Sometimes comic book readers randomly encounter images in a comic that closely resemble images in other comics. This artwork could appear to the reader to have been copied, even directly 'lifted' from older or better-known comics. Sometimes, however, it does seem like any similarities have been generated independently, by chance or serendipity. In this note we draw on the work of Umberto Eco, William Lethaby, Walter Benjamin and Carl Jung to describe a multidisciplinary conceptual framework to analyse similar images using a heuristic approach involving two analogy concepts drawn from two different disciplines: linguistics and biology. When the origin of similarity between images is well documented, we propose the linguistic analogy approach can explain the phenomenon of recurrent images. When the similarity between two images appears to be unexplainable, or the result of mere chance, we propose that the concept of biological analogy can be helpful to explain the superficial resemblance of elements that have different origins.@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}@font-face{font-family:Cambria;panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536869121 1107305727 33554432 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin-top:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;line-height:115%;mso-pagination:none;font-size:11.0pt;font-family:"Cambria",serif;mso-fareast-font-family:Cambria;mso-bidi-font-family:Cambria;mso-ansi-language:ES-MX;mso-fareast-language:ES-MX;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:"Cambria",serif;mso-ascii-font-family:Cambria;mso-fareast-font-family:Cambria;mso-hansi-font-family:Cambria;mso-bidi-font-family:Cambria;mso-ansi-language:ES-MX;mso-fareast-language:ES-MX;}.MsoPapDefault{mso-style-type:export-only;margin-bottom:10.0pt;line-height:115%;mso-pagination:none;}div.WordSection1{page:WordSection1;}
{"title":"Searching for a Common Ancestry: Linguistic and Biological Analogies in Comic Art","authors":"Ricardo González-Trujillo, Ernesto Priego","doi":"10.16995/CG.4351","DOIUrl":"https://doi.org/10.16995/CG.4351","url":null,"abstract":"Sometimes comic book readers randomly encounter images in a comic that closely resemble images in other comics. This artwork could appear to the reader to have been copied, even directly 'lifted' from older or better-known comics. Sometimes, however, it does seem like any similarities have been generated independently, by chance or serendipity. In this note we draw on the work of Umberto Eco, William Lethaby, Walter Benjamin and Carl Jung to describe a multidisciplinary conceptual framework to analyse similar images using a heuristic approach involving two analogy concepts drawn from two different disciplines: linguistics and biology. When the origin of similarity between images is well documented, we propose the linguistic analogy approach can explain the phenomenon of recurrent images. When the similarity between two images appears to be unexplainable, or the result of mere chance, we propose that the concept of biological analogy can be helpful to explain the superficial resemblance of elements that have different origins.@font-face{font-family:\"Cambria Math\";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}@font-face{font-family:Cambria;panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536869121 1107305727 33554432 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:\"\";margin-top:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;line-height:115%;mso-pagination:none;font-size:11.0pt;font-family:\"Cambria\",serif;mso-fareast-font-family:Cambria;mso-bidi-font-family:Cambria;mso-ansi-language:ES-MX;mso-fareast-language:ES-MX;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:\"Cambria\",serif;mso-ascii-font-family:Cambria;mso-fareast-font-family:Cambria;mso-hansi-font-family:Cambria;mso-bidi-font-family:Cambria;mso-ansi-language:ES-MX;mso-fareast-language:ES-MX;}.MsoPapDefault{mso-style-type:export-only;margin-bottom:10.0pt;line-height:115%;mso-pagination:none;}div.WordSection1{page:WordSection1;}","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44195541","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 this article, I study the influence of manga on the two main Canadian comics worlds. I show how, for several reasons that I will explain, the Anglo-Canadian comics world has been quite receptive to manga influence, while the French-Canadian one has been much less welcoming. This different degree of influence can be seen in one aspect of the formal structure of comics: the various panel layouts on the page, sometimes called the grid. Mainstream French-Québec BD (BDQ) tends to use a more regular grid than mainstream Anglo-Canadian comics. The latter adopts a more fluid form of the grid, which is also typical of manga style. Using Brenna Clarke Gray’s parallel between territorial border and comics gutter (Gray 2016), I argue how these differences can be seen in some concrete examples from both Canadian linguistic communities. I conclude with the Tamaki cousins’ graphic novels to emphasize how fluidity is a reflection of, and on the Anglo-Canadian comics world, and maybe beyond, which could be seen as a critique of the notion of rigidity in various fields (identity, sexuality, border), as well as a calling for textual, sexual and national fluidities.
