This article is a review of Key Terms in Comics Studies, edited by Erin La Cour, Simon Grennan, and Rik Spanjers (Palgrave 2022). This volume covers a broad array of disciplines and terminology utilized in comics studies, with the aim of creating new connections in the field between its varied disciplinary approaches. The review contextualizes the volume within the emerging genre of reference collections and analyses the role and utility of such collections within comics studies and higher education.
本文是由Erin La Cour、Simon Grennan和Rik Spanjers编辑的《漫画研究中的关键术语》(Palgrave 2022)的综述。本卷涵盖了漫画研究中使用的广泛学科和术语，目的是在不同学科方法之间的领域建立新的联系。该评论在参考集合的新兴流派和分析的作用和这种集合在漫画研究和高等教育中的效用卷背景。
{"title":"An Archive of the New: A Review of Key Terms in Comics Studies","authors":"Reed Puc","doi":"10.16995/cg.8887","DOIUrl":"https://doi.org/10.16995/cg.8887","url":null,"abstract":"This article is a review of Key Terms in Comics Studies, edited by Erin La Cour, Simon Grennan, and Rik Spanjers (Palgrave 2022). This volume covers a broad array of disciplines and terminology utilized in comics studies, with the aim of creating new connections in the field between its varied disciplinary approaches. The review contextualizes the volume within the emerging genre of reference collections and analyses the role and utility of such collections within comics studies and higher education. ","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41929109","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}
Nick Sousanis is the author of Unflattening, one of the first doctoral dissertations to be drawn as a comic, and subsequently published by Harvard University Press in 2015. Unflattening has arguably inspired a generation of dissertations that use comics as a medium, including my own "Drawing Unbelonging." In this interview, I talked to Nick about comics as scholarship, using visual metaphors, illustrative versus generative images, and what to read when struck by the dreaded creator’s block.
{"title":"On Graphic Scholarship: A Conversation with Nick Sousanis","authors":"Kay Sohini","doi":"10.16995/cg.8773","DOIUrl":"https://doi.org/10.16995/cg.8773","url":null,"abstract":"Nick Sousanis is the author of Unflattening, one of the first doctoral dissertations to be drawn as a comic, and subsequently published by Harvard University Press in 2015. Unflattening has arguably inspired a generation of dissertations that use comics as a medium, including my own \"Drawing Unbelonging.\" In this interview, I talked to Nick about comics as scholarship, using visual metaphors, illustrative versus generative images, and what to read when struck by the dreaded creator’s block.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44395296","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 presents the outcome of a semi-structured interview with Australian writer and illustrator Megan Herbert. Conducted online, the conversation revolved around Herbert's cartooning work published online during 2020 and 2021. The annotated transcription offers insights into process, personal and professional issues in freelance cartooning, and the challenges and opportunities of cartoon publishing on social media. This article offers qualitative data that can be useful for researchers interested in the history, techniques, and current developments of cartooning, and for cartoonists interested in the experience of fellow professionals during pandemic times.
{"title":"Cartooning with Compassion: A Conversation with Megan Herbert","authors":"Ernesto Priego","doi":"10.16995/cg.8705","DOIUrl":"https://doi.org/10.16995/cg.8705","url":null,"abstract":"This article presents the outcome of a semi-structured interview with Australian writer and illustrator Megan Herbert. Conducted online, the conversation revolved around Herbert's cartooning work published online during 2020 and 2021. The annotated transcription offers insights into process, personal and professional issues in freelance cartooning, and the challenges and opportunities of cartoon publishing on social media. This article offers qualitative data that can be useful for researchers interested in the history, techniques, and current developments of cartooning, and for cartoonists interested in the experience of fellow professionals during pandemic times.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44053416","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 Canada, healthcare and medicine are grounded in structures of coloniality, oppression, heteropatriarchy and a variety of “-isms” (racism, sexism, ableism, classism). [1,2,3] Consequently, it is little wonder that deep-rooted, enduring health disparities exist for many different groups across Canada. The COVID-19 pandemic has only served to exacerbate these disparities. Clearly, something needs to change in healthcare delivery and education. Comics are an ideal medium to document this moment, as well as catalyze change, for many reasons.Graphic Medicine – the creation and study of comics in healthcare contexts – can be used to explore the current discourses and cultures of healthcare and bring diverse perspectives into dialogue together. Comics are also inherently disruptive. They challenge what is considered acceptable as discourse, and therefore knowledge, within medicine. They are also accessible to anyone with a writing tool, surface, and an idea to share. In this way, comics help democratize communication and give oft-ignored voices the ability to help shape medical discourse. Additionally, the diversity of forms and features used in comics creation [4] directly relates to and enhances the diversity of voices, perspectives and lived experiences expressed in comics. Graphic Medicine can be a tool to advocate for health equity across populations.
