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El Perdón y la furia and José de Ribera’s Journey from Faith to Magic 宽恕与愤怒和jose de Ribera的信仰到魔法之旅
IF 0.2
European Comic Art Pub Date : 2020-09-01 DOI: 10.3167/eca.2020.130204
F. Lladó
{"title":"El Perdón y la furia and José de Ribera’s Journey from Faith to Magic","authors":"F. Lladó","doi":"10.3167/eca.2020.130204","DOIUrl":"https://doi.org/10.3167/eca.2020.130204","url":null,"abstract":"This article analyses the various components of a graphic novel, El Perdón y la furia [Forgiveness and Fury] by Antonio Altarriba and Keko, about the Baroque painter José de Ribera. It does so within a framework drawn from art history and studies the transgressive role of images through citation, intertextual borrowing, or creation by Keko in the manner of Ribera. A comparative analysis of the artist’s biography and the graphic narration uncovers a series of parallels between historically attested and fictitious events that can be seen as the common thread in a thriller based on the fight against power. It concludes by returning to the same themes within a contemporary setting, while Ribera’s story and that of his present-day fictional counterpart simultaneously reveal human truths.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"21 1","pages":"64-90"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73690831","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
'The Inexhaustible Surface of Things' “事物无穷无尽的表面”
IF 0.2
European Comic Art Pub Date : 2020-03-01 DOI: 10.3167/eca.2020.130105
S. Castaldi
{"title":"'The Inexhaustible Surface of Things'","authors":"S. Castaldi","doi":"10.3167/eca.2020.130105","DOIUrl":"https://doi.org/10.3167/eca.2020.130105","url":null,"abstract":"This article explores the work of Stefano Tamburini (1955–1986) in relationship to the ‘high arts’ in the 1980s. By concentrating on Tamburini’s least known works (to this day, among his many works, only the RanXerox saga is actually available for English-speaking readers), it is possible to regard his art as a bridge tying comics with the aesthetic and theoretical preoccupations of many of the leading artists of the postmodern trans-avant-garde of the late-1970s and early-1980s in Italy. This article demonstrates how Tamburini offered a model of comics in dialogue with the rest of the contemporary art world, often taking the lead and generating fruitful exchanges both with the field of literature and the visual arts.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"41 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76240318","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
Liv Strömquist's Fruit of Knowledge and the Gender of Comics 丽芙Strömquist的《知识的果实》和漫画的性别
IF 0.2
European Comic Art Pub Date : 2020-03-01 DOI: 10.3167/eca.2020.130104
Mike Frangos
{"title":"Liv Strömquist's Fruit of Knowledge and the Gender of Comics","authors":"Mike Frangos","doi":"10.3167/eca.2020.130104","DOIUrl":"https://doi.org/10.3167/eca.2020.130104","url":null,"abstract":"The recent boom in feminist comics by Swedish artists has produced a body of work that has only recently come to the attention of English-language readers. This article focuses on the comics of Liv Strömquist, specifically Fruit of Knowledge: The Vulva vs. The Patriarchy (2018), the first of her booklength works to be published in English translation. Strömquist’s text is situated in the broader context of feminist comics, particularly the work of Julie Doucet. Drawing on Swedish sources including reviews, interviews and comics scholarship, the article examines how Strömquist uses the comics medium to challenge and re-signify dominant representations of gender, sexuality and the body.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"62 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83941690","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: 5
Tintin and Corto Maltese 丁丁和科多·马尔济斯
IF 0.2
European Comic Art Pub Date : 2020-03-01 DOI: 10.3167/eca.2020.130106
D. Filc
{"title":"Tintin and Corto Maltese","authors":"D. Filc","doi":"10.3167/eca.2020.130106","DOIUrl":"https://doi.org/10.3167/eca.2020.130106","url":null,"abstract":"The Tintin and Corto Maltese series are among the most famous European adventure comics. The adventure genre – both in novels and comics – is deeply related to nineteenth-century colonialism. This article compares the ways in which colonialism and the relationship to the colonial Other appear in Hergé’s and Pratt’s creations, focusing on Tintin and Corto Maltese’s adventures in Africa and Latin America. The comparison between Tintin and Corto shows that although Hergé developed an ambivalent view of European colonialism, Eurocentrism is constant through all his work. Pratt’s Corto, in contrast, shows a more critical, though ambiguous, view of colonialism, and a more egalitarian, though also ambivalent, conceptualisation of the colonial Other.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"35 1","pages":"95-121"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85088706","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
