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Comics, Trauma, and the New Art of War (Hardcover)
Loot Price: R3,170
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Comics, Trauma, and the New Art of War (Hardcover)
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Conflict and trauma remain among the most prevalent themes in film
and literature. Comics has never avoided such narratives, and
comics artists are writing them in waysthat are both different from
and complementary to literature and film. In Comics, Trauma, and
the New Art of War, Harriet E. H. Earle brings together two
distinct areas of research-trauma studies and comics studies-to
provide a new interpretation of a long-standing theme. Focusing on
representations of conflict in post-Vietnam War American comics,
Earle claims that the comics form is uniquely able to show
traumatic experience by representing events as viscerally as
possible. Using texts from across the form and placing mainstream
superhero comics alongside alternative and art comics, Earle
suggests that comics are the ideal artistic representation of
trauma.Because comics bridge the gap between the visual and the
written, they represent such complicated narratives as loss and
trauma in unique ways, particularly through the manipulation of
time and experience. Comics can fold time and confront traumatic
events, be they personal or shared, through a myriad of both
literary andvisual devices. As a result, comics can represent
trauma in ways that are unavailable to other narrative and artistic
forms. With themes such as dreams and mourning, Earle concentrates
on trauma in American comics after the Vietnam War. These works
include Alissa Torres's American Widow, Doug Murray's The'Nam, and
Art Spiegelman's much lauded Maus. These works pair with ideas from
a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin,
and Fredric Jameson, as well as contemporary trauma theory and
clinical psychology. Through these examples and others, Comics,
Trauma, and the New Art of War proves that comics open up new
avenues to explore personal and public trauma in extraordinary,
necessary ways.
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