{"title":"A Map of the Current Cultural Climate in Medicine and Healthcare, and How We Can Change It","authors":"S. Rani","doi":"10.16995/cg.8232","DOIUrl":"https://doi.org/10.16995/cg.8232","url":null,"abstract":"In Canada, healthcare and medicine are grounded in structures of coloniality, oppression, heteropatriarchy and a variety of “-isms” (racism, sexism, ableism, classism). [1,2,3] Consequently, it is little wonder that deep-rooted, enduring health disparities exist for many different groups across Canada. The COVID-19 pandemic has only served to exacerbate these disparities. Clearly, something needs to change in healthcare delivery and education. Comics are an ideal medium to document this moment, as well as catalyze change, for many reasons.Graphic Medicine – the creation and study of comics in healthcare contexts – can be used to explore the current discourses and cultures of healthcare and bring diverse perspectives into dialogue together. Comics are also inherently disruptive. They challenge what is considered acceptable as discourse, and therefore knowledge, within medicine. They are also accessible to anyone with a writing tool, surface, and an idea to share. In this way, comics help democratize communication and give oft-ignored voices the ability to help shape medical discourse. Additionally, the diversity of forms and features used in comics creation [4] directly relates to and enhances the diversity of voices, perspectives and lived experiences expressed in comics. Graphic Medicine can be a tool to advocate for health equity across populations.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48946742","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 editorial discusses the articles published and the activities undertaken by The Comics Grid: Journal of Comics Scholarship during 2021, and calls for research system-wide cultural changes and wider contextual awareness in order to make scholarly communication fairer and up to the challenges of our time.
{"title":"Of Time, Renewal, and Scholarship: Volume 11 (2021) Wrapped","authors":"Ernesto Priego, J. D’Arcy, Kay Sohini, P. Wilkins","doi":"10.16995/cg.8353","DOIUrl":"https://doi.org/10.16995/cg.8353","url":null,"abstract":"This editorial discusses the articles published and the activities undertaken by The Comics Grid: Journal of Comics Scholarship during 2021, and calls for research system-wide cultural changes and wider contextual awareness in order to make scholarly communication fairer and up to the challenges of our time.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48971801","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}
The University of Luxembourg launched a series of science comics called “LUX:plorations”. This collection of eight stories about science and research in Luxembourg is available in four different languages. Produced in collaboration between local scientists and artists, this science communication project serves as a proof of concept for multi-lingual and collaborative comic productions. The comic is available for free in the form of hard copies as well as in several digital formats online under a Creative Commons licence. This article introduces the concept behind LUX:plorations via an interview with two members of the organization team, namely Serge Haan and Jessica Burton. It gives insights into the production and translation process as well as the distribution of the comic.
