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"Super-Girls of the Future: Girlhood and Agency in Contemporary Superhero Comics investigates girl superheroes published by DC and Marvel Comics in the first two decades of the twenty-first century, asking who the new and improved super-girls are and what potentials they hold for imagining girls as agents of change, in the genre as well as its socio-cultural context. As super-girls have grown increasingly numerous and diverse since the turn of the millennium, they provide an opportunity for reconsidering representations of gender and power in the superhero genre. This book offers the term 'agentic embodiment' as an analytical tool for critiquing the body politics of superhero comics, particularly concerning youth, femininity, whiteness, and violence. Grounded in comics studies and informed by feminist cultural studies, the book contributes a critical and hopeful perspective on the diversification of a genre often written off as irredeemably conservative and patriarchal. Super-Girls of the Future is a key title for students and scholars of comics studies, visual culture, US popular culture, and feminist criticism"--
Agent (Philosophy) in comics. --- Comic books, strips, etc --- Comic books, strips, etc. --- Feminism in comics. --- Girls in comics. --- Women superheroes in comics. --- History and criticism --- United States.
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L'art séquentiel - les bandes dessinées, les mangas, les romans graphiques - est aujourd'hui un des moyens privilégiés de témoigner des catastrophes et d'en transmettre la mémoire. Maus ou Gen d'Hiroshima, qui ont pour objet la Seconde Guerre mondiale, sont devenus des classiques, mais depuis les années 2000, le phénomène s'est accentué. Grâce à l'affirmation de la BD reportage, la compétence du neuvième art pour les sujets sérieux a été reconnue. L'art séquentiel aborde des catastrophes de nature différente : fictionnelles (des gags spectaculaires aux récits de fin du monde) ou historiques, comme les génocides du Rwanda et du Cambodge, naturelles, comme l'ouragan Katrina, nucléaires, comme l'accident de la centrale de Tchernobyl.
Catastrophes --- Bandes dessinées --- Dans les bandes dessinées. --- Thèmes, motifs. --- Violence in comics. --- Disasters in comics. --- Violence in comics
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Premier livre en français qui interroge l'oeuvre du dessinateur italien de bande dessinée Guido Crepax (1933-2003), cet essai questionne les révolutions graphiques et narratives qu'il introduit, l'avant-gardisme de ses créations, ses personnages féminins dont la mythique Valentina. Il déploie l'érotisme crépaxien à travers ses adaptations d'Histoire d'O., de Justine de Sade, d'Emmanuelle. et rend compte de la manière dont l'érotisme est vu comme le laboratoire d'une réflexion sur l'identité, le règne des images et le royaume de la sexualité en ses explorations illimitées.
Women in comics --- Erotic comic books, strips, etc. --- Crepax, Guido
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La fête peut être l'occasion d'une expérience singulière pour les corps dessinés. Elle est surtout une expérience collective où s'assemblent familles et groupes, amis et voisins, tribus et foules. Nul doute que les bals, les défilés, les manifestations, les concerts, les festivals, les cérémonies qui marquent les âges de la vie, ou encore les matchs de boxe, de basket ou de football sont autant de circonstances qui permettent de saisir la puissance expressive des corps. En effet, les rituels, les costumes, les accessoires, les lieux et les parcours, les poses et les comportements, ordonnés ou débridés, sont autant d'occasions d'observer les liens qui unissent les personnages selon les époques et les genres de la bande dessinée. La silhouette, que Georges Vigarello a étudiée, n'est pas la même au XIXe et au XXe siècle et elle se retrouve dans les récits graphiques qui traversent les imaginaires et les cultures.00L'ouvrage, pluridisciplinaire, entend souligner que la fête peut être tantôt inquiétante, tantôt porteuse d'une énergie ludique culminant lors du carnaval ou d'un vaste rassemblement. Mais qu'elle soit conformiste ou subversive, elle nécessite de porter une grande attention à toutes les configurations festives. Elle fait dialoguer, aussi bien dans les bandes dessinées franco- belges que dans les comics ou encore dans les mangas, les forces du rire et de l'effroi, du plaisir et de la retenue, de la codification et de la démesure. Pour mener à bien l'exploration du corps festif, défilent les scènes théâtrales, mais aussi les chants et la musique, du blues au rock, la danse, le sexe et la goinfrerie.
