| Vol.1, No.1 |
Spring/Summer 1999 |
218 pages / 18 articles |
x |
| Vol.1, No.2 |
Fall 1999 |
250 pages / 21 articles |
x |
| Vol.2, No.1 |
Spring 2000 |
213 pages / 19 articles |
x |
| Vol.2, No.2 |
Fall 2000 |
331 pages / 19 articles |
Portfolio: 10 cartoons |
| Vol.3, No.1 |
Spring 2001 |
302 pages / 24 articles |
Portfolio: 14 cartoons |
| Vol.3, No.2 |
Fall 2001 |
344 pages / 24 articles |
Portfolio: 7 cartoons |
| Vol.4, No.1 |
Spring 2002 |
322 pages / 27 articles |
Portfolio: 12 cartoons |
| Vol.4, No.2 |
Fall 2002 |
375 pages / 22 articles |
Portfolio: 12 cartoons |
| Vol.5, No.1 |
Spring 2003 |
426 pages / 29 articles |
Portfolio: 13 cartoons Oleg Dergachov's Special: 8 cartoons |
| Vol.5, No.2 |
Fall 2003 |
526 pages / 34 articles |
1 special Index/Portfolio: 11 cartoons |
| Vol.6, No.1 |
Spring 2004 |
386 pages / 22 articles |
Portfolio: 10 cartoons |
| Vol.6, No.2 |
Fall 2004 |
26 articles |
Portfolio: 11 cartoons |
| Vol.7, No.1 |
Spring 2005 |
35 articles |
Portfolio: 16 cartoons |
| Vol.7, No.2 |
Fall 2005 |
416 pages / 22 articles |
Portfolio: 6 cartoons |
| Vol.8, No.1 |
Spring 2006 |
620 pages / 31 articles |
Portfolio: 15 cartoons |
| Vol.8, No.2 |
Fall 2006 |
508 pages / 22 articles |
Portfolio: 10 cartoons |
| Vol.9, No.1 |
Spring 2007 |
755 pages / 38 articles |
Portfolio: 11 cartoons |
| Vol.9, No.2 |
Fall 2007 |
643 pages / 29 articles |
Portfolio: 10 cartoons |
| Vol.10, No.1 |
Spring 2008 |
604 pages / 39 articles |
Portfolio: 15 cartoons |
| Vol.10, No.2 |
Fall 2008 |
872 pages / 41 articles |
x |
| Vol.11, No.1 |
Spring 2009 |
673 pages / 28 articles |
Portfolio: 17 cartoons |
| Vol.11, No.2 |
Fall 2009 |
528 pages / 26 articles |
Portfolio: 20 cartoons |
| Vol.12, No.1 |
Spring 2010 |
537 pages / 27 articles |
Portfolio: 14 cartoons |
| Vol.12, No.2 |
Fall 2010 |
711 pages / 38 articles |
Portfolio: 19 cartoons |
| Vol.13, No.1 |
Spring 2011 |
760 pages / 39 articles |
x |
| Vol.13, No.2 |
Fall 2011 |
750 pages / 46 articles |
x |
| Vol.14, No.1 |
Spring 2012 |
636 pages / 29 articles |
Portfolio: 11 cartoons |
| Vol.14, No.2 |
Fall 2012 |
504 pages / 30 articles |
Portfolio: 15 cartoons |
| Vol.15, No.1 |
Spring 2013 |
504 pages / 24 articles |
Portfolio: 20 cartoons |
| Vol.15, No.2 |
Fall 2013 |
794 pages / 42 articles |
x |
| Vol.16, No.1 |
Spring 2014 |
590 pages / 28 articles |
Portfolio: 21 cartoons |
| Vol.16, No.2 |
Fall/Winter 2014 |
686 pages / 37 articles |
x |
| Vol.17, No.1 |
Spring/Summer 2015 |
679 pages / 36 articles |
x |
| Vol.17, No.2 |
Fall/Winter 2015 |
663 pages / 34 articles |
Portfolio: 9 cartoons |
| Vol.18, No.1 |
Spring/Summer 2016 |
639 pages / 32 articles |
x |
| Vol.18, No.2 |
Fall/Winter 2016 |
557 pages / 28 articles |
Portfolio: 30 cartoons |
| Vol.19, No.1 |
Spring/Summer 2017 |
661 pages / 30 articles |
Portfolio: 9 cartoons |
| Vol.19, No.2 |
Fall/Winter 2017 |
497 pages / 23 articles |
x |
| Vol.20, No.1 |
Spring/Summer 2018 |
681 pages / 39 articles |
x |
| Vol.20, No.2 |
Fall/Winter 2018 |
632 pages / 31 articles |
x |
| Vol.21, No.1 |
Spring/Summer 2019 |
840 pages / 41 articles |
x |
| Vol.21, No.2 |
Fall/Winter 2019 |
503 pages / 21 articles |
portfolio: 11 cartoons |
| Vol.22, No.1 |
Spring/Fall |
606 pages / 26 articles |
x |
|
| Vol. 1, No. 1, Spring/Summer 1999 |
| John A. Lent |
1-3 |