{"title":"Short Science Comics for a Broad Audience - An Interview with Jessica Burton and Serge Haan from LUX:plorations","authors":"Nicole Paschek, Jessica Burton, Serge Haan","doi":"10.16995/cg.6369","DOIUrl":"https://doi.org/10.16995/cg.6369","url":null,"abstract":"The University of Luxembourg launched a series of science comics called “LUX:plorations”. This collection of eight stories about science and research in Luxembourg is available in four different languages. Produced in collaboration between local scientists and artists, this science communication project serves as a proof of concept for multi-lingual and collaborative comic productions. The comic is available for free in the form of hard copies as well as in several digital formats online under a Creative Commons licence. This article introduces the concept behind LUX:plorations via an interview with two members of the organization team, namely Serge Haan and Jessica Burton. It gives insights into the production and translation process as well as the distribution of the comic.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45261877","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 note explores how experiences of people with dwarfism are explored in the graphic narrative Alisa’s Tale (A short story) by Al Davison. The purpose of Alisa’s tale is for young people to emphasise the lived experiences of people with dwarfism. This demonstrates how the graphic narrative uses imagery to convey the everyday social and spatial encounters experienced by people with dwarfism and subsequently Alisa’s experiences of psycho-emotional disablism. Unlike conventional forms of awareness raising, the graphic narrative forces the reader to stare at the dwarf body and witness the common reactions towards it through multimodal forms of representations. Graphic narratives provide expressive possibilities for vivid meaning-making through multimodal forms of representations (Garland-Thomson, 2016). Unlike conventional stories, the use of graphics within Alisa’s tale aids in situating the reader within Alisa’s perspective. This helps to demonstrate the world seen through the gaze of a young woman with dwarfism and position the average sized person as problematic. In the narrative, the average sized people who react negatively towards Alisa are depicted as monsters. According to Garland-Thomson (2016), the most distinct representational opportunity comics offer is hyperbole. Presenting average sized people as monsters helps to situate them as villains. How the narrative uses imagery to construct other people, who react negatively to Alisa’s presence, as monsters do two things. Firstly, as a reader with dwarfism, I can relate to the story. For average sized readers, it helps them to question their ableist beliefs and reactions towards people with dwarfism. According to Foss, Gray and Whalen (2016), graphic narratives offer the unique potential for transforming our understanding of disability in truly profound ways. This note will demonstrate how graphic narratives are beneficial in raising awareness about dwarfism.
{"title":"The intersection of dwarfism and gender in Alisa’s tale: Raising awareness through graphic narratives.","authors":"Erin Pritchard","doi":"10.16995/cg.6484","DOIUrl":"https://doi.org/10.16995/cg.6484","url":null,"abstract":"This note explores how experiences of people with dwarfism are explored in the graphic narrative Alisa’s Tale (A short story) by Al Davison. The purpose of Alisa’s tale is for young people to emphasise the lived experiences of people with dwarfism. This demonstrates how the graphic narrative uses imagery to convey the everyday social and spatial encounters experienced by people with dwarfism and subsequently Alisa’s experiences of psycho-emotional disablism. Unlike conventional forms of awareness raising, the graphic narrative forces the reader to stare at the dwarf body and witness the common reactions towards it through multimodal forms of representations. Graphic narratives provide expressive possibilities for vivid meaning-making through multimodal forms of representations (Garland-Thomson, 2016). Unlike conventional stories, the use of graphics within Alisa’s tale aids in situating the reader within Alisa’s perspective. This helps to demonstrate the world seen through the gaze of a young woman with dwarfism and position the average sized person as problematic. In the narrative, the average sized people who react negatively towards Alisa are depicted as monsters. According to Garland-Thomson (2016), the most distinct representational opportunity comics offer is hyperbole. Presenting average sized people as monsters helps to situate them as villains. How the narrative uses imagery to construct other people, who react negatively to Alisa’s presence, as monsters do two things. Firstly, as a reader with dwarfism, I can relate to the story. For average sized readers, it helps them to question their ableist beliefs and reactions towards people with dwarfism. According to Foss, Gray and Whalen (2016), graphic narratives offer the unique potential for transforming our understanding of disability in truly profound ways. This note will demonstrate how graphic narratives are beneficial in raising awareness about dwarfism. ","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44663922","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}
Note: this commentary is intended for the special issue, "Comics in and of The Moment." Abstract: This essay discusses the ways in which print and web comics are used to represent the lived experiences of mental illness. Beginning with a brief overview of mental health-focused comic strips and graphic memoirs and turning to a discussion of the mental illness comics of Instagram, the article outlines how comics are being used as platforms for self- and collective care. Instead of prioritizing a visual/discourse analysis of each web comic, this piece focuses on the comment threads of each Instagram post and examines the conversations which develop amongst users. By doing so, this essay begins a critical discussion of the ways in which comics may be used as mental health resources. While grounded in a discussion of Covid-19-related increases to mental illness symptoms, this piece is also interested in how comics may be used as therapeutic supports in a post-pandemic world.
