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The Oxford Handbook of Comic Book Studies examines the history and evolution of the visual narrative genre from a global perspective. The Handbook brings together readable, jargon-free essays written by established and emerging scholars from diverse geographic, institutional, gender, and national backgrounds.
Inhaltsverzeichnis
- Section 1: What is a Comic?
- What Kind of Studies Are Comics Studies?
- Why There Is No "Language of Comics"
- In Box: Rethinking Text in the Digital Age
- What Else is a Comic? Between Bayeux and Beano
- Reading Spaces: The Politics of Page Layout
- Comics as Art
- The Cartoon on the Comics Page: A Phenomenology
- All By Myself: Single-Panel Comics and the Question of Genre
- Drawing, Redrawing, and Undrawing
- Section 2: Comics as Social Commentary and Response to Sociopolitical Realities
- Bakhtinian Laughter and Recent Political Editorial Cartoons
- Columbia and the Editorial Cartoon
- Efficacy of Social Commentary through Cartooning
- Radical Graphics: Australian Second Phase Comics
- Self-Regulation and Auto-Censorship of Comics Creators in the Communist Eastern Bloc
- "This is Who I Am": Hybridity and Materiality in Comics Memoir
- Auto/biographics and Graphic Histories Made for the Classroom: Logicomix and Abina and the Important Men
- Ambiguity in Parallel: Visualizing History in Boxers and Saints
- Section 3: Key Issues in Comics
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg's Cancer Made Me a Shallower Person
- Animals in Graphic Narrative
- A Diversionary Art in Le Piano Oriental by Zeina Abirached
- Disco, Derby, and Drag: The Queer Politics of Marvel's Dazzler
- The Replacements: Ethnicity, Gender and Legacy Heroes in Marvel Comics
- A Diversionary Art in Le Piano Oriental by Zeina Abirached
- Hammer in Hand: Feminist Community Building in Jason Aaron's Thor
- When Feminism Went to Market: Issues in Feminist Comics Anthologies in the 1980s and 90s
- Children in Comics: Between Education and Entertainment, Conformity and Agency
- "I'm not a kid; I'm a shark!": Identity Fluidity in Noelle Stevenson's Young Adult Graphic Novels
- Section 4: Comic Book Transcreations
- Forgetting at the intersection of Comics and the Multimodal Novel: James Sie's Still Life Las Vegas
- My Favorite Thing is Monsters: The Socially Engaged Graphic Novel as a Platform for Intersectional Feminism
- Paper or Plastic?: Mapping the Transmedial Intersections of Comics and Action Figures
- Transformative Architectures in Postcolonial Hong Kong Comics
- Adaptation and Racial Representation in DellGold Key TV Tie-ins
- Candy and Drugs for Dinner: Rat Queens, Genre, and Our Aesthetic Categories
- Non-Compliants, Brimpers, and She-Romps: Bitch Planet, Sex Criminals and Their Publics
- Literary Adaptations in Comics and Graphic Novels
- Section 5: Comic Book Studies Yesterday, Today and Tomorrow
- Comic Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
- Comics Studies as Practitioner-Scholar
Über den Autor / die Autorin
Frederick Luis Aldama is award winning author, scholar, teacher and Distinguished University Professor at The Ohio State University. He is author, co-author, and editor of 48 books, including his recently published children's book The Adventures of Chupacabra Charlie. In 2018, Latinx Superheroes in Mainstream Comics won the the Eisner Award for Best Scholarly Work and the International Latino Book Award. He is editor and coeditor of 8 academic press book series as well as editor of Latinographix, a trade-press series that publishes Latinx graphic fiction and nonfiction. He is creator of the first documentary on the history of Latinx superheroes in comics (Amazon Prime) and director of SÕL-CON: Brown, Black, & Indigenous Comics Expo in Columbus, Ohio.
Zusammenfassung
Comic book studies has developed as a solid academic discipline, becoming an increasingly vibrant field in the United States and globally. A growing number of dissertations, monographs, and edited books publish every year on the subject, while world comics represent the fastest-growing sector of publishing.
The Oxford Handbook of Comic Book Studies looks at the field systematically, examining the history and evolution of the genre from a global perspective. This includes a discussion of how comic books are built out of shared aesthetic systems such as literature, painting, drawing, photography, and film. The Handbook brings together readable, jargon-free essays written by established and emerging scholars from diverse geographic, institutional, gender, and national backgrounds. In particular, it explores how the term "global comics" has been defined, as well the major movements and trends that will drive the field in the years to come. Each essay will help readers understand comic books as a storytelling form grown within specific communities, and will also show how these forms exist within what can be considered a world system of comics.
Zusatztext
With Oxford's publication of this groundbreaking tome, the world of comics studies felt the quake of tectonic plates radically shift. Aldama's expertly curated volume travels us across and into all variety of the planet's soils that have grown wondrous stories in all genres, that touch on all themes, and that express all our resplendent identities and experiences. I've been in this game as a scholar and practitioner of comics most of my life. I've been waiting for such a definitive corpus of scholarly and scholar-practitioner work as this to shout resoundingly and definitively shout from rooftops: Comics are worldly! Comics are global! Comics are our future!