Editor's Note: Finally, an International Journal for Comic Art |
| Joseph Witek |
4-16 |
Comics Criticism in the United States; A Brief Historical Survey |
Matthew Lombard,
John A. Lent,
Linda Greenwood,
Asli Tunc |
17-32 |
A Framework for Studying Comic Art |
| Allen Ellis |
33-41 |
Comic Art in Scholarly Writing: A Citation Guide |
| Peter Duus |
42-56 |
The Marumaru Chinbun and the Origins of the Japanese Political Cartoon |
| Gene Kannenberg, Jr. |
57-75 |
Proving "Silas" an Artist: Winsor McCay's Formal Experiments in Comics and Animation |
| Mike Kidson |
76-89 |
William Hogarth: Printing Techniques and Comics |
| David A. Berona |
90-103 |
Breaking Taboos: Sexuality in the Work of Will Eisner and the Early Wordless Novels |
| Leif Packalen |
104-121 |
Comics in the Development of Africa |
| Bart Beaty |
122-139 |
Featuring Stories by the World's Greatest Authors: Classics Illustrated and the "Middlebrow Problem" in the Postwar Era |
| Pascal Lefevre |
140-149 |
Recovering Sensuality in Comic Theory |
| John A. Lent |
150-156 |
The Horrors of Cartooning in Slim's Algeria |
| David E. Goldweber |
157-170 |
Mr. Punch, Dangerous Savior |
| Waldomiro C. S. Vergueiro |
171-186 |
Children's Comics in Brazil: From Chiquinho to Monica, A Difficult Journey |
| Nadilson Manoel da Silva |
187-204 |
Brazilian Adult Comics: The Age of Market |
| Spiros Tsaousis |
205-218 |
Postmodern Spatiality and the Narrative Structure of Comics |
| Vol. 1, No. 2, Fall 1999 |
| John A. Lent |
1 |
Editor's Note |
| Jose Alaniz |
4 |
Towards a History of a ‘Stalled’ Medium: Comics in Russia |
| Marc Singer |
29 |
Invisible Order: Comics, Time and Narrative |
| Anne Rubenstein |
41 |
Mexican Magazine Censors Versus the United States Marines: A Case Study of Transnational Reception |
| Michael A Chaney |
55 |
The Dismantling Evolution of Heroes: Aquaman’s Amputation |
| John A. Lent |
66 |
Poland’s Malgorzata Tabaka, Drawer of Lyrical Satirical Cartoons |
| Daniel Patanella |
76 |
The Persuasive Techniques and Psychological Validity of Seduction of the Innocent |
| Igor Prassel |
86 |
Slovenian Comics |
| Allen Douglas, Fedwa Malti-Douglas |
98 |
Islamic “Classics Illustrated”: Regendering Medieval Philosopy in a Modern Tunisian Strip |
| Joost Pollmann |
107 |
An Art of the Real: About the Adulthood of Contemporary Comics |
| Turgut Çeviker |
127 |
The City and Housing in Turkish Cartoons |
| Mark C. Rogers |
132 |
Licensing Farming and the American Comic Book Industry |
| Michael G. Rhode |
143 |
The Commercialization of Comics: A Broad Historical Overview |
| Francis B. Nyamnjoh |
171 |
Press Cartoons and Politics in Cameroon |
| Caridad Blanco de la Cruz |
191 |
The Engineering of Humor |
| Stanford W. Carpenter |
195 |
The Tarzan vs. Predator Comic Book Mini-Series: An Ethnographic Analysis |
| |
216 |
New Voices in Comics” 1998: A Roundtable |
| John A. Lent |
238 |
The Printed Word |
| Mark C. Rogers |
242 |
Reviews |
| Gene Kannenberg, Jr. |
244 |
Critical Closure |
| |
248 |
Correspondence |
| Vol. 2, No. 1, Spring 2000 |
| John A. Lent |
1-2 |
Editor's Note |
| Leonard Rifas |
3-32 |
Cold War Comics |
| Annette Matton |
33-43 |
Reader Responses to Doug Murray's The 'Nam |
| Wai-ming Ng |
44-56 |
A Comparative Study of Japanese Comics in Southeast Asia and East Asia |
| Andrew Matzner |
57-75 |
Not a Pretty Picture: Images of Married Life in Thai Comic Books |
