{"title":"Edward Lear","authors":"M. Graziosi","doi":"10.3167/eca.2019.120203","DOIUrl":"https://doi.org/10.3167/eca.2019.120203","url":null,"abstract":"Edward Lear has secured a prominent position in the history of literature and travel writing thanks to his nonsense books and his journals; he is considered one of the most innovative zoological illustrators of the nineteenth century and is being rediscovered as a landscape painter in watercolour and oil. This article argues that he also deserves to be remembered among the precursors of modern comic art. His picture stories, though never published in his lifetime, represent an early instance of autobiographical graphic narrative, while his limericks, never out of print since 1861, introduced a radically innovative caricatural style and a conception of the relationship between pictures and text that strongly influenced modern comic artists.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"98 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75652446","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":"Fall-Out and the German People","authors":"Sean A. McPhail","doi":"10.3167/ECA.2019.120104","DOIUrl":"https://doi.org/10.3167/ECA.2019.120104","url":null,"abstract":"This article compares Gudrun Pausewang’s 1987 West German young adult\u0000novel Die Wolke to Anike Hage’s 2013 manga adaptation. In so doing, it charts the development of West/Germans’ relationship to the outside world over the quarter-century separating the texts. I begin by considering the perceived threat of German annihilation – whether nuclear or environmental – in each era, as well as the change in German attitudes to democratic institutions since reunification. I then analyse each Germany’s relation to its respective role in the Second World War, before examining how West/Germans in each text express either a German or a European identity. The article finds evidence in Hage’s adaptation of a decided shift in German thinking from a predominantly nationalist perspective towards\u0000an informed, pan-European and increasingly international outlook.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"15 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88712137","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":"A Transtextual Hermeneutic Journey","authors":"Yaakova Sacerdoti","doi":"10.3167/eca.2019.120103","DOIUrl":"https://doi.org/10.3167/eca.2019.120103","url":null,"abstract":"Gérard Genette’s transtextuality theory serves as the basis for a hermeneutic inquiry into Horst Rosenthal’s Mickey au camp de Gurs. Multiple levels of meaning emerge from transtextual links to other literary genres and works of Western culture, from Disney’s early animations to fairy tales and satire, concluding with Dante’s Inferno. This article analyses Rosenthal’s transtextual discourse and shows how his use of the comic genre to depict the horrors of the Gurs internment camp involves readers in what happened there and produces a text that speaks to all. Using Mickey Mouse, the international cartoon hero, alongside referencing the Inferno, a cornerstone of the Western canon, turns Rosenthal’s experience into a universal one and permits author and reader to focus on the emotional level that transcends all rationality.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"128 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78367747","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":"Instrumentalising Media Memories","authors":"Maaheen Ahmed","doi":"10.3167/ECA.2019.120102","DOIUrl":"https://doi.org/10.3167/ECA.2019.120102","url":null,"abstract":"Krzysztof Gawronkiewicz and Krystian Rosenberg’s Achtung Zelig! recounts an unabashedly absurd story about the Second World War, involving an encounter between a Nazi commander who was a former clown and a Jewish father and son with monstrous faces. To understand the construction and function of the Polish comic’s narration of the war, this article introduces the concept of media memories. Such memories encompass techniques and works that ‘haunt’ cultural productions. Achtung Zelig! interweaves key media and contexts, layering its story through the media memories of carnivals, comics (e.g. Maus) and films (e.g. The Great Dictator). In instrumentalising media memories, the comic engages in a heavily mediated dialogue with the issue of representing traumatic realities.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"71 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90369169","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":"Drawing National Boundaries in Barr’s Ba-Bru Comic Strip Advertising","authors":"D. Leishman","doi":"10.3167/eca.2019.120105","DOIUrl":"https://doi.org/10.3167/eca.2019.120105","url":null,"abstract":"Barr’s Irn-Bru (previously Iron Brew), Scotland’s best-known soft drink,\u0000was promoted by recurrent comic strip advertisements in Scottish newspapers from 1939 to 1970. ‘The Adventures of Ba-Bru’ featured an eponymous Indian character who was joined by a kilt-wearing companion known as Sandy. This article explores how what the firm presents as the longest-running promotional comic strip in history has helped shape the construction of Scottishness in the drink’s advertising. The exotic nature of the central Ba-Bru figure provides a counterpoint to manifestations of local particularism but also grounds the drink’s discourse on Scottishness in a wider imperial and unionist context. The comic strips also generate examples of intermedial transfer that underline the impact of quotidian consumption\u0000habits in a national identity shaped by popular culture.