{"title":"Graphic Communities: Comics as Visual and Virtual Resources for Self- and Collective Care","authors":"Amy Mazowita","doi":"10.16995/cg.6493","DOIUrl":"https://doi.org/10.16995/cg.6493","url":null,"abstract":"Note: this commentary is intended for the special issue, \"Comics in and of The Moment.\" Abstract: This essay discusses the ways in which print and web comics are used to represent the lived experiences of mental illness. Beginning with a brief overview of mental health-focused comic strips and graphic memoirs and turning to a discussion of the mental illness comics of Instagram, the article outlines how comics are being used as platforms for self- and collective care. Instead of prioritizing a visual/discourse analysis of each web comic, this piece focuses on the comment threads of each Instagram post and examines the conversations which develop amongst users. By doing so, this essay begins a critical discussion of the ways in which comics may be used as mental health resources. While grounded in a discussion of Covid-19-related increases to mental illness symptoms, this piece is also interested in how comics may be used as therapeutic supports in a post-pandemic world.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48174006","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 autobiographical graphic essay details my experience with the hardships I facedduring Covid as a comics studies scholar who moved across the country to starttheir Ph.D. in history. It highlights the importance of comic-making incombating present-day isolation and hardship and in aiding in trauma recovery. Covid and quarantine continued to bring with them and compound new, tragedy-specific traumas that left me desperately seeking ways to cope. During the first year ofmy Ph.D. I experienced a miscarriage, my step-grandfather passed away due to Covid, and, at the start of my second semester, I was sexually assaulted,resulting in a physical injury that has yet to heal. The emotional and physicaltrauma resulting from these incidents put me behind in my coursework. To cope, I engaged in art therapy and started a trauma recovery program. Often, myrecovery has been aided in and expressed through comics I create, which aredigital in format and usually, but not always, take the form of a poetry comic. Creating thesecomics aided in an emotional release by enabling me to create spaces of ‘escape’outside the walls of my one-bedroom apartment. The creative process also helpedme find freedom from the confines of my anguished mind. For instance, shadingthe skin of my attacker and myself allowed me to own the narrative of myassault and regain ownership of my body. Further juxtaposing these images withwords provides a method for me to express the pain and deep isolation that thevarious traumatic incidents incited. By expressing the weight of thesetraumatic incidents both visually and through written text, I am able to properly acknowledge their significance and consequently I have found somerelief and self-consolation in this act. I have also sharedmy experience with the outside world through social media. This act lessened myfeelings of isolation and gave me the support network I so desperately cravedand needed, especially with the comics and comics studies communities. In sharing myexperience, I hope to impart why comics are so important now by showing how thecreative helped me process trauma created and exacerbated by the pandemic.Intro:In January of this year, I was assaulted twice withina four-day period. These two incidents resulted in physical and mental trauma andextreme change in how I view myself, my life, and those around me. These two incidentsweren’t the only traumatic ones had experienced in recent time. I had also experienceda miscarriage, which was made worse by the circumstances of isolation (due tothe pandemic) and abandonment. My step-grandfather passed away from Covid. However,what occurred in January was a sort of catalyst to a personal breakdown. I lostmyself.Being a woman is difficult enough. I always feel as ifI am battling with my femininity. There is always some distinct, un-femininestandard by which I must define myself but can never quite reach in order tohave a voice in this patriarchal society. It is hard to love something about
{"title":"Let Me Out of Here: A Story of Using Comics to Heal During the Pandemic","authors":"S. Heifler","doi":"10.16995/cg.6545","DOIUrl":"https://doi.org/10.16995/cg.6545","url":null,"abstract":"This autobiographical graphic essay details my experience with the hardships I facedduring Covid as a comics studies scholar who moved across the country to starttheir Ph.D. in history. It highlights the importance of comic-making incombating present-day isolation and hardship and in aiding in trauma recovery. Covid and quarantine continued to bring with them and compound new, tragedy-specific traumas that left me desperately seeking ways to cope. During the first year ofmy Ph.D. I experienced a miscarriage, my step-grandfather passed away due to Covid, and, at the start of my second semester, I was sexually assaulted,resulting in a physical injury that has yet to heal. The emotional and physicaltrauma resulting from these incidents put me behind in my coursework. To cope, I engaged in art therapy and started a trauma recovery program. Often, myrecovery has been aided in and expressed through comics I create, which aredigital in format and usually, but not always, take the form of a poetry comic. Creating thesecomics aided