Inks: The Journal of the Comics Studies Society最新文献_第8页

All New, All Different? A History of Race and the American Superhero by Allan W. Austin and Patrick L. Hamilton (review) 全新的，不同的?《种族与美国超级英雄的历史》艾伦·w·奥斯汀、帕特里克·l·汉密尔顿著(书评)

Inks: The Journal of the Comics Studies Society Pub Date : 2020-12-18 DOI: 10.1353/ink.2020.0028

Osvaldo Oyola

{"title":"All New, All Different? A History of Race and the American Superhero by Allan W. Austin and Patrick L. Hamilton (review)","authors":"Osvaldo Oyola","doi":"10.1353/ink.2020.0028","DOIUrl":"https://doi.org/10.1353/ink.2020.0028","url":null,"abstract":"363 Thing’s rebirth, Ahmed fails to address that Moore’s design creates a (Maltese) cross over Swamp Thing’s face. Coupled with a plotline that takes Swamp Thing to hell and back, the image is clearly an allusion to the mythos of Christ, where “death and rebirth strengthen” a protagonist, rather than kill him (73). This diminution of formal aspects is most egregious in Ahmed’s chapter on Hellboy. Despite being a key expressive element in Mignola’s work, color is only mentioned twice, and then merely as a descriptor. Despite this shortcoming, Monstrous Imaginaries is otherwise rigorous. Overall, it is an invaluable text for scholars working in contemporary comics and/or the field of Romanticism. In a neatly meta turn, Ahmed explains in her introduction that one of the etymological roots of “monster” is “monstrare,” which means “to demonstrate” or “to teach.” By her conclusion, Ahmed has more than demonstrated how the Romantic movement’s ideals converge in the ambiguously human, rebellious yet lovable, hybrid beings of contemporary comics, themselves “little monsters,” as Bukatman says, that teach us about ourselves (169).","PeriodicalId":392545,"journal":{"name":"Inks: The Journal of the Comics Studies Society","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125478100","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}

引用次数: 0

History of Illustration by Susan Doyle, Jaleen Grove and Whitney Sherman (review) 苏珊·道尔、贾琳·格罗夫、惠特尼·谢尔曼《插画史》(书评)

Inks: The Journal of the Comics Studies Society Pub Date : 2020-12-18 DOI: 10.1353/ink.2020.0029

Daniel F. Yezbick

{"title":"History of Illustration by Susan Doyle, Jaleen Grove and Whitney Sherman (review)","authors":"Daniel F. Yezbick","doi":"10.1353/ink.2020.0029","DOIUrl":"https://doi.org/10.1353/ink.2020.0029","url":null,"abstract":"367 sion of stories and characters that the authors do find promising. Nevertheless, in praising an example of Luke Cage coming into a leadership role in 2005’s the New Avengers, the authors ignore that the policies he used this leadership to enact are an echo of the kind of “broken windows” approach equated with Rudolph Guiliani’s draconian mayorship of New York City—policies that disproportionately targeted communities of color (280–81). This kind of context seems crucial in considering how Cage is written by Brian Michael Bendis in these comics and is a context that scholars like Jonathan W. Gray (and I myself) have already pointed out when writing about them. Truly, it would be too much to ask of any survey like All New, All Different to adequately explore all these interconnected perspectives on race and American superheroes, but nevertheless the book would have been better served to clearly frame its claims that comics “promulgat[e] unique conceptions of race and ethnicity” and “produce attitudes” by spending more time considering who creates those messages, who receives them, and how (14). Ultimately, this incompleteness gives the impression that Austin and Hamilton perceive a very narrow and unsophisticated audience for the comics to which they ascribe so much power.","PeriodicalId":392545,"journal":{"name":"Inks: The Journal of the Comics Studies Society","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126576048","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}

引用次数: 0

George Pérez and the Classical Narrative Style 乔治·普萨雷兹与古典叙事风格

Inks: The Journal of the Comics Studies Society Pub Date : 2020-12-18 DOI: 10.1353/ink.2020.0022

Marc P. Singer

引用次数: 2

Monstrous Imaginaries: The Legacy of Romanticism in Comics by Maaheen Ahmed (review) 《怪诞的想象:浪漫主义在漫画中的遗产》作者:Maaheen Ahmed

Inks: The Journal of the Comics Studies Society Pub Date : 2020-12-18 DOI: 10.1353/ink.2020.0027

A. Chase

引用次数: 0

4 Colorism: The Ashiness of It All 色彩主义:一切都是灰色的

Inks: The Journal of the Comics Studies Society Pub Date : 2020-12-18 DOI: 10.1353/ink.2020.0025

