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Despite the boom in scholarship in both Comics Studies and Memory
Studies, the two fields rarely interact-especially with issues
beyond the representation of traumatic and autobiographical
memories in comics. With a focus on the roles played by styles and
archives-in their physical and metaphorical manifestations-this
edited volume offers an original intervention, highlighting several
novel ways of thinking about comics and memory as comics memory.
Bringing together scholars as well as cultural actors, the
contributions combine studies on European and North American comics
and offer a representative overview of the main comics genres and
forms, including superheroes, Westerns, newspaper comics, diary
comics, comics reportage and alternative comics. In considering the
many manifestations of memory in comics as well as the functioning
and influence of institutions, public and private practices, the
book exemplifies new possibilities for understanding the complex
entanglements of memory and comics.
Despite the boom in scholarship in both Comics Studies and Memory
Studies, the two fields rarely interact-especially with issues
beyond the representation of traumatic and autobiographical
memories in comics. With a focus on the roles played by styles and
archives-in their physical and metaphorical manifestations-this
edited volume offers an original intervention, highlighting several
novel ways of thinking about comics and memory as comics memory.
Bringing together scholars as well as cultural actors, the
contributions combine studies on European and North American comics
and offer a representative overview of the main comics genres and
forms, including superheroes, Westerns, newspaper comics, diary
comics, comics reportage and alternative comics. In considering the
many manifestations of memory in comics as well as the functioning
and influence of institutions, public and private practices, the
book exemplifies new possibilities for understanding the complex
entanglements of memory and comics.
The Cambridge Companion to Comics presents comics as a
multifaceted prism, generating productive and insightful dialogues
with the most salient issues concerning the humanities at
large. This volume provides readers with the histories and
theories necessary for studying comics. It consists of three
sections: Forms maps the most significant comics forms,
including material formats and
techniques. Readings brings together a selection of
tools to equip readers with a critical understanding of comics.
Uses examines the roles accorded to comics in museums,
galleries, and education. Chapters explore comics through several
key aspects, including drawing, serialities, adaptation, transmedia
storytelling, issues of stereotyping and representation, and the
lives of comics in institutional and social settings. This
volume emphasizes the relationship between comics and other media
and modes of expression. It offers close readings of vital works,
covering more than a century of comics production and extending
across visual, literary and cultural disciplines.
Providing an overview of the dynamic field of comics and graphic
novels for students and researchers, this Essential Guide
contextualises the major research trends, debates and ideas that
have emerged in Comics Studies over the past decades.
Interdisciplinary and international in its scope, the critical
approaches on offer spread across a wide range of strands, from the
formal and the ideological to the historical, literary and
cultural. Its concise chapters provide accessible introductions to
comics methodologies, comics histories and cultures across the
world, high-profile creators and titles, insights from audience and
fan studies, and important themes and genres, such as autobiography
and superheroes. It also surveys the alternative and small press
alongside general reference works and textbooks on comics. Each
chapter is complemented by list of key reference works.
Fans and scholars have long regarded the 1980s as a significant
turning point in the history of comics in the United States, but
most critical discussions of the period still focus on books from
prominent creators such as Frank Miller, Alan Moore, and Art
Spiegelman, eclipsing the work of others who also played a key role
in shaping comics as we know them today. The Other 1980s: Reframing
Comics' Crucial Decade offers a more complicated and multivalent
picture of this robust era of ambitious comics publishing. The
twenty essays in The Other 1980s illuminate many works hailed as
innovative in their day that have nonetheless fallen from critical
view, partly because they challenge the contours of conventional
comics studies scholarship: open-ended serials that eschew the
graphic-novel format beloved by literature departments; sprawling
superhero narratives with no connection to corporate universes;
offbeat and abandoned experiments by major publishers, including
Marvel and DC; idiosyncratic and experimental independent comics;
unusual genre exercises filtered through deeply personal
sensibilities; and oft-neglected offshoots of the classic
""underground"" comics movement of the 1960s and 1970s. The
collection also offers original examinations of the ways in which
the fans and critics of the day engaged with creators and
publishers, establishing the groundwork for much of the
contemporary critical and academic discourse on comics. By
uncovering creators and works long ignored by scholars, The Other
1980s revises standard histories of this major period and offers a
more nuanced understanding of the context from which the iconic
comics of the 1980s emerged.