{"title":"Beyond the Two Solitudes: Differences in Fluidity in Franco-Canadian BD and Anglo-Canadian Comics Through the Influence of Manga","authors":"C. Reyns-Chikuma","doi":"10.16995/CG.4041","DOIUrl":"https://doi.org/10.16995/CG.4041","url":null,"abstract":"In this article, I study the influence of manga on the two main Canadian comics worlds. I show how, for several reasons that I will explain, the Anglo-Canadian comics world has been quite receptive to manga influence, while the French-Canadian one has been much less welcoming. This different degree of influence can be seen in one aspect of the formal structure of comics: the various panel layouts on the page, sometimes called the grid. Mainstream French-Québec BD (BDQ) tends to use a more regular grid than mainstream Anglo-Canadian comics. The latter adopts a more fluid form of the grid, which is also typical of manga style. Using Brenna Clarke Gray’s parallel between territorial border and comics gutter (Gray 2016), I argue how these differences can be seen in some concrete examples from both Canadian linguistic communities. I conclude with the Tamaki cousins’ graphic novels to emphasize how fluidity is a reflection of, and on the Anglo-Canadian comics world, and maybe beyond, which could be seen as a critique of the notion of rigidity in various fields (identity, sexuality, border), as well as a calling for textual, sexual and national fluidities.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45914140","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}
@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-536859905 -1073697537 9 0 511 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin-top:0cm;margin-right:0cm;margin-bottom:8.0pt;margin-left:0cm;line-height:107%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-ansi-language:DE;mso-fareast-language:EN-US;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-ansi-language:DE;mso-fareast-language:EN-US;}.MsoPapDefault{mso-style-type:export-only;margin-bottom:8.0pt;line-height:107%;}div.WordSection1{page:WordSection1;}This essay analyzes the main narrative strategies used by Australian artist Shaun Tan in his 2006 wordless graphic novel The Arrival. Following a medium-specific narratological approach, which takes into account the characteristics of the comics medium, the article explores the role that frames, gutters, panels, and other constitutive features of comics play in the representation of narrative time. In addition, the essay addresses how focalization is configured in the graphic novel, proposing a medium-specific typology of the different modes of focalization that can be appreciated in The Arrival.
{"title":"How to Tell a Story without Words: Time and Focalization in Shaun Tan’s The Arrival (2006)","authors":"Alessandro Scanu","doi":"10.16995/CG.4043","DOIUrl":"https://doi.org/10.16995/CG.4043","url":null,"abstract":"@font-face{font-family:\"Cambria Math\";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-536859905 -1073697537 9 0 511 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:\"\";margin-top:0cm;margin-right:0cm;margin-bottom:8.0pt;margin-left:0cm;line-height:107%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:\"Calibri\",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:\"Times New Roman\";mso-bidi-theme-font:minor-bidi;mso-ansi-language:DE;mso-fareast-language:EN-US;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:\"Calibri\",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:\"Times New Roman\";mso-bidi-theme-font:minor-bidi;mso-ansi-language:DE;mso-fareast-language:EN-US;}.MsoPapDefault{mso-style-type:export-only;margin-bottom:8.0pt;line-height:107%;}div.WordSection1{page:WordSection1;}This essay analyzes the main narrative strategies used by Australian artist Shaun Tan in his 2006 wordless graphic novel The Arrival. Following a medium-specific narratological approach, which takes into account the characteristics of the comics medium, the article explores the role that frames, gutters, panels, and other constitutive features of comics play in the representation of narrative time. In addition, the essay addresses how focalization is configured in the graphic novel, proposing a medium-specific typology of the different modes of focalization that can be appreciated in The Arrival.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43306911","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}
Written and illustrated entirely by artist Jason Gonzalez, J. Gonzo’s La Mano del Destino (2011-2019; collected edition 2021) is a 6-issue comic book series revolving around the resurgence of its eponymous protagonist, a luchador previously stripped of his mask. La Mano struggles to make his comeback abiding by his own ethos and focusing on reclaiming the place usurped by his antagonists, facing choices and shadows from the past that will make him self-doubt and falter. Playing with symbolism, careful detailing, and defined artistic choices, the Chicano author delves into his own passion for both lucha libre and Silver Age comics; he also tackles matters related with the quest for identity, as well as the imposed subject positions intrinsic to the belonging to a minority group in the United States. Building a fantastic world in which the clash between tecnicos and rudos embodies the conflicts peculiar to modern life, Jason Gonzalez’s vision is markedly personal and hybrid, channeling a powerful Mexican American voice that goes beyond Chicanx paradigms. From a critical discourse analysis standpoint, the article proposes a study of the power relations depicted by Gonzalez, interpreting the comic as an allegory for the struggles of the subordinate subject, both in the Mexican and the Mexican American context.