| Old Frahm |
76-84 |
Weird Signs: Aesthetics of Comics as a Parody |
| Maurice Horn |
85-89 |
American Comic Strips And Silent Seriable: A Prarallel |
| Zdravko Zupan |
90-101 |
The Golden Age of Serbian Comics Belgrade Comic Art 1935-1941 |
| John A. Lent |
102-108 |
East European Cartooning: Differences over Time and Space |
| Oleg Dergatchov |
109-116 |
Leonid Tishkov's Dabloids: Russian Myth in Comics |
| Michael Hill |
117-132 |
Outside Influence / Local Color: The Australian Small Press |
| Anne N. Thalheimer |
133-143 |
Terrorists, Bitches, and Dykes: Late 20th Century Lesbian Comix |
| Barbara Jo Lewis |
144-158 |
Cyborg Might: Conceptions of Power in Comic Book Art |
| Libbie McQuillan |
159-177 |
Between the Sheets at Pilote: 1968-1973 |
| Caridad Blanco |
178-189 |
Always the Other One: Salomon |
| Ana Merino |
190-197 |
Inodoro Pereyra, A "Gaucho" in the Pampa of Paper and Ink: Folkloric and Literary Intertextuality and Its Reformulations in Argentinean Comics |
| Oyin Medubi |
198-206 |
Leadership Stereotypes and Lexical Choices: An Example of Nigerian Cartoons |
| John A. Lent |
207-208 |
The Printed Word |
| Mike KidsonMichael G. Rhode |
209-213 |
Reviews |
| Vol. 2, No. 2, Fall 2000 |
| David R. Spencer |
1-32 |
Double Vision: The Victorian Bi-cultural World of Henri Julien |
| Wendy Siuyi WongLisa M. Cuklanz |
33-53 |
The Emerging Image of the Modern Woman in Hong Kong Comics of the 1960s &1970s |
| Francis Nyamnjoh |
54-76 |
Zapiro and South African Political Cartooning |
| Jordan J. Titus |
77-99 |
Gnashing of Teeth: The Vagina Dentata Motif in "Bad Girl" Comics |
| Chris York |
100-110 |
All in the Family: Homophobia and Batman Comics in the 1950s |
| Thierry Groensteen |
111-120 |
Gustave Dore's Comics |
| Kalman Rubovszky |
121-134 |
The Hungarian Comic Strip at the Turn of the Millennium |
| Mel Gibson |
135-151 |
Reading as Rebellion: The Case of the Girls' Comic in Britain |
| Ruth Boyask |
152-163 |
Reading Community in Funtime Comics: A New Zealand Narrative |
| Waldomiro C. S. Vergueiro |
164-177 |
Brazilian Superheroes in Search of Their Own Identities |
| Jeff Williams |
178-190 |
The Evolving Novel: the Comic-Book Medium as the Next Stage |
| Paul P. Somers, Jr. |
191-205 |
Krauts Hinaus: Graphic Stereotypes of German-Americans Before and During World War I |
| Eric Weitzel |
206-232 |
Of Pop Culture Pleasures and Radical Aesthetics: The Influence of Popular Comic Strips on Picasso's Political Art |
| Jongmin ParkSung Wook Shim |
233-247 |
The Presidential Candidates in Political Cartoons: A Reflection of Cultural Differencs between the United States and Korea |
| Michael L. MaynardEdward Lordan |
248-264 |
Laughing at the Glass Ceiling in The Wall Street Journal Cartoons |
| Michael RhodeTom FurtwanglerDavid Wybenga |
265-306 |
Stories Without Words: A Bibliography with Annotations |
| John A. Lent |
307-309 |
The Printed Word |
|
310-321 |
Reviews |
| Gene Kannenberg, Jr. |
322-324 |
Critical Closure |
|
325-331 |
Portfolio |
| Vol. 3, No. 1, Spring 2001 |
| John A. Lent |
1-2 |
Editor's Note |
| John A. Lent |
3-8 |
Comic Art: Some Global Issues |
| Joost Pollman |
9-21 |
Shaping Sounds in Comics |
| Jeremy Allen |
22-37 |
A Virtual Revolution: Australian Comic Creators and the Web |
| Tim Blackmore |
38-58 |