Never before have comics seemed so popular or diversified,
proliferating across a broad spectrum of genres, experimenting with
a variety of techniques, and gaining recognition as a legitimate,
rich form of art. Maaheen Ahmed examines this trend by taking up
philosopher Umberto Eco's notion of the open work of art, whereby
the reader-or listener or viewer, as the case may be-is offered
several possibilities of interpretation in a cohesive narrative and
aesthetic structure. Ahmed delineates the visual, literary, and
other medium-specific features used by comics to form open rather
than closed works, methods by which comics generate or limit
meaning as well as increase and structure the scope of reading into
a work. Ahmed analyzes a diverse group of British, American, and
European (Franco-Belgian, German, Finnish) comics. She treats
examples from the key genre categories of fictionalized memoirs and
biographies, adventure and superhero, noir, black comedy and crime,
science fiction and fantasy. Her analyses demonstrate the ways in
which comics generate openness by concentrating on the gaps
essential to the very medium of comics, the range of meaning
ensconced within words and images as well as their interaction with
each other. The analyzed comics, extending from famous to lesser
known works, include Will Eisner's The Contract with God Trilogy,
Jacques Tardi's It Was the War of the Trenches, Hugo Pratt's The
Ballad of the Salty Sea, Edmond Baudoin's The Voyage, Grant
Morrison and Dave McKean's Arkham Asylum, Neil Gaiman's Sandman
series, Alan Moore and Eddie Campbell's From Hell, Moebius's
Arzach, Yslaire's Cloud 99 series, and Jarmo Makila's Taxi Ride to
Van Gogh's Ear.
Monsters seem inevitably linked to humans and not always as mere
opposites. Maaheen Ahmed examines good monsters in comics to show
how Romantic themes from the eighteenth and the nineteenth
centuries persist in today's popular culture. Comics monsters,
questioning the distinction between human and monster, self and
other, are valuable conduits of Romantic inclinations. Engaging
with Romanticism and the many monsters created by Romantic writers
and artists such as Mary Shelley, Victor Hugo, and Goya, Ahmed maps
the heritage, functions, and effects of monsters in contemporary
comics and graphic novels. She highlights the persistence of
recurrent Romantic features through monstrous protagonists in
English- and French-Language comics and draws out their
implications. Aspects covered include the dark Romantic
predilection for ruins and the sordid, the solitary protagonist and
his quest, nostalgia, the prominence of the spectacle as well as
excessive emotions, and above all, the monster's ambiguity and
rebelliousness. Ahmed highlights each Romantic theme through close
readings of well-known but often overlooked comics, including Enki
Bilal's Monstre tetralogy, Jim O'Barr's The Crow, and Emil Ferris's
My Favorite Thing Is Monsters, as well as the iconic comics Series
Alan Moore's Swamp Thing and Mike Mignola's Hellboy. In blurring
the otherness of the monster, these protagonists retain the
exaggeration and uncontrollability of all monsters while
incorporating Romantic characteristics.
Fans and scholars have long regarded the 1980s as a significant
turning point in the history of comics in the United States, but
most critical discussions of the period still focus on books from
prominent creators such as Frank Miller, Alan Moore, and Art
Spiegelman, eclipsing the work of others who also played a key role
in shaping comics as we know them today. The Other 1980s: Reframing
Comics' Crucial Decade offers a more complicated and multivalent
picture of this robust era of ambitious comics publishing. The
twenty essays in The Other 1980s illuminate many works hailed as
innovative in their day that have nonetheless fallen from critical
view, partly because they challenge the contours of conventional
comics studies scholarship: open-ended serials that eschew the
graphic-novel format beloved by literature departments; sprawling
superhero narratives with no connection to corporate universes;
offbeat and abandoned experiments by major publishers, including
Marvel and DC; idiosyncratic and experimental independent comics;
unusual genre exercises filtered through deeply personal
sensibilities; and oft-neglected offshoots of the classic
""underground"" comics movement of the 1960s and 1970s. The
collection also offers original examinations of the ways in which
the fans and critics of the day engaged with creators and
publishers, establishing the groundwork for much of the
contemporary critical and academic discourse on comics. By
uncovering creators and works long ignored by scholars, The Other
1980s revises standard histories of this major period and offers a
more nuanced understanding of the context from which the iconic
comics of the 1980s emerged.