J. Gonzo的《命运之路》(La Mano del Destino, 2011-2019;《合集》(2021年版)是一个6期漫画系列，围绕着同名主角的复活展开，他是一个曾经被剥下面具的斗牛士。拉马诺努力复出，坚持自己的精神，专注于夺回被对手篡夺的地方，面对过去的选择和阴影，这将使他自我怀疑和动摇。玩弄象征主义、细致的细节和明确的艺术选择，这位墨西哥裔美国作家对自由喜剧和白银时代漫画都充满了热情;他还探讨了与寻求身份认同有关的问题，以及美国少数群体固有的被强加的主体地位。杰森·冈萨雷斯(Jason Gonzalez)构建了一个奇妙的世界，在这个世界里，技术人员和技术人员之间的冲突体现了现代生活中特有的冲突，他的视角明显是个人的、混合的，引导了一种强大的墨西哥裔美国人的声音，超越了墨西哥人的范式。本文从批判话语分析的角度出发，对冈萨雷斯所描绘的权力关系进行了研究，将这部漫画解读为墨西哥和墨西哥裔美国人语境中从属主体斗争的寓言。
{"title":"Discursive (Re)Contruction of Mexican American Identity in J. Gonzo's La Mano del Destino","authors":"A. Marini","doi":"10.16995/CG.211","DOIUrl":"https://doi.org/10.16995/CG.211","url":null,"abstract":"Written and illustrated entirely by artist Jason Gonzalez, J. Gonzo’s La Mano del Destino (2011-2019; collected edition 2021) is a 6-issue comic book series revolving around the resurgence of its eponymous protagonist, a luchador previously stripped of his mask. La Mano struggles to make his comeback abiding by his own ethos and focusing on reclaiming the place usurped by his antagonists, facing choices and shadows from the past that will make him self-doubt and falter. Playing with symbolism, careful detailing, and defined artistic choices, the Chicano author delves into his own passion for both lucha libre and Silver Age comics; he also tackles matters related with the quest for identity, as well as the imposed subject positions intrinsic to the belonging to a minority group in the United States. Building a fantastic world in which the clash between tecnicos and rudos embodies the conflicts peculiar to modern life, Jason Gonzalez’s vision is markedly personal and hybrid, channeling a powerful Mexican American voice that goes beyond Chicanx paradigms. From a critical discourse analysis standpoint, the article proposes a study of the power relations depicted by Gonzalez, interpreting the comic as an allegory for the struggles of the subordinate subject, both in the Mexican and the Mexican American context.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44688813","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 takes as its starting point Renee Nault’s recent adaptation of Margaret Atwood's 1985 novel The Handmaid’s Tale into comics form and asks, how is the handmaid composed? The red cloak and white headdress of the fertility slaves in Atwood’s dystopian novel make manifest Simone de Beauvoir’s famous observation that one is not born but becomes woman. Reading Nault’s text within the framework of Cultural Legal Studies, this article suggests that constructions of gender, including legal constructions of gender, are never simple or unproblematic. As law and comics scholarship suggests, the “cross-discursivity” of the comics form allows us to think about the ways in which knowledge production and representation can be contested and expanded. Reading the figure of the female protester who appears dressed in the handmaid’s uniform in a similar way allows us to see how law seeks to narrowly construe gender, and the multivalent reality it seeks to exclude within its own framing practices.
{"title":"Composing the Handmaid: From Graphic Novel to Protest Icon","authors":"J. Commins","doi":"10.16995/CG.214","DOIUrl":"https://doi.org/10.16995/CG.214","url":null,"abstract":"This article takes as its starting point Renee Nault’s recent adaptation of Margaret Atwood's 1985 novel The Handmaid’s Tale into comics form and asks, how is the handmaid composed? The red cloak and white headdress of the fertility slaves in Atwood’s dystopian novel make manifest Simone de Beauvoir’s famous observation that one is not born but becomes woman. Reading Nault’s text within the framework of Cultural Legal Studies, this article suggests that constructions of gender, including legal constructions of gender, are never simple or unproblematic. As law and comics scholarship suggests, the “cross-discursivity” of the comics form allows us to think about the ways in which knowledge production and representation can be contested and expanded. Reading the figure of the female protester who appears dressed in the handmaid’s uniform in a similar way allows us to see how law seeks to narrowly construe gender, and the multivalent reality it seeks to exclude within its own framing practices. ","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48789677","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 article reflects on the past, present and future of The Comics Grid: Journal of Comics Scholarship. It discusses the challenges overcome so far, and discusses the tenth volume of the journal, corresponding to 2020, “our pandemic year”. The article presents the authors’ vision for the type of comics scholarship they would like to see in future volumes of the journal, calling for greater diversity and inclusion and for work which is ‘media-specific’ in at least three ways: firstly because the field’s focus is comics, in all their multifaceted diversity, complexity and vibrancy; secondly because the study of comics, like many of the studied comics themselves, mostly exist and take place today somewhere in the spectrum of digital environments, and thirdly because comics studies as a field operates within academic institutions and cultures, and therefore plays a role within established hierarchies of knowledge production.