What a Picnic!: Swamp Ecology in Walt Kelly's Pogo |
| Lim Cheng Tju |
59-76 |
"Sister Art" - A Short History of Chinese Cartoons and Woodcuts in Singapore |
| David E. Goldweber |
77-85 |
The Function of Dreams and Stories in The Sandman |
| Pierre L. Horn |
86-92 |
American Graffiti - French Style: Three Comic Strip Artists Look at Pre-War America |
| Mark C. Rogers |
93-108 |
Ideology in Four Colours: British Cultural Studies Do Comics |
| Jean-Marie Bertin |
109-119 |
Thoughts and Views on Raymond Peynet, French Artist and Universal Poet |
| Sheng-mei Ma |
120-148 |
The Nine Lives of Blackhawk's Oriental: Chop Chop, Wu Cheng, and Weng Chan |
| Sue RalphBeth HallerTim Lees |
149-169 |
"Off Me Head": Cartoons from English Newspapers Concerning the Glenn Hoddle Affair |
| Peter Nieuwendijk |
170-190 |
Several Ways of Making a Cartoon (with 26 Examples) |
| Andy Mason |
191-197 |
Africa Ink: Cartoonists Working Group, Towards an Association of African Cartoonists: Report of an International Workshop on Cartoon Journalism and Democratisation in Southern Africa |
| John A. Lent |
198-202 |
How To Withstand War, the Rastko Ciric Way |
| Chris Gage |
203-209 |
Can You Dig It? The World of Fast Willie Jackson |
| William Foster, III |
210-216 |
Interview with Bertram Fitzgerald: The Life and Times of Fast Willie Jackson (1976-1977) |
| M. Thomas Inge |
217-250 |
Comic Strips: A Bibliographic Essay |
| Lucy Shelton Caswell |
251-262 |
Resources for Scholars at The Ohio State University Cartoon Research Library |
| Michael Rhode Ray Bottorff, Jr. |
263-274 |
The Grand Comics Database (GCD): An Evolving Research Tool |
| John A. Lent |
275-277 |
The Printed Word |
| Peter CooganMichael Rhode |
278-282 |
Book Reviews |
| Michael Rhode |
283-288 |
Exhibition Reviews |
| Gene Kannenberg, Jr. |
289-291 |
Critical Closure |
|
292-302 |
Portfolio |
| Vol. 3, No. 2, Fall 2001 |
| [Latin American Comic Art: A Symposim] |
| John A. Lent |
1-22 |
An Historical and Contemporary Overview |
| Andres Accorsi |
23-43 |
Argentine Comics |
| Jeff Williams |
44-55 |
Argentine Comics Today: A Foreigner's Perspective |
| Ana Merino |
56-69 |
Oesterheld, the Literary Voice of Argentine Comics |
| Waldomiro C. S. Vergueiro |
70-78 |
Brazilian Pornographic Comics: A View on the Eroticism of a Latin American Culture in the Work of Artist Carlos Zefiro |
| Perucho Mejia G. |
79-82 |
Comic Art in Colombia: a Short Historical Journey |
| Dario Mogno |
83-105 |
Parallel Lives: Comics and Animated Cartoons in Cuba From Beginning to Present |
| Caridad Blanco de la Cruz |
106-115 |
Ares: An Undomesticated Humorist |
| Daniel Puch |
116-126 |
Cartooning in Uruguay: Not Yet the White Flag |
| Gisel Gil-Egui |
127-137 |
Venezuela's Alonso and the Art of leaving It All to Art |
|
|
|
| Beatrice Marechal |
138-150 |
"The Singular Stories of the Terashima Neighborhood": A Japanese Autobiographical Comic |
| Fusami Ogi |
151-161 |
Beyond Shoujo, Blending Gender:Subverting the Homogendered World in Shoujo Manga (Japanese Comics for Girls) |
| Nhu-Hoa Nguyen |
162-174 |
The Rhetoric of Parody in Claire Bretecher's Le Destin de Monique |
| Philippe Sohet |
175-188 |
Figures and Representation of the Fantastic in Andreas's Work |
| Kerry Soper |
189-201 |
Gentrifying the Alternatives or Alternifying the Mainstream? Consolidation, Incorporation, and the State of Comic Strip Satire in Alternative Weeklies, 1985-2000 |
