{"title":"INSIDE THE ARCHIVES OF FUN HOME","authors":"S. V. Dyne","doi":"10.2307/j.ctvx5w9fh.18","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9fh.18","url":null,"abstract":"","PeriodicalId":375448,"journal":{"name":"The Comics of Alison Bechdel","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128482768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fun Home and Are You My Mother? As Autotopography","authors":"Katherine Kelp-Stebbins","doi":"10.14325/mississippi/9781496825773.003.0013","DOIUrl":"https://doi.org/10.14325/mississippi/9781496825773.003.0013","url":null,"abstract":"Utilizing Sara Ahmed’s Queer Phenomenology: Orientations, Objects, Others, this chapter examine how Alison Bechdel’s work mobilizes representational regimes to orient, disorient, and reorient the reader toward a politics of location. Interweaving comics and cartography, Fun Home and Are You My Mother? demonstrate how comics may be used to construct alternate maps for queer and feminist-oriented landscapes of the self. These works do not merely write the self, they locate the self, as a form of autotopography. The rhetorical power of comics as a visual medium is vested in the possibility for juxtaposing different representations of space within the same space of representation. Including maps in panels or as structuring elements of panels, Bechdel’s comics contextualize the map as but one representational apparatus, itself predicated upon numerous constituent techniques (such as gridding, perspective, toponyms, scale, etc.).","PeriodicalId":375448,"journal":{"name":"The Comics of Alison Bechdel","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126064883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"THE HOSPITABLE AESTHETICS OF ALISON BECHDEL","authors":"Vanessa Lauber","doi":"10.2307/j.ctvx5w9fh.6","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9fh.6","url":null,"abstract":"The birth of queer studies as an academic discipline is defined by its break from LGBT politics, with the goals of marriage and military service pitted against radical queer liberation. In broad strokes, LGBT studies produces sexual orientation as a category, while queer studies seeks to upend categorical thought. Alison Bechdel’s unique insight into that tension arises from her complex and nuanced attempts to represent marginalized identities in a form that has been itself marginalized. Her politics of the outsider cannot be cast off in a dismissive reading of her popularity in the cultural imagination, nor hewn from the longer history of her formal innovation. Taken as a whole, the paradoxical and yet co-constitutive relationship between the queerness of her forms and the mainstream popularity of her texts performs a sort of queer world-building. To the extent that her work cultivates empathy or community, it does so not only, perhaps, in the service of identity-based movements or bald market capitalism, but also by modeling a more radical, relational aesthetic that illuminates the ongoing power of queer critique.","PeriodicalId":375448,"journal":{"name":"The Comics of Alison Bechdel","volume":"153 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132340361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dancing With Memory In Fun Home","authors":"Alissa S. Bourbonnais","doi":"10.2307/j.ctvx5w9fh.11","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9fh.11","url":null,"abstract":"To think of choreography as a theorization of identity allows for a conception of movement in which bodies are more than the object of theory; bodies become the active subject, the Merleau-Pontian point of view in the world in which they move. Bechdel choreographs memory structurally through the complex relationship between chapter title panels and the chapter contents. Another way in which Fun Home embodies the act of remembering is through the myriad interactions Bechdel the creator has with Alison the character in the text. Multimodal narrative makes this type of interaction visible to the reader. “Dancing with memory” in Fun Home means traversing narrative lines where much of the meaningful dialogue between past and present becomes visible only through the relationship between text and image. Multimodal narrative allows for creators and audiences alike to witness from the outside in more explicitly the implicit affective responses to the very act of remembering through storytelling. Some of the most potent instances of embodied reading in Fun Home are those in which we see Bechdel the creator in dialogue with Alison the character. Excavating past selves to follow the trajectory of past movement is part of the work of autobiography and artistic expression of memory. The textual and visual choreography operates on multiple temporal levels, and through multiple modes of communication. Reading a graphic memoir is an embodied performative act. Considering the ephemeral nature of performance alongside the ephemeral nature of memory in Fun Home illuminates new ways of understanding both.","PeriodicalId":375448,"journal":{"name":"The Comics of Alison Bechdel","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122754114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"FRAMING COMMUNITY FROM INSIDE OUT","authors":"D. Latham, J. Hollister","doi":"10.2307/j.ctvx5w9fh.20","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9fh.20","url":null,"abstract":"Alison Bechdel’s groundbreaking comic strip Dykes To Watch Out For, which ran from 1983 to 2008 in mostly independent, alternative newspapers as well as online, had an important effect on representing and shaping the LGBTQ, and especially the lesbian, community in the latter decades of the 20th century and the first decade of the 21st century, a time of great change for the LGBTQ community. Within the world of the comic strip, information, information behavior, and the exchange of information play a key role in helping build and maintain community among the (mostly lesbian) characters. In turn, the identities of the individual members of that community are shaped by that evolving community. This essay will use Jaeger and Burnett’s theory of information worlds as a framework for examining how information and information behaviors help to form and maintain the information world of the lesbian community depicted in Dykes To Watch Out For. It will demonstrate that, as an insider in a marginalized community, Bechdel framed the information world of that community through her art and exported it to other communities outside