Comic books, strips; etc. --- Human body in comics --- Sex in comics --- Social aspects --- Comic books, strips, etc. --- Social aspects.
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"Queering Wolverine in Comics and Fanfiction: A Fastball Special interrogates the ways in which the Marvel Comics character Wolverine is a queer hero and examines his representation as an open, vulnerable, and kinship-oriented, queer hero in both comics and fanfiction. Despite claims that Wolverine embodies Reagan-era conservatism or hegemonic hyper-masculinity, Wolverine does not conform to gender or sex norms, not only because of his mutant status, but also because his character, throughout his publication history, resists normalization, making him a site for a queer-heroic futurity. Rather than focus on overt queer representations that have appeared in some comic forms, this book explores the queer representations that have preceded Wolverine's bisexual and gay characterizations, and in particular focuses on his porous and vulnerable body. Through important, but not overly analyzed storylines, representations of his open body that is always in process (both visually and narratively), his creation of queer kinships with his fellow mutants, and his eroticized same-sex relationships as depicted in fan fiction, this book traces a queer genealogy of Wolverine. This book is ideal reading for students and scholars of comics studies, cultural studies, gender studies, sexuality studies and literature"--
Sexual minorities in comics. --- LGBTQ people in comics. --- Fan fiction --- History and criticism. --- Wolverine --- United States --- History and criticism.
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This book explores the historical and cultural significance of comics in languages other than English, examining the geographic and linguistic spheres which these comics inhabit and their contributions to comic studies and academia.The volume brings together texts across a wide range of genres, styles, and geographic locations, including the Netherlands, Colombia, Greece, Mexico, Poland, Finland, Portugal, Ireland, and the Czech Republic, among others. These works have remained out of reach for speakers of languages other than the original and do not receive the scholarly attention they deserve due to their lack of English translations. This book highlights the richness and diversity these works add to the corpus of comic art and comic studies that Anglophone comics scholars can access to broaden the collective perspective of the field and forge links across regions, genres, and comic traditions.Part of the Global Perspectives in Comics Studies series, this volume spans continents and languages. It will be of interest to researchers and students of comics studies, literature, cultural studies, popular culture, art and design, illustration, history, film studies, and sociology.
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"[S]uperhero comics and science fiction...can and do function as transmission sites for what David Odorisio has called the "new gnosis." Superpowers are real. So are the altered states of knowing and excessively weird paranormal phenomena or "special effects"...that often lie behind the conception and within the very artistic execution of these genres on the page, on screen, and in life. This is, by far, the most important resonance between [my own Mutants and Mystics] and this book-the gnostic transmission. I would immediately add that the vast, vast majority of such psi-fi gnostics will never be known as such. They exist silently in the margins of the culture, which, paradoxically, is also somehow the center." -Jeffrey J. Kripal, from the Afterword Superhero phenomena exploded into 20th- and 21st-century popular culture by way of the visual medium of comic books. In an increasingly secular (yet spiritual) culture that has largely renounced "the gods" (and even religion), what does the return of the superhero through our own pop cultural mythologies say to us-or even about us? This collection of essays from leading and up-and-coming scholars in the fields of comparative mythology and depth psychology considers the return of the superhero as representative of our own unique emergent modern mythology: a wildly diverse pantheon that reflects back to us our most far-reaching hopes and (im)possible (super)human desires. In placing the interpretive tools of comparative mythology and depth psychology alongside the comic book phenomenon, a super-powered palette emerges that unveils the hidden potential of modern readers' own heightened imaginations. The essays in this anthology examine select comic book and superhero characters from the "Silver Age" 1960s through contemporary 21st-century adaptations and innovations, as readers are invited to discover and uncover what the (re)emergence of these perennial gods and goddesses have to say about our own secret super selves today. David M. Odorisio is Associate Core Faculty and Co-Chair of the Mythological Studies program at Pacifica Graduate Institute, USA. He is editor of Merton and Hinduism: The Yoga of the Heart (2021) and co-editor of Depth Psychology and Mysticism (2018). David teaches in the areas of psychology, religion, and comparative mysticism, and has published in numerous journals in the fields of Jungian and transpersonal psychology.