| Bart Beaty |
202-221 |
Fredric Wertham Faces His Critics: Contextualizing the Postwar Comics Debate |
| Patricia Watson ShariffHilary Janks |
222-238 |
Changing Stories: The Making and Analysis of a Critical Literacy Romance Comic |
| Mel Gibson |
239-249 |
"Wham! Bam! The X-Men Are Here":The British Broadsheet Press and the X-Men Film and Comic |
| Mark David Nevins |
250-294 |
"New Voices in Comics III" (ICAF 2000) |
| M. Thomas Inge |
295-328 |
Comic Books, A Bibliographic Essay |
| John A. Lent |
329-331 |
The Printed Word |
| David Berona |
332-334 |
Book Review |
| Michael Rhode |
335 |
Exhibition Review |
| Gene Kannenberg, Jr. |
336-337 |
Critical Closure |
|
338-343 |
Portfolio |
| Vol. 4, No. 1, Spring 2002 |
| John A. Lent |
1-4 |
Editor's Note |
| [There at the Beginning: Early Days of Comics Scholarship] |
| John A. Lent |
5 |
Introduction |
| Maurice Horn |
6-22 |
How It All Began, or Present at the Creation |
| Alvaro de Moya |
23-25 |
Pioneering in Brazilian Quadrinhos, as a Cartoonist and Researcher |
| Giulio C. Cuccolini |
26-39 |
In Search of Lost Time or Time Regained |
| Arthur Asa Berger |
40-47 |
Is This the Kind of Thing That Serious Academics Do? |
| Wolfgang J. Fuchs |
48-59 |
The Story of an "Anatomy" That Gave Recognition to Comics as a Mass Medium |
| Will Eisner |
60-63 |
Comics and Electronics |
| Martin Barker |
64-77 |
Kicked into the Gutters: or, "My Dad Doesn't Read Comics, He Studies Them." |
| Trina Robbins |
78-83 |
How I Became a Herstorian |
| John A. Lent |
84-96 |
Almost Left at the Gate: An Arrhythmic Career in Comics Scholarship |
|
|
|
| David Ehrlich |
97-133 |
Growing up with Dinosaurs: An Interview with Steve Bissette |
| Randy Duncan |
134-142 |
The Weaver's Art: An Examination of Comic Book "Writing" |
| Jeffrey A. Miller |
143-150 |
Comics Narrative as Striptease |
| Trina Robbins |
151-162 |
No Man Is My Master: American Romance Comics of the 1970s and the Women's Liberation Movement |
| K. A. Laity |
163-169 |
Construction of a "Female Hero": Iconography in Les aventures extraordinaires d'Adele Blanc-Sed |
| John A. Lent |
170-204 |
New Zealand -- Exporter of Mainstream Cartoonists, Haven for Alternative Comics |
| Fabrice Leroy |
205-217 |
Absent-Mindness, Mustaches, and the Cold War: The Image of Science in Herge's Professor Calculus and Franquin's Count of Champignac |
| Oleg Dergachov |
218-227 |
Rosta Windows: As a Phenomenon of Russian Revolutionary Comic Strips |
| Stanford W. Carpenter |
228-238 |
Alex Simmons and the African-American Soldier of Fortune Known as Blackjack: A Case Study in Independent Comic Book Publishing |
| Brian Cremins |
239-247 |
"Why have you allowed me to see you without your mask?": Captain America #133 and the Great American (Protest) Novel |
| Nadilson Manoel da Silva |
248-268 |
Viz Comic: Carnival and Commercialization |
| A. David Lewis |
269-300 |
Kingdom Code |
| John A. Lent |
301-304 |
The Printed Word |
| David BeronaRocco Versaci |
305-309 |
Book Reviews |
| Micheal Rhode |
310 |
Exhibition Reviews |
| Gene Kannenberg, Jr. |
311-312 |
Critical Closure |
|
313-322 |
Portfolio |
| Vol. 4, No. 2, Fall 2002 |
| Mark David Nevins |
1-52 |
"Drawing from Life": An Interview with Joe Sacco |
| Micheline Maupoint |
53-69 |
