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Books > Arts & Architecture > Industrial / commercial art & design > Illustration & commercial art > Comic book & cartoon art
Contributions by Michelle Ann Abate, Leah Anderst, Alissa S.
Bourbonnais, Tyler Bradway, Natalja Chestopalova, Margaret Galvan,
Judith Kegan Gardiner, Katie Hogan, Jonathan M. Hollister, Yetta
Howard, Katherine Kelp-Stebbins, Don L. Latham, Vanessa Lauber,
Katherine Parker-Hay, Anne N. Thalheimer, Janine Utell, and Susan
R. Van Dyne. Alison Bechdel is both a driver and beneficiary of the
welcoming of comics into the mainstream. Indeed, the seemingly
simple binary of outside/inside seems perpetually troubled
throughout the career of this important comics artist, known for
Fun Home, Are You My Mother?, and Dykes to Watch Out For. This
volume extends the body of scholarship on her work from a range of
interdisciplinary perspectives. In a definitive collection of
original essays, scholars cover the span of Bechdel's career,
placing her groundbreaking early work within the context of her
more well-known recent projects. The Contributors provide new
insights on major themes in Bechdel's work, such as gender
performativity, masculinity, lesbian politics and representation,
trauma, life writing, and queer theory. Situating Bechdel among
other comics artists, this book charts possible influences on her
work, probes the experimental traits of her comics in their
representations of kinship and trauma, combs archival materials to
gain insight into Bechdel's creative process, and analyzes her work
in community building and space making through the comics form.
Ultimately, the volume shows that Bechdel's work consists of
performing a Series of selves-serializing the self, as it were-each
constructed and refracted across and within her chosen artistic
modes and genres.
Superhero comics reckon with issues of corporeal control. And while
they commonly deal in characters of exceptional or superhuman
ability, they have also shown an increasing attention and
sensitivity to diverse forms of disability, both physical and
cognitive. The essays in this collection reveal how the superhero
genre, in fusing fantasy with realism, provides a visual forum for
engaging with issues of disability and intersectional identity
(race, ethnicity, class, gender, and sexuality) and helps to
imagine different ways of being in the world. Working from the
premise that the theoretical mode of the uncanny, with its interest
in what is simultaneously known and unknown, ordinary and
extraordinary, opens new ways to think about categories and markers
of identity, Uncanny Bodies explores how continuums of ability in
superhero comics can reflect, resist, or reevaluate broader
cultural conceptions about disability. The chapters focus on
lesser-known characters-such as Echo, Omega the Unknown, and the
Silver Scorpion-as well as the famous Barbara Gordon and the
protagonist of the acclaimed series Hawkeye, whose superheroic
uncanniness provides a counterpoint to constructs of normalcy.
Several essays explore how superhero comics can provide a
vocabulary and discourse for conceptualizing disability more
broadly. Thoughtful and challenging, this eye-opening examination
of superhero comics breaks new ground in disability studies and
scholarship in popular culture. In addition to the editors, the
contributors are Sarah Bowden, Charlie Christie, Sarah Gibbons,
Andrew Godfrey-Meers, Marit Hanson, Charles Hatfield, Naja Later,
Lauren O'Connor, Daniel J. O'Rourke, Daniel Pinti, Lauranne
Poharec, and Deleasa Randall-Griffiths.
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