Studies in Comics最新文献_第6页

‘She’s practically normal!’: Disability, gender and image in Doom Patrol “她实际上很正常！”：《末日巡逻》中的残疾、性别和形象

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00035_1

Chester N. Scoville

{"title":"‘She’s practically normal!’: Disability, gender and image in Doom Patrol","authors":"Chester N. Scoville","doi":"10.1386/stic_00035_1","DOIUrl":"https://doi.org/10.1386/stic_00035_1","url":null,"abstract":"The portrayal of disability in superhero comics has often been problematic. Frequently, disabled characters in superhero comics, when not merely marginal, are portrayed as pitiable or villainous, or, if they are disabled heroes like Daredevil or Professor Xavier of the X-Men, as examples\u0000 of the super-crip, that is, given powers as compensation for their disability. An arguable exception to this tendency is Drake and Premiani’s Doom Patrol of the 1960s, especially the character of Rita Farr a.k.a Elasti-Girl. Examining this character through gender and disability theories\u0000 we can see a sophisticated portrayal of marginalization as it pertains to image, spectacle and social norms. Though Rita has sometimes been left out of later iterations of the Doom Patrol on the grounds of seeming too ‘normal’, the character can be read as an exploration of how\u0000 disability operates as a category of power, in a medium that has often used that category too simply. Reading the character via such concepts as Davis’s dismodernism and Wendell’s feminist disability, seeing her both as a member of this team of outcasts and as one who is frequently\u0000 lured into a life in the mainstream, we can see how in Drake and Premiani’s series the categories of disability and gender interact with each other, and reflect and respond to societal expectations of power.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42552087","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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Monstrous Women in Comics, Samantha Langsdale and Elizabeth Rae Coody (eds) 2020 漫画中的怪物女人，萨曼莎·朗斯代尔和伊丽莎白·雷·库迪（编辑）2020

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00042_5

Hailey J. Austin

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Jojo, Jimmy and Marie Chairne: What scribbled comics can (not) tell us 乔乔，吉米和玛丽·查恩:涂鸦漫画不能(不能)告诉我们什么

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00028_1

Benoît Crucifix

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What do teachers think about the educational role of comic books?: A qualitative analysis 老师们如何看待漫画书的教育作用定性分析

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00037_1

Paul A. Aleixo, Daniel Matkin, Laura Kilby

引用次数: 1

Empirical Comics Research, Alexander Dunst, Jochen Laubrock and Janina Wildfeuer (eds) (2019) 《实证漫画研究》，亚历山大·邓斯特、约亨·劳布罗克和雅尼娜·威尔德费尔主编(2019)

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00041_5

P. Davies

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Editorial 社论

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00026_2

J. Round, Madeline B. Gangnes, C. Murray

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Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival 摄影沉默：对谭的《抵达》中的画面进行修复，使移民体验可视化

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00033_1

Amrit Singh

{"title":"Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival","authors":"Amrit Singh","doi":"10.1386/stic_00033_1","DOIUrl":"https://doi.org/10.1386/stic_00033_1","url":null,"abstract":"In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album\u0000 and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic\u0000 vision. This photographic vision is used to represent the experience of migration in the narrative as well as connect past and contemporary histories of migration world over. The photograph emerged as an important medium through which memory came to be visualized in the twentieth century,\u0000 and is an important historical artefact capable of telling the story of its times. Tan also expects the reader to employ an intermedial and intertextual critical literacy to engage with the narrative. The visual poetics of the text direct the reader’s affective and empathetic engagement\u0000 with the situation being presented and with the character whose experience they encode. The article focuses on three kinds of photographic representation in the narrative: the iterations of the protagonist’s family photograph, the narrative itself shaped as a photo album and the immigrant’s\u0000 identification photograph.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41464146","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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Crash Course (excerpt) 速成班（节选）

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00044_1

Woodrow Phoenix

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Working from home: Extracts from an ongoing series 在家工作：正在进行的系列摘录

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00045_1

L. Wysocki

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Panelling without walls: Narrating the border in Barrier 无墙镶板：在屏障中缩小边界

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Studies in Comics Pub Date : 2020-11-01 DOI: 10.1386/stic_00031_1

Daniel Pinti

{"title":"Panelling without walls: Narrating the border in Barrier","authors":"Daniel Pinti","doi":"10.1386/stic_00031_1","DOIUrl":"https://doi.org/10.1386/stic_00031_1","url":null,"abstract":"Brian K. Vaughan’s and Marcos Martin’s science fiction comics series, Barrier (2015‐18), is a five-issue story set on the US-Mexican border and contributing to the continuing public discourse surrounding undocumented immigration in the United States. First\u0000 appearing as a webcomic on Vaughan’s Panel Syndicate website and later published in comic book form by Image Comics, Barrier’s story of two characters, a Honduran refugee and a Texas rancher who struggle with and eventually come to rely on one another, depicts linguistic\u0000 and cultural boundaries and borders, as well as the frustration and hostility they can generate. As comics, Barrier’s very medium works by means of crossing boundaries and borders: binaries (like word and image) are complicated if not subverted, and the borders of each panel remain\u0000 closed yet open for sequential art to function as a medium for narrative. Moreover, as a bilingual webcomic crossing into print yet all but encouraging an ongoing virtual engagement through web searches and Google Translate, the series demands further creative energy from the reader in reimaging\u0000 various barriers, borders and positions of liminality. Although stories that represent various kinds of borders (social, cultural and geopolitical) and various ways of establishing, challenging, crossing or deconstructing borders are frequently found in graphic narratives, Barrier demonstrates\u0000 the south-west border to be one the medium of comics is especially suited to explore. Barrier is a work that takes as its very subject, to borrow a phrase from Ramzi Fawaz, ‘spatially drawn analogies’ in order to engage graphically matters of genuine political import. In\u0000 doing so, Barrier not only reflects obliquely on its own form, but also engages creatively with one of the most politically and culturally contested spaces in contemporary US culture.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45992791","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