of her world, thus helping to shape the information worlds of “real-world” lesbian communities over the quarter century that the strip was published.","PeriodicalId":375448,"journal":{"name":"The Comics of Alison Bechdel","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127892503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"MO VAN PELT","authors":"M. Abate","doi":"10.2307/j.ctvx5w9fh.10","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9fh.10","url":null,"abstract":"This chapter explores the numerous and heretofore overlooked physical, personal, and psychological areas of overlap between Mo Testa in Dykes to Watch Out For and Linus van Pelt in Charles Schulz’s Peanuts. Many of Mo’s signature traits and hallmark qualities are ones she shares with Linus: from her insecurity and intellectualism to her philosophical nature and her role as reflective commentator for the group. Indeed, even Mo’s penchant for striped clothing can be seen as taking a sartorial cue from Linus, who is always clad in a t-shirt with strikingly similar horizontal stripes. While Bechdel never identified Schulz as an inspiration for her work nor the Peanuts gang as a model for her DTWOF crew, the suggestive echoes between Mo and Linus seem too numerous to be merely coincidental. Exploring the similarities between Mo and Linus reveals a compelling kinship between Bechdel’s work and one of the most well-known strips in the history of American comics, while it also sheds new light on the relationship that DTWOF has to its socio-cultural milieu.","PeriodicalId":375448,"journal":{"name":"The Comics of Alison Bechdel","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123928169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Disseminating Queer Theory","authors":"Katherine Parker-Hay","doi":"10.2307/j.ctvx5w9fh.8","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9fh.8","url":null,"abstract":"This chapter explores how Dykes to Watch Out For establishes a playful and deprecating relationship with queer theory that is simultaneously a hallmark of Alison Bechdel’s individual craft and something made possible by the unique formal properties of comics. Specifically, this chapter considers instances where Bechdel uses the gutters of the comic to represent how knowledge can be lost or obfuscated as it moves through (everyday, public) time that is teeming with distractions. As a result, the collected DTWOF is stirring, instructive even, for anyone invested in critical theory’s capacity to affect meaningful and sustained change. The method developed in the chapter draws on the significance of the gutter as identified in comics criticism; it advocates placing one’s attention on the gutters and focusing on how information is shown to be successfully, or unsuccessfully, transmitted across them.","PeriodicalId":375448,"journal":{"name":"The Comics of Alison Bechdel","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130306208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Decolonizing Rural Space In Alison Bechdel’s Fun Home","authors":"Katie Hogan","doi":"10.2307/j.ctvx5w9fh.16","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9fh.16","url":null,"abstract":"Although not done deliberately, Alison Bechdel’s Fun Home intervenes in rural queer studies by showing how geography, sexuality, and gender are vital to understanding the complexities of rural queer lives. Based on Bechdel’s experiences growing up in Beech Creek in the 1960s and 70s, Fun Home unwittingly resonates with the aims of rural queer studies by exploring, among other things, complex queer attachments to rural place—with a particular focus on the author’s father, Bruce Bechdel. Bruce was raised on a dairy farm, where he had his first same-sex experience with a farmhand. When he became an adult, his non-normative sexual activity was an open secret, until his arrest for providing an alcoholic beverage to a minor, the younger brother of one of his upper-class high school students. Bruce’s arrest threatens his reputation, livelihood, marriage, and family in an unprecedented way, and Alison Bechdel believes it drove him to suicide. Because Bruce is white, male, and college educated, and belongs to a family with a long history in Beech Creek, he escapes prison and is instead ordered to begin sessions with a psychiatrist for his “disorder.” Contrary to the impression given of Bruce in Fun Home scholarship, and even in Fun Home itself, in many ways life in Beech Creek suits him.","PeriodicalId":375448,"journal":{"name":"The Comics of Alison Bechdel","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132518240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Servants to What Cause","authors":"Margaret Galvan","doi":"10.2307/j.ctvx5w9fh.19","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9fh.19","url":null,"abstract":"Through these characters and the broad range of The Advocate’s intended audience, Bechdel is able to reflect on subjects of relevance to the gay community at large—like AIDS and associated activism—that often don’t make it into the strips of the fairly idyllic world of DTWOF. By analyzing Servants to the Cause, the chapter not only unravels its narrative structure and grassroots contexts, but also examines the production of the strip itself through drafts of the comic and letters that Bechdel exchanged with her editor at The Advocate. In this analysis and in research across the essay, the chapter draws upon grant-funded archival research of Alison Bechdel’s papers held in the Sophia Smith Collection at Smith College, Firebrand Book Records held in the Human Sexuality Collection at Cornell University, and periodicals collections at the Lesbian Herstory Archives and the ONE National Gay & Lesbian Archives. To connect Bechdel to the larger world of queer comics culture, the chapter considers the significance of The Advocate’s support of the field of queer comics, juxtaposed against large feminist publications like Ms., which often spurned women’s comics. This positive attitude creates a set of conditions through which not only Bechdel but other queer cartoonists flourish, particularly in the 90s, allowing them to make a living outside of the more conservative comics publishing world through self-syndication in queer periodicals.","PeriodicalId":375448,"journal":{"name":"The Comics of Alison Bechdel","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126103629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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