Providing an overview of the dynamic field of comics and graphic
novels for students and researchers, this Essential Guide
contextualises the major research trends, debates and ideas that
have emerged in Comics Studies over the past decades.
Interdisciplinary and international in its scope, the critical
approaches on offer spread across a wide range of strands, from the
formal and the ideological to the historical, literary and
cultural. Its concise chapters provide accessible introductions to
comics methodologies, comics histories and cultures across the
world, high-profile creators and titles, insights from audience and
fan studies, and important themes and genres, such as autobiography
and superheroes. It also surveys the alternative and small press
alongside general reference works and textbooks on comics. Each
chapter is complemented by list of key reference works.
Monsters seem inevitably linked to humans and not always as mere
opposites. Maaheen Ahmed examines good monsters in comics to show
how Romantic themes from the eighteenth and the nineteenth
centuries persist in today's popular culture. Comics monsters,
questioning the distinction between human and monster, self and
other, are valuable conduits of Romantic inclinations. Engaging
with Romanticism and the many monsters created by Romantic writers
and artists such as Mary Shelley, Victor Hugo, and Goya, Ahmed maps
the heritage, functions, and effects of monsters in contemporary
comics and graphic novels. She highlights the persistence of
recurrent Romantic features through monstrous protagonists in
English- and French-Language comics and draws out their
implications. Aspects covered include the dark Romantic
predilection for ruins and the sordid, the solitary protagonist and
his quest, nostalgia, the prominence of the spectacle as well as
excessive emotions, and above all, the monster's ambiguity and
rebelliousness. Ahmed highlights each Romantic theme through close
readings of well-known but often overlooked comics, including Enki
Bilal's Monstre tetralogy, Jim O'Barr's The Crow, and Emil Ferris's
My Favorite Thing Is Monsters, as well as the iconic comics Series
Alan Moore's Swamp Thing and Mike Mignola's Hellboy. In blurring
the otherness of the monster, these protagonists retain the
exaggeration and uncontrollability of all monsters while
incorporating Romantic characteristics.
Never before have comics seemed so popular or diversified,
proliferating across a broad spectrum of genres, experimenting with
a variety of techniques, and gaining recognition as a legitimate,
rich form of art. Maaheen Ahmed examines this trend by taking up
philosopher Umberto Eco's notion of the open work of art, whereby
the reader - or listener or viewer, as the case may be - is offered
several possibilities of interpretation in a cohesive narrative and
aesthetic structure. Ahmed delineates the visual, literary, and
other medium-specific features used by comics to form open rather
than closed works, methods by which comics generate or limit
meaning as well as increase and structure the scope of reading into
a work. Ahmed analyzes a diverse group of British, American, and
European (Franco-Belgian, German, Finnish) comics. She treats
examples from the key genre categories of fictionalized memoirs and
biographies, adventure and superhero, noir, black comedy and crime,
science fiction and fantasy. Her analyses demonstrate the ways in
which comics generate openness by concentrating on the gaps
essential to the very medium of comics, the range of meaning
ensconced within words and images as well as their interaction with
each other. The analyzed comics, extending from famous to lesser
known works, include Will Eisner's The Contract with God Trilogy,
Jacques Tardi's It Was the War of the Trenches, Hugo Pratt's The
Ballad of the Salty Sea, Edmond Baudoin's The Voyage, Grant
Morrison and Dave McKean's Arkham Asylum, Neil Gaiman's Sandman
series, Alan Moore and Eddie Campbell's From Hell, Moebius's
Arzach, Yslaire's Cloud 99 series, and Jarmo Makila's Taxi Ride to
Van Gogh's Ear.
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