{"title":"Our Pandemic Year: On the Comics Scholarship to Come","authors":"Kathleen Dunley, Ernesto Priego, P. Wilkins","doi":"10.16995/cg.227","DOIUrl":"https://doi.org/10.16995/cg.227","url":null,"abstract":"This editorial article reflects on the past, present and future of The Comics Grid: Journal of Comics Scholarship. It discusses the challenges overcome so far, and discusses the tenth volume of the journal, corresponding to 2020, “our pandemic year”. The article presents the authors’ vision for the type of comics scholarship they would like to see in future volumes of the journal, calling for greater diversity and inclusion and for work which is ‘media-specific’ in at least three ways: firstly because the field’s focus is comics, in all their multifaceted diversity, complexity and vibrancy; secondly because the study of comics, like many of the studied comics themselves, mostly exist and take place today somewhere in the spectrum of digital environments, and thirdly because comics studies as a field operates within academic institutions and cultures, and therefore plays a role within established hierarchies of knowledge production.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41707188","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}
Kate Evans’ 2017 comic Threads: From the Refugee Crisis chronicles her visits to the ‘Jungle’ refugee camp in Calais, where she volunteered with a group of other British nationals to help build shelters and offer general assistance to those in the camp. The comic is bookended with double-page spreads that depict traditional lace making processes. Calais is particularly famous for lace production and it is a trade that has long been the domain of women. In addition, lace is used throughout the comic in the gutters of the pages. Using close textual and visual analysis, this article considers the use of lace throughout the comic. Beginning with a brief history of the fabric itself, it is argued that the use of lace provides a clear socio-political and cultural framework by which we can read the comic, positioning the stories of refugees within representational frameworks governed by white, European artistic and cultural production. Moreover, the lace can be read as a metaphor for the geopolitical interactions which led to the massive displacement of people and, so, the creation of ‘the Jungle’.
凯特·埃文斯（Kate Evans）2017年的漫画《线程：来自难民危机》（Threads:From the Refugee Crisis）记录了她对加莱“丛林”难民营的访问，在那里，她与一群其他英国国民一起志愿帮助建造避难所，并为难民营中的人提供一般援助。这部漫画的书尾有两页跨页，描绘了传统的蕾丝制作过程。加莱以生产蕾丝而闻名，这一行业长期以来一直是女性的领域。此外，在漫画中，花边被用在书页的排水沟里。通过仔细的文本和视觉分析，本文考虑了蕾丝在整个漫画中的使用。从织物本身的简史开始，有人认为蕾丝的使用提供了一个明确的社会政治和文化框架，我们可以通过这个框架来阅读漫画，将难民的故事定位在白人、欧洲艺术和文化生产的代表性框架内。此外，蕾丝可以被解读为地缘政治互动的隐喻，地缘政治互动导致了人们的大规模流离失所，从而创造了“丛林”。
{"title":"The Politics of Lace in Kate Evans’ Threads: From the Refugee Crisis (2017)","authors":"H. Earle","doi":"10.16995/cg.215","DOIUrl":"https://doi.org/10.16995/cg.215","url":null,"abstract":"Kate Evans’ 2017 comic Threads: From the Refugee Crisis chronicles her visits to the ‘Jungle’ refugee camp in Calais, where she volunteered with a group of other British nationals to help build shelters and offer general assistance to those in the camp. The comic is bookended with double-page spreads that depict traditional lace making processes. Calais is particularly famous for lace production and it is a trade that has long been the domain of women. In addition, lace is used throughout the comic in the gutters of the pages. Using close textual and visual analysis, this article considers the use of lace throughout the comic. Beginning with a brief history of the fabric itself, it is argued that the use of lace provides a clear socio-political and cultural framework by which we can read the comic, positioning the stories of refugees within representational frameworks governed by white, European artistic and cultural production. Moreover, the lace can be read as a metaphor for the geopolitical interactions which led to the massive displacement of people and, so, the creation of ‘the Jungle’.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43797879","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 troubles the definitive boundaries between text and paratext, and questions the distinctions made between adaptations and transmedial texts. It conceives of a point of view in which it is possible to experience texts such as Fun Home as a series of distinct, separate texts and (para)texts, while simultaneously comprehending them as a complete, transmedial whole. This point of view is then used to examine the ways in which Fun Home interrogates and uses concepts of high and low culture, and ultimately its role in the negotiation of dominant culture. It brings together theory from adaptation and transmedia studies with theatre and performance studies to begin to theorise the complexities of intertextual connections made by the reader/viewer/spectator of the transmedial text, particularly those aspects of text made available at least in part via new media.