Psychology --- Religious studies --- Sociology of culture --- populaire cultuur --- psychologie --- religie --- Superheroes in comics.
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Contributions by David M. Ball, Scott Bukatman, Hillary Chute, Jean Lee Cole, Louise Kane, Matthew Levay, Andrei Molotiu, Jonathan Najarian, Katherine Roeder, Noa Saunders, Clémence Sfadj, Nick Sturm, Glenn Willmott, and Daniel Worden Since the early 1990s, cartoonist Art Spiegelman has made the case that comics are the natural inheritor of the aesthetic tradition associated with the modernist movement of the early twentieth century. In recent years, scholars have begun to place greater import on the shared historical circumstances of early comics and literary and artistic modernism. Comics and Modernism: History, Form, and Culture is an interdisciplinary consideration of myriad social, cultural, and aesthetic connections. Filling a gap in current scholarship, an impressively diverse group of scholars approaches the topic from a variety of disciplinary backgrounds and methodologies. Drawing on work in literary studies, art history, film studies, philosophy, and material culture studies, contributors attend to the dynamic relationship between avant-garde art, literature, and comics. Essays by both established and emerging voices examine topics as divergent as early twentieth-century film, museum exhibitions, newspaper journalism, magazine illustration, and transnational literary circulation. In presenting varied critical approaches, this book highlights important interpretive questions for the field. Contributors sometimes arrive at thoughtful consensus and at other times settle on productive disagreements. Ultimately, this collection aims to extend traditional lines of inquiry in both comics studies and modernist studies and to reveal overlaps between ostensibly disparate artistic practices and movements.
Graphic novels --- Philosophy in comics --- Modernism (Art) --- Philosophy --- History and criticism
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"In this groundbreaking collection of essays, interviews, and artwork, contributors draw upon a rich treasure trove of Jewish women's comics to explore the representation of Jewish women's bodies and bodily experience in pictorial narratives. Spanning national, cultural, and artistic borders, the essays shine a light on the significant contributions of Jewish women to comics"--
Jewish women --- Jewish literature --- Jewish women cartoonists. --- Jewish women in literature. --- In comics. --- History and criticism.
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In the popular imagination, zombies are scary, decomposing corpses hunting down the living. But since the 1930s, there have also been other zombies shambling across the panels of comic books--zombies that aren't quite what most people think zombies should be. There have been zombie slaves, zombie henchmen, talking zombies, beautiful zombies, and even zombie heroes. Using archival research into Golden Age comics and extended analyses of comics from the 1940s to today, Corpse Crusaders explores the profound influence early action/adventure and superheroic generic conventions had on shaping comic book zombies. It takes the reader from the 1940s superhero, The Purple Zombie, through 1950s revenge-from-the-grave zombies, to the 1970s anti-hero, Simon Garth ("The Zombie") and the gruesome heroes-turned-zombies of Marvel Zombies. In becoming immersed in superheroic logics early on, the zombie in comics became a figure that, unlike the traditional narrative uses of other monsters, actually served to defend the status quo. This continuing trend not only provides insight into the overwhelming influence superheroes have had on the comic book medium, but it also provides a unique opportunity to explore the ways in which zombiism and superheroism parallel each other. Corpse Crusaders explores the ways that truth, justice, and the American way have influenced the undead in comics and turned what is often a rebellious figure into one that works to save the day.
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