in an emotional release by enabling me to create spaces of ‘escape’outside the walls of my one-bedroom apartment. The creative process also helpedme find freedom from the confines of my anguished mind. For instance, shadingthe skin of my attacker and myself allowed me to own the narrative of myassault and regain ownership of my body. Further juxtaposing these images withwords provides a method for me to express the pain and deep isolation that thevarious traumatic incidents incited. By expressing the weight of thesetraumatic incidents both visually and through written text, I am able to properly acknowledge their significance and consequently I have found somerelief and self-consolation in this act. I have also sharedmy experience with the outside world through social media. This act lessened myfeelings of isolation and gave me the support network I so desperately cravedand needed, especially with the comics and comics studies communities. In sharing myexperience, I hope to impart why comics are so important now by showing how thecreative helped me process trauma created and exacerbated by the pandemic.Intro:In January of this year, I was assaulted twice withina four-day period. These two incidents resulted in physical and mental trauma andextreme change in how I view myself, my life, and those around me. These two incidentsweren’t the only traumatic ones had experienced in recent time. I had also experienceda miscarriage, which was made worse by the circumstances of isolation (due tothe pandemic) and abandonment. My step-grandfather passed away from Covid. However,what occurred in January was a sort of catalyst to a personal breakdown. I lostmyself.Being a woman is difficult enough. I always feel as ifI am battling with my femininity. There is always some distinct, un-femininestandard by which I must define myself but can never quite reach in order tohave a voice in this patriarchal society. It is hard to love something about","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48389424","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 the global climate crisis escalates, environmental disaster and extreme weather will play a defining role in the lives of many of today’s children, particularly those from impoverished communities and communities of color. However, environmental children’s literature has overwhelmingly failed to educate readers about environmental injustice or equip them with the tools to combat these pressing issues. Rebecca Bratspies and Charlie La Greca’s Mayah’s Lot counters this troubling silence by empowering children to pursue environmental justice. The comic centers on Mayah, a young Black girl who discovers that a corporation plans to transform a vacant lot in her urban neighborhood into a toxic waste storage facility. Mayah joins forces with her neighbors to halt the development, participating in protests, community meetings, and legal action. The comic concludes with the community defeating the corporation and collaborating to turn the lot into public green space. By highlighting the intersections between environmental and racial inequalities, along with showcasing a range of viable community activist strategies, I argue that Mayah’s Lot demonstrates how environmentally-justice oriented comics can empower young readers to participate in environmental advocacy and develop resilience in the face of environmental disruption.
随着全球气候危机的升级，环境灾难和极端天气将在当今许多儿童的生活中发挥决定性作用，特别是那些来自贫困社区和有色人种社区的儿童。然而，环境儿童文学绝大多数未能教育读者了解环境不公，也未能为他们提供解决这些紧迫问题的工具。Rebecca Bratspies和Charlie La Greca的《Mayah’s Lot》通过赋予儿童追求环境正义的权利来对抗这种令人不安的沉默。漫画以年轻的黑人女孩Mayah为中心，她发现一家公司计划将她所在城市社区的一块空地改造成有毒废物储存设施。Mayah与她的邻居联合起来阻止开发，参加抗议活动、社区会议和法律行动。漫画的结尾是社区击败了该公司，并合作将该地块变成了公共绿地。通过强调环境和种族不平等之间的交叉点，以及展示一系列可行的社区活动家策略，我认为《玛雅的地段》展示了以环境正义为导向的漫画如何让年轻读者能够参与环境倡导，并在面对环境破坏时培养韧性。
{"title":"“Earth Girl Won’t Stand For It!”: Representations of Environmental (In)Justice in Mayah’s Lot","authors":"Brianna Anderson","doi":"10.16995/cg.6552","DOIUrl":"https://doi.org/10.16995/cg.6552","url":null,"abstract":"As the global climate crisis escalates, environmental disaster and extreme weather will play a defining role in the lives of many of today’s children, particularly those from impoverished communities and communities of color. However, environmental children’s literature has overwhelmingly failed to educate readers about environmental injustice or equip them with the tools to combat these pressing issues. Rebecca Bratspies and Charlie La Greca’s Mayah’s Lot counters this troubling silence by empowering children to pursue environmental justice. The comic centers on Mayah, a young Black girl who discovers that a corporation plans to transform a vacant lot in her urban neighborhood into a toxic waste storage facility. Mayah joins forces with her neighbors to halt the development, participating in protests, community meetings, and legal action. The comic concludes with the community defeating the corporation and collaborating to turn the lot into public green space. By highlighting the intersections between environmental and racial inequalities, along with showcasing a range of viable community activist strategies, I argue that Mayah’s Lot demonstrates how environmentally-justice oriented comics can empower young readers to participate in environmental advocacy and develop resilience in the face of environmental disruption.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46659543","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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