Gauguin and Van Gogh Meet the Ninth Art 高更和梵高遇见第九艺术
IF 0.2
European Comic Art Pub Date : 2020-03-01 DOI: 10.3167/eca.2020.130103
Matthew E. J. Screech
{"title":"Gauguin and Van Gogh Meet the Ninth Art","authors":"Matthew E. J. Screech","doi":"10.3167/eca.2020.130103","DOIUrl":"https://doi.org/10.3167/eca.2020.130103","url":null,"abstract":"This article analyses how a late twentieth-century/early twenty-first-century development in bandes dessinées, which combines historical novels with biographies, expresses paradoxical attitudes towards mythologies surrounding Paul Gauguin and Vincent Van Gogh. Firstly, I demonstrate that the paradox stems from a simultaneous desire for and suspicion of master narratives, identified as intrinsic to postmodernism by Linda Hutcheon. Then I establish how eight graphic novels perpetuate pre-existing mythological master narratives about Gauguin and Van Gogh. Nevertheless, those mythologies simultaneously arouse scepticism: myths do not express exemplary universal truths; myths are artificial and fictionalised constructs whose status in reality is dubious. The albums convey tension between desire and suspicion regarding myths by a variety of devices. These include sequenced panels, circular plots, unreliable witnesses, fictional insertions, parodies and mock realism.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"26 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81351181","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
Twenty Years of IBDS IBDS二十年
IF 0.2
European Comic Art Pub Date : 2020-03-01 DOI: 10.3167/eca.2020.130102
L. Grove
{"title":"Twenty Years of IBDS","authors":"L. Grove","doi":"10.3167/eca.2020.130102","DOIUrl":"https://doi.org/10.3167/eca.2020.130102","url":null,"abstract":"Following the first Glasgow gathering in June 1999, further bande dessinée conferences saw the creation of IBDS (2001), plans for a new journal (2005, with European Comic Art first appearing in 2008) and a shared gathering with the Graphic Novels and Comics Conference (2011 onwards). The initial part of this overview will be an unashamed nostalgia-fest as we look back on IBDS events from 1999 to 2019. As befits a good comic, the fun will nonetheless lead to more serious considerations. The evolution of IBDS stands as a marker of the evolution of comics studies, both in terms of the variety of works studied and approaches taken, and with respect to the acceptance of the discipline (if it is such). More generally, a retrospective on the last twenty years allows us to question the very nature of the canon – literary or otherwise – as it now stands, and to look forward speculatively to the developments of future decades.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"94 1","pages":"1-20"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81769576","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
Review Article 评论文章
IF 0.2
European Comic Art Pub Date : 2019-09-01 DOI: 10.3167/eca.2019.120206
David Kunzle
{"title":"Review Article","authors":"David Kunzle","doi":"10.3167/eca.2019.120206","DOIUrl":"https://doi.org/10.3167/eca.2019.120206","url":null,"abstract":"With Marie Duval, virtual creator of the ineffable Ally Sloper (first appearance 1867) and mainstay of a new magazine named Judy founded that year, we find a new kind of cartoon character, a new kind of caricature and a new kind of journal aiming, unlike Punch, at a female and lower-class audience. The moment was propitious: after two decades of national prosperity during which the GNP almost doubled, the demand (a push from below) was felt for some cultural irreverence and novelty. Maybe the 1850s and 1860s were the first ‘Age of Leisure’ rather than the succeeding one, that of Duval, proposed by the authors here (7); the later age, of Duval, was that of increased and lower-class leisure, for sure. This caricaturist and artist is a quite recent discovery: before the late 1980s and 1990, she was virtually unknown. She was Europe’s first female professional exponent of caricature (as distinct from a few sisters in conventional cartooning), and her initials and name took credit for the long-term development of an extraordinary artistic property, which quickly became a new sociological phenomenon: a dissolute trickster called Ally Sloper. He attained wild popularity in the 1870s and 1880s, and beyond. He was the first of many British comic characters to become a household name, and the first such comic character to be widely commercialised.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"123 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77717483","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
