reading habits were revamped during the most stringent moments of the early lockdown. Some would consume new products, some would revisit their favourite classics. In this article, I analyse Carlos Giménez’s pioneering graphic work, a(n) (auto)biographical series of comics surrounding children’s experiences in Francoist orphanages, or ‘Homes’ (Hogares de Auxilio). I argue that Paracuellos operates as an isotopic and confining device at formal, thematic, intragenerational and affecting levels. It displays an aesthetic of confinement and brings together a set of core themes that generate a continuum of isotopic semantics, catalysing the work’s capacity to affect and be affected. Graphic violence is as its core and serves as the main constant, be that presently exercised or absently loomed, in a context of pathos, loss and scarcity. This article further explores how the comics series pulls back the veil on the folds of early Francoism as well as the later transition to democracy, a period of ‘lockdown’ for cultural memory in general, and for the experienced confinement in the Francoist ‘Homes’ in particular. The piece suggests that in retrieving this collection of common memories of recurrent episodes of violence experienced individually, Giménez’s work ultimately nuances the monolithic concept of collective memory within cultural production.
在我们这个封闭的时代，文化生产变得既重要又不稳定。在早期封锁最严格的时刻，阅读习惯得到了改变。有些人会消费新产品，有些人会重温他们最喜欢的经典。在这篇文章中，我分析了Carlos Giménez开创性的平面作品，这是一个（n）（自动）传记系列漫画，围绕着法语孤儿院或“家园”（Hogares de Auxilio）中的儿童经历。我认为Paracuellos在形式、主题、代际和影响层面上是一种同位素和限制装置。它展示了一种封闭的美学，并将一组核心主题结合在一起，这些主题产生了同位素语义的连续体，促进了作品的影响和被影响的能力。在悲情、失落和匮乏的背景下，图形暴力是其核心，也是主要的常量，无论是目前实施的还是缺席的。这篇文章进一步探讨了漫画系列如何揭开早期法语主义的面纱，以及后来向民主的过渡，这是一段为文化记忆而“封锁”的时期，尤其是在法语主义“家园”中经历的禁闭。这篇文章表明，在检索这些个人反复经历的暴力事件的共同记忆的过程中，Giménez的作品最终在文化生产中对集体记忆这一单一概念进行了细微的区分。
{"title":"Forging intragenerational and common memories: Revisiting Paracuellos’s graphic violence in times of confinement","authors":"Xosé Pereira Boán","doi":"10.1386/stic_00027_1","DOIUrl":"https://doi.org/10.1386/stic_00027_1","url":null,"abstract":"In our times of confinement, cultural production has become as important as it is precarious. Reading habits were revamped during the most stringent moments of the early lockdown. Some would consume new products, some would revisit their favourite classics. In this article, I analyse\u0000 Carlos Giménez’s pioneering graphic work, a(n) (auto)biographical series of comics surrounding children’s experiences in Francoist orphanages, or ‘Homes’ (Hogares de Auxilio). I argue that Paracuellos operates as an isotopic and confining device at formal,\u0000 thematic, intragenerational and affecting levels. It displays an aesthetic of confinement and brings together a set of core themes that generate a continuum of isotopic semantics, catalysing the work’s capacity to affect and be affected. Graphic violence is as its core and serves as\u0000 the main constant, be that presently exercised or absently loomed, in a context of pathos, loss and scarcity. This article further explores how the comics series pulls back the veil on the folds of early Francoism as well as the later transition to democracy, a period of ‘lockdown’\u0000 for cultural memory in general, and for the experienced confinement in the Francoist ‘Homes’ in particular. The piece suggests that in retrieving this collection of common memories of recurrent episodes of violence experienced individually, Giménez’s work ultimately\u0000 nuances the monolithic concept of collective memory within cultural production.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41350660","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}
Pub Date : 2020-08-14DOI: 10.36019/9780813591452-019
{"title":"Time Line of Selected Events","authors":"","doi":"10.36019/9780813591452-019","DOIUrl":"https://doi.org/10.36019/9780813591452-019","url":null,"abstract":"","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"27 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75453795","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}
Pub Date : 2020-08-14DOI: 10.36019/9780813591452-fm
{"title":"Frontmatter","authors":"","doi":"10.36019/9780813591452-fm","DOIUrl":"https://doi.org/10.36019/9780813591452-fm","url":null,"abstract":"","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"19 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78981211","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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