{"title":"Troubling Boundaries and Negotiating Dominant Culture: Fun Home as a Transmedial Text","authors":"J. D’Arcy","doi":"10.16995/cg.146","DOIUrl":"https://doi.org/10.16995/cg.146","url":null,"abstract":"This article troubles the definitive boundaries between text and paratext, and questions the distinctions made between adaptations and transmedial texts. It conceives of a point of view in which it is possible to experience texts such as Fun Home as a series of distinct, separate texts and (para)texts, while simultaneously comprehending them as a complete, transmedial whole. This point of view is then used to examine the ways in which Fun Home interrogates and uses concepts of high and low culture, and ultimately its role in the negotiation of dominant culture. It brings together theory from adaptation and transmedia studies with theatre and performance studies to begin to theorise the complexities of intertextual connections made by the reader/viewer/spectator of the transmedial text, particularly those aspects of text made available at least in part via new media.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44682415","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 a commentary on The Citi exhibition Manga (British Museum, 23 May–26 August 2019) from the point of view of a Southeast Asian who is a fan of manga and Japanese culture, but whose family history, like many in the region, was shaped by the outcome of World War 2. By considering the historical context and themes behind some key works, the article concludes that the exhibition succeeded in presenting manga and anime as the intermediary over which common values and sentiments can be shared by all, despite past grievances and political differences.
{"title":"The Citi Exhibition Manga マンガ (British Museum, 2019)","authors":"Salina Christmas","doi":"10.16995/CG.181","DOIUrl":"https://doi.org/10.16995/CG.181","url":null,"abstract":"This article presents a commentary on The Citi exhibition Manga (British Museum, 23 May–26 August 2019) from the point of view of a Southeast Asian who is a fan of manga and Japanese culture, but whose family history, like many in the region, was shaped by the outcome of World War 2. By considering the historical context and themes behind some key works, the article concludes that the exhibition succeeded in presenting manga and anime as the intermediary over which common values and sentiments can be shared by all, despite past grievances and political differences.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46009314","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}
Autobiographical comics have a more conflicted relationship with the truth than explicitly fictional work, due in part to the constraint to fidelity but complicated further by producer-orientated methods of authentication. Every graphic work has a unique expressive style, a transformation through eye and hand which foregrounds the artist’s vision, underscoring the process of mediation and subjectivity in interpretation. The structural and visual modality of the comic-book form does not allow for a representational facsimile of the world, involving as it does elements of story compression, visual abstraction and duality in the rendering of text and image. This paper will focus on current doctoral research investigating the graphic memoir, in particular; the authenticating role of the comic-book practitioner in regard to the representation and memorialization of the past and the indexical reference to real-world events and locations. This line of enquiry will be explored via current studio-based practice involving the initial preparation and treatment of a graphic adaptation of Pilgrimage from Nenthead, a working-class memoir written by Chester Armstrong (published by Methuen in 1938).
{"title":"The Practice of Authentication: Adapting Pilgrimage from Nenthead into a Graphic Memoir","authors":"Nick Dodds","doi":"10.16995/CG.154","DOIUrl":"https://doi.org/10.16995/CG.154","url":null,"abstract":"Autobiographical comics have a more conflicted relationship with the truth than explicitly fictional work, due in part to the constraint to fidelity but complicated further by producer-orientated methods of authentication. Every graphic work has a unique expressive style, a transformation through eye and hand which foregrounds the artist’s vision, underscoring the process of mediation and subjectivity in interpretation. The structural and visual modality of the comic-book form does not allow for a representational facsimile of the world, involving as it does elements of story compression, visual abstraction and duality in the rendering of text and image. This paper will focus on current doctoral research investigating the graphic memoir, in particular; the authenticating role of the comic-book practitioner in regard to the representation and memorialization of the past and the indexical reference to real-world events and locations. This line of enquiry will be explored via current studio-based practice involving the initial preparation and treatment of a graphic adaptation of Pilgrimage from Nenthead, a working-class memoir written by Chester Armstrong (published by Methuen in 1938).","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43370825","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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