Bande dessinée and the Penal Imaginary 班德·德拉西姆和罪犯的想象
IF 0.2
European Comic Art Pub Date : 2019-09-01 DOI: 10.3167/eca.2019.120202
Charles Forsdick
{"title":"Bande dessinée and the Penal Imaginary","authors":"Charles Forsdick","doi":"10.3167/eca.2019.120202","DOIUrl":"https://doi.org/10.3167/eca.2019.120202","url":null,"abstract":"The article offers an overview of the history and cultural representations in visual media from the 1860s onwards of French penal colonies or bagnes, and their status as graphic lieux de mémoire. It focuses specifically on French Guiana and New Caledonia and seeks to contextualise the portrayal of the motif in a varied corpus of bandes dessinées. The article argues that graphic history provides a unique forum in which aspects of the penal colonies about which there is little understanding – the transcolonial itineraries of convicts; the penal everyday; the role of carceral heritage as part of a useable past – are elucidated. Although some works primarily foreground celebrity bagnards such as Eugène Dieudonné or Henri Charrière (Papillon), albums such as those of Stéphane Blanco and Laurent Perrin allow the potential of the bande dessinée to create connections that are multilayered and multidirectional.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"204 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80339569","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
Women's Liberation 妇女解放运动
IF 0.2
European Comic Art Pub Date : 2019-09-01 DOI: 10.3167/eca.2019.120205
Anna Nordenstam, Margareta Wallin Wictorin
{"title":"Women's Liberation","authors":"Anna Nordenstam, Margareta Wallin Wictorin","doi":"10.3167/eca.2019.120205","DOIUrl":"https://doi.org/10.3167/eca.2019.120205","url":null,"abstract":"In Sweden, publication of original feminist comics started in the 1970s and increased during the following decade. This article describes and analyses the Swedish feminist comics published in the Swedish radical journals Kvinnobulletinen and Vi Mänskor, as well as in the Fnitter anthologies. These comics, representing radical feminism, played an important role as forums for debate in a time when feminist comics were considered avant-garde. The most prominent themes were, first, the body, love and sexualities and, second, the labour market and legal rights. The most frequent visual style was a black contour line style on a white background, recalling the comics of Claire Bretécher, Aline Kominsky-Crumb and Franziska Becker. Humour and satire, including irony, were used as strategies to challenge the patriarchy and to contest the prevailing idea that women have no sense of humour.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"17 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79142487","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: 3
Fresh off the Boat and Off to the Presses 刚从船上下来，就要付印了
IF 0.2
European Comic Art Pub Date : 2019-09-01 DOI: 10.3167/eca.2019.120204
A. Gandolfo, P. Turnes
{"title":"Fresh off the Boat and Off to the Presses","authors":"A. Gandolfo, P. Turnes","doi":"10.3167/eca.2019.120204","DOIUrl":"https://doi.org/10.3167/eca.2019.120204","url":null,"abstract":"This article aims to analyse the origins and development of the comics industry in Argentina from a comparative and transnational perspective, positing its business model, professionalisation of artistic and editorial work and adoption of certain styles as part of a triangle in which Argentine comics are in constant dialogue with European (mainly Spanish, French and English) and US comics traditions. The article places a special emphasis on the latter. As part of the overall process of cultural modernisation, the early twentieth century encompasses a period in which the production of comics grew, was established and modified its creative patterns in all the countries involved in the study. Comics in Argentina consistently moved between innovation and imitation, with some original narrative and formal solutions that were sparked by a process of adaptation and mistranslation.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"25 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75578181","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
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