1,720,969 research outputs found
Migrant and Radical:Political Migrant Theatre and Activism in <i>Migrations: Harbour Europe</i>
No full textDrawing on the recent UK-based theatre project Migrations: Harbour Europe, the chapter examines migrant theatre initiatives that practice resistance, political responsiveness and solidarity while resisting established narratives and fostering new aesthetics of migration and refugeedom. Migrations: Harbour Europe project was developed by the migrant theatre collective Legal Aliens Theatre in collaboration with Migrant Dramaturgies Network. Musca argues that Migrations: Harbour Europe functions as a site for public discourse, positioning migrant identities and experiences firmly in the socio-political realm and advocating a rethinking of contemporary societies as migration societies in which asylum-seeking and refugeedom are structural issues rather than temporary ‘crises’
Swedish Feminist Manga and Critical Comics Pedagogy in Natalia Batista’s Sword Princess Amaltea [Elektronisk resurs]
No full textThis article considers the Swedish feminist manga Sword Princess Amaltea and its pedagogical paratexts. Originally released in three parts from 2013 to 2015, Sword Princess Amaltea was written and drawn by the Swedish comics artist Natalia Batista, and has been translated and published in several languages, including English and German. Batista’s manga draws inspiration from both Japanese shôjo or girls’ manga and Nordic feminist literature. In this article I show how Batista cleverly makes use of manga’s visual conventions to challenge conventional representations of gender, sexuality, and the gaze. As a manga aimed at least in part at younger readers in school contexts, Sword Princess Amaltea and its accompanying instructional materials raise questions of genre and visual literacy in the language and literature classroom. Calling attention to the transnational circulation of manga and its genres, I analyze Sword Princess Amaltea with its paratexts in order to demonstrate the potential for a queer and feminist comics pedagogy.</p
Comics Anthropocenes: visualizing multiple space-times in Anglophone speculative comics
No full textComics and graphic novels have not typically been foregrounded in accounts of Anthropocene fictions. This article argues that speculative comics are particularly suited to visualizing the Anthropocene through their verbal-visual strategies for representing multiple scales of space and time. Defined as the era in which human-driven processes have become detectable in the Earth’s geological record, the concept of the Anthropocene has also been challenged by postcolonial and Indigenous theorists for presuming an undifferentiated humanity responsible for ecological crises. Speculative comics offer strategies for representing multiple scales of space and time that call into question the ‘human’ as a geological force. While autobiographical and documentary comics represent the scale of individual human experience, speculative comics feature nonhuman spaces and times on multiple, asynchronous scales. This article first contextualizes the representation of space and time in speculative Anglophone comics from early superhero comics to the contemporary period, then focusing on three case studies drawn from contemporary Anglophone comics: Grant Morrison and Chris Burnham’s Nameless (2015), Warren Ellis and Jason Howard’s Trees (2014–2016, 2020), and Ram V and Filipe Andrade’s The Many Deaths of Laila Starr (2021).</p
Introduction. Feminist Comics in the Nordic Region – Queer, Humour and the Body
No full textThis special issue of European Comic Art presents articles on the diversity of contemporary feminist comics in the Nordic region. The Nordic countries have seen an explosion in feminist comics and graphic novels since the first decade of the twenty-first century. In Sweden, feminist comics have become commercial successes, winning prestigious prizes, and appearing in exhibitions, Instagram, and other social media. Recently, a new generation of artists has entered the scene with a renewed focus on queer and intersectional issues. This special issue directs attention to feminist comic art throughout the Nordic region—with representation from Denmark, Finland, Norway, and Sweden—by established creators as well as emerging voices. The history of feminist comics can be traced back to the social movements of the 1970s, but the energy and creativity of contemporary feminist comics is new, reflecting both international trends and conditions specific to the region and to each national context.</p
World Expositions of Paris (1889 and 1900) and Chicago (1893 and 1933)