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"17 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85514694","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":"Looking Awry at Georgian Caricature","authors":"David Morgan","doi":"10.3167/ECA.2019.120106","DOIUrl":"https://doi.org/10.3167/ECA.2019.120106","url":null,"abstract":"This article investigates the applicability of certain aspects of Lacanian\u0000psychoanalytic theory to the study of visual satire and/or caricature. Lacan’s treatment of the phenomenon of visual anamorphosis can provide a fruitful new way of thinking about the art of caricature. The visual exaggerations and distortions central to the art of caricature function as they do, as works of social or political satire, by virtue of the extent to which they expose the psychological emptiness or hollowness (castration) which inheres in all human social or symbolic activity. This argument is then applied to the political circumstances prevailing in late Georgian England: in particular, the visual satirical treatment devoted to the nature and status of the monarchy during this period is examined in the light of foregoing arguments.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"26 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76694213","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":"Satirical Panels against Censorship","authors":"Gerardo Vilches","doi":"10.3167/ECA.2018.110203","DOIUrl":"https://doi.org/10.3167/ECA.2018.110203","url":null,"abstract":"In mid-1970s Spain, many new satirical magazines featured a strong political\u0000stance opposing Francisco Franco’s regime and in favour of democracy.\u0000Magazines with a significant amount of comics-based content constituted a\u0000space for political and social critics, as humour allowed them to go further\u0000than other media. However, legal authorities tried to censor and punish\u0000them. This article analyses the relationship between the Spanish satirical\u0000press and censorship and focuses on the difficulties their publishers and\u0000authors encountered in expressing their criticism of the country’s social\u0000changes. Various cartoonists have been interviewed, and archival research\u0000carried out. In-depth analysis of the magazines’ contents is used to gain an\u0000overview of a political and social period in recent Spanish history, in which\u0000the satirical press uniquely tackled several issues.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"33 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82683880","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":"‘They Tried To Bury Us; They Didn’t Know We Were Seeds’","authors":"S. D. Harris","doi":"10.3167/ECA.2018.110205","DOIUrl":"https://doi.org/10.3167/ECA.2018.110205","url":null,"abstract":"In using metaphors including trees, food, land and house to invoke the power\u0000of intergenerational memory, Paco Roca’s La casa (2015) shifts a national\u0000obsession with memory to an intimate scale. The book’s intimacy invites\u0000reconsideration of notions of ‘giving voice’ and ‘sites of memory’ that several\u0000other recent and groundbreaking Spanish comics have explored. This article\u0000situates the visual and verbal metaphors in La casa within the larger context\u0000of comics and memory, and the consistent attention to memory in Roca’s\u0000oeuvre. The characters’ discussions about tending to the land they have\u0000inherited, especially via Roca’s impeccably sophisticated use of the medium,\u0000demand that we tend to a new generation taking up its ancestors’ struggles,\u0000including the silent struggles of a repressed (or buried) generation.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"87 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84072575","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":"An Interview with Paco Roca","authors":"E. Claudio","doi":"10.3167/ECA.2018.110207","DOIUrl":"https://doi.org/10.3167/ECA.2018.110207","url":null,"abstract":"Paco Roca (b. 1969, Valencia) creates stories that tackle the universal\u0000through the local. He examines historic and social conflicts through the\u0000everyday experiences of his characters, whom he treats with affection, detail\u0000and respect. His works explore personal concerns and relationships without\u0000falling into melodrama, always looking for a balanced and sober style. Arguably,\u0000the most successful aspect of his work is the harmonious, beautiful\u0000drawing, which makes it accessible and appealing to a wide audience. As\u0000is common in today’s graphic novel, his stories feature losers: characters\u0000whose struggle is finally defeated by greater forces but whose trajectory tells\u0000us about dignity, friendship and courage. In this interview, we talk about\u0000his major graphic novels, and we are given access to his methods of work.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"28 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82205467","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":"Therapeutic Journeys in Contemporary Spanish Graphic Novels","authors":"A. Mohring","doi":"10.3167/ECA.2018.110206","DOIUrl":"https://doi.org/10.3167/ECA.2018.110206","url":null,"abstract":"María y yo by Miguel and María Gallardo, Arrugas by Paco Roca and Una\u0000posibilidad entre mil by Cristina Durán and Miguel Ángel Giner Bou are\u0000contemporary Spanish graphic novels that can be considered pathographies.\u0000This article shows how they use the metaphor of the journey to\u0000deconstruct social representations and challenge preconceived ideas about\u0000autism, Alzheimer’s disease and cerebral palsy. By making readers travel to\u0000the unknown territory of differences and diseases, these works help them\u0000to discover and understand alterity. I also study how the authors use techniques\u0000specific to travel guides to explain these disorders, and interrogate\u0000the extent to which creating and reading those pathographies can have a\u0000curative dimension. This will lead to questioning the concept of the therapeutic\u0000journey.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"29 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75807087","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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