Zoe Smith

引用次数: 0

“Text Messages and Ghosts Are a JOY”: A Conversation with Cartoonist Marnie Galloway “短信和鬼魂是一种乐趣”:与漫画家玛妮·加洛韦的对话

Inks: The Journal of the Comics Studies Society Pub Date : 2020-12-18 DOI: 10.1353/ink.2020.0024

Shiamin Kwa

引用次数: 0

“A Good Place Where to Be”: Un-placing Mobilities in Julie Doucet’s My New York Diary “要去的好地方”:朱莉·杜塞的《我的纽约日记》中不固定的流动性

Inks: The Journal of the Comics Studies Society Pub Date : 2020-12-18 DOI: 10.1353/ink.2020.0023

L. York

{"title":"“A Good Place Where to Be”: Un-placing Mobilities in Julie Doucet’s My New York Diary","authors":"L. York","doi":"10.1353/ink.2020.0023","DOIUrl":"https://doi.org/10.1353/ink.2020.0023","url":null,"abstract":"ABSTRACT:I turn my attention to the state of frenetic mobility, crossing borders, crossing continents, crossing town, in Julie Doucet’s My New York Diary, for it holds the potential to complicate and enrich our understanding of Doucet’s concern with embodiment. Movement, particularly as it figures in the graphic memoir’s frequently depicted scenes of conflict and disorientation, creates moments of emplacement, in which Julie’s body and her changing environments intertwine and constitute each other. This combination of movement, bodies, and environments defuses the persistent threat to Julie of categorical impositions and understandings of place, body, and subjectivity. Extending this analysis to the extratextual, I also consider how Doucet’s narratives of her own career and its mobilities similarly resist attempts to categorize her artistic investments, influences, and belongings.In conceiving of this role of mobility in notions of emplaced subjectivity, I am indebted to the work of cultural geographers and anthropologists who, over the last few decades, have shifted theoretical discussions of subjectivity from embodiment towards emplacement: that is, from a notion of a mindful body that collapses the age-old mind-body dichotomy to a placing of bodies in conversation with place and time, or what David Howes has called “the sensuous interrelationship of body-mind-environment.”","PeriodicalId":392545,"journal":{"name":"Inks: The Journal of the Comics Studies Society","volume":"28 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131034394","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}

引用次数: 1

“Bacon Tho”: Richard Watts’ Vegan Sidekick Comics as Social Media Activism “培根Tho”:理查德·沃茨的素食伙伴漫画作为社交媒体行动主义

Inks: The Journal of the Comics Studies Society Pub Date : 2020-12-18 DOI: 10.1353/ink.2020.0021

Dru H. Jeffries

{"title":"“Bacon Tho”: Richard Watts’ Vegan Sidekick Comics as Social Media Activism","authors":"Dru H. Jeffries","doi":"10.1353/ink.2020.0021","DOIUrl":"https://doi.org/10.1353/ink.2020.0021","url":null,"abstract":"ABSTRACT:Vegan Sidekick is a webcomic written and drawn by Richard Watts, a UK-based animal rights advocate. The comic is primarily distributed via social media, where it has been widely shared and debated across various online communities since it debuted in April 2013. As of this writing, Vegan Sidekick has more than 137,000 followers on Instagram, which is where Watts’ comics receive their highest level of engagement compared to other social media platforms (namely Facebook, Twitter, and Tumblr). In this article, I analyze the comic’s unique contribution to vegan advocacy, arguing that it playfully illustrates the psychological barriers and defense mechanisms that activists regularly encounter when advocating on behalf of non-human animals. I also assess Vegan Sidekick’s efficacy as an advocacy tool, in light of the aforementioned psychological barriers as well as recent calls from the effective altruism movement to move away from advocating for individual dietary change and toward broader institutional change. Ultimately I conclude that while Vegan Sidekick’s efficacy may be mixed, it nevertheless serves a valuable social function within the animal rights community.","PeriodicalId":392545,"journal":{"name":"Inks: The Journal of the Comics Studies Society","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115792917","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}

引用次数: 1

Dreaming the Graphic Novel: The Novelization of Comics by Paul Williams (review) 幻想漫画小说:保罗·威廉姆斯的漫画小说化(书评)

Inks: The Journal of the Comics Studies Society Pub Date : 2020-12-18 DOI: 10.1353/ink.2020.0026

Shawn Gilmore

引用次数: 0

Representations of Islam in United States Comics, 1880–1922 by Maryanne A. Rhett (review) 美国漫画中伊斯兰教的表现，1880-1922作者:玛丽安娜·a·瑞德

Inks: The Journal of the Comics Studies Society Pub Date : 2020-09-12 DOI: 10.1353/ink.2020.0016

A. Lewis

引用次数: 0