No full textThe world expositions were monumental, public spectacles originating in the industrial fairs of early-nineteenth-century France and culminating in the Expositions Universelles of Paris (1889 and 1900) and the World’s Columbian Exposition (1893) and Century of Progress International Exposition (1933) of Chicago. The Great Exhibition of 1851 in London was among the first of the nineteenth-century industrial exhibitions featuring monumental exposition architecture with its cast-iron and glass Crystal Palace designed by Joseph Paxton (1803–1865). For cultural observers of the time as well as later critics, the Crystal Palace and later expositions – particularly the fin de siècle expositions held in Paris (1889 and 1900) and Chicago (1893) – exemplified the culture of mass consumption that had its origins in the bourgeois society of the nineteenth century. In The Arcades Project, Walter Benjamin (1892–1940) described the world expositions as ‘places of pilgrimage to the commodity fetish’ (7) in which workers were transformed into consumers through the mediation of iron and glass architecture. The American expositions of the 1930s intensified the massive displays of utopian expectation and technological progress on offer at the fairs with their exhibits of ‘dream cars’ and ‘houses of tomorrow’, monuments to Consumerism as well as science fiction visions of the future.</p
On Petrochemical Fantasies: The Art and Energy of American Comics
Full text linkPetrochecmical Fantasies: The Art and Energy of American Comics by Daniel Worden. The Ohio State University Press: Columbus, 2024. Pp. 171. $34.95 cloth
Liv Strömquist's <em>Fruit of Knowledge</em> and the Gender of Comics
No full textThe recent boom in feminist comics by Swedish artists has produced a body of work that has only recently come to the attention of English-language readers. This article focuses on the comics of Liv Strömquist, specifically Fruit of Knowledge: The Vulva vs. The Patriarchy (2018), the first of her booklength works to be published in English translation. Strömquist’s text is situated in the broader context of feminist comics, particularly the work of Julie Doucet. Drawing on Swedish sources including reviews, interviews and comics scholarship, the article examines how Strömquist uses the comics medium to challenge and re-signify dominant representations of gender, sexuality and the body.</p
Swedish Norm-Critical Comics and the Comics Pedagogy of Lynda Barry
No full textThis article considers the parallel developments of feminist comics and norm-critical pedagogy in Sweden in order to explore comics as a medium for questioning norms of representation, in part by way of the influence of Lynda Barry’s comics pedagogy on Swedish comics publications and comics curricula. Barry’s pedagogical works are inspired by the spontaneous drawing exercises of Ivan Brunetti and rooted in her theory of the image as an embodied, living experience. In dialogue with Barry’s comics pedagogy, the article shows how a number of contemporary Swedish graphic novels by Freja Erixån, Ester Eriksson and Lisa Ewald lend themselves to norm-critical approaches that challenge conventional representations of gender and identity through an aesthetics of play and surprise. Rather than mainstreaming or institutionalizing norm-critique, contemporary Swedish feminist comics actively involve the reader in a dialogic process of challenging and reimagining dominant norms.</p
Family Journeys: Refugee Histories in Vietnamese American Graphic Memoirs
No full textThis chapter examines how the graphic memoir has been used for refugee memory and the telling of refugee histories with a focus on two works by Vietnamese American comics artists: G.B. Tran’s Vietnamerica: A Family’s Journey (2010) and Thi Bui’s The Best We Could Do (2017). The form of the graphic memoir is put to use in the representation of individual and collective memories of the Vietnam War and Vietnamese American refugee migration to the United States. Materializing the persona of the artist-storyteller on the page through sequential narration and the juxtaposition of words and images, these texts employ the resources of the graphic memoir as a genre of life writing to document refugee histories in opposition to dominant representations.</p
Refugee Genres : Essays on the Culture of Flight and Refuge
No full textThis volume brings together research on the forms, genres, media and histories of refugee migration. Chapters come from a range of disciplines and interdisciplinary approaches, including literature, film studies, performance studies and postcolonial studies. The goal is to bring together chapters that use the perspectives of the arts and humanities to study representations of refugee migration. The chapters of the anthology are organized around specific forms and genres: life-writing and memoir, the graphic novel, theater and music, film and documentary, coming-of-age stories, street literature, and the literary novel. </p
- …