Plantu: The Editorial in Caricatures: An Analysis of the Role and the Impact of Plantu's Political Cartoons in the French Daily Newspaper, Le Monde |
| Hector D. Fernandez L'Hoeste |
70-83 |
Resurrecting the Nation Through the Eyes of a Native: The Case of Turey el Taino |
| John A. Lent |
84-123 |
Fear [of] and Loafing [with] Ralph Steadman in Turkey |
| Natsu Onoda |
124-138 |
Drag Prince in Spotlight: Theatrical Cross-Dressing in Osamu Tezuka's Early Shojo Manga |
| Rik Sanders |
139-156 |
The Changing of Dutch Comics: Some Pluses and Minuses |
| Waldomiro VergueiroLucimar Ribeiro Mutarelli |
157-167 |
Forging a Sustainable Comics Industry: A Case Study on Graphic Novels as a Viable Format for Developing Countries, Based on the Work of a Brazilian Artist |
| William H. Foster III |
168-185 |
The Image of Blacks (African Americans) in Underground Comix: New Liberal Agenda or Same Racist Stereotypes? |
| Christopher Murray |
186-208 |
Superman vs Imago: Superheroes, Lacan, and Mediated Identity |
| Reiko Tomii |
209-223 |
Akasegawa Genpei's The Sakura Illustrated: When the Good Old Man Makes a Dead Tree Flower and the Bad Old Man Throws a Fire Bomb |
| Maurice Horn |
224-228 |
The Lady, or the Dragon? |
| Richard Ostrom |
229-240 |
Bali's Transition from a Traditional to a Modern Society: Some Op-Art Warnings about the Trade-offs |
| Michael L. Maynard |
241-260 |
Friendly Fantasies in Japanese Advertising: Persuading Japanese Teens through Cartoonish Art |
| A. David Lewis |
261-275 |
The Secret, Untold Relationship of Biblical Midrash and Comic Book Retcon |
| Jae-Woong Kwon |
276-286 |
Korean Cartoonists' Reactions to Bush's "Axis of Evil" |
| John A. Lent |
287-291 |
Larry Alcala and the Depiction of Filipinos As They Are |
| Wendy Kail |
292-314 |
Clifford K. Berryman: Drawing The Line |
| Hong-Chi Shiau |
315-326 |
American Imported Animation in Taiwan: A Case Study of South Park |
| John A. Lent |
327-329 |
The Printed Word |
| Marc Singer Charles Hatfield Rocco Versaci Mark Rogers Jeff Williams Michael Rhode A. David Lewis |
330-352 |
Book Reviews |
| Michael Rhode |
353-354 |
Exhibition Review |
| Gene Kannenberg, Jr. Michael Rhode |
355-358 |
Critical Closure |
|
359-368 |
Portfolio |
| Vol. 5, No. 1, Spring 2003 |
| John A. Lent |
1-2 |
Editor's Note |
| [Pioneers of Comic Art Scholarship Series] |
| David Kunzle |
3-7 |
Kunzle and the Comic Strip |
| Sture Hegerfors |
8-20 |
Sture Hegerfors and Swedish Comics Scholarship |
| M. Thomas Inge |
21-30 |
Portrait of the Professor as a Failed Cartoonist |
| Ana Merino |
31-73 |
Gary Groth and Kim Thompson: Interviews with the Heart of the Alternative Comics Industry |
|
|
|
| Fredrik Stromberg |
74-94 |
Swedish Comics and Comics in Sweden |
| Jigal Beez |
95-114 |
They Are Crazy These Swahili: Komredi Kipepe in the Footsteps of Asterix; Globalization in East African Comics |
| Nhu-Hoa NguyenPhilippe Sohet |
115-133 |
Social Criticism in a Singular Mode of Expression: The Art of New Realist Cartoonist Chantal Montellier |
| Allen DouglasFedwa Malti-Douglas |
134-146 |
Tardi and Daeninckx: Comic Strips, Detective Novels, and World War I |
| Deborah Shamoon |
147-160 |
Focalization and Narrative Voice in the Novels and Comics of Uchida Shungiku |
| Natsu Onoda |
161-194 |
Tezuka Osamu and the Star System |
| Brad Prager |
195-213 |
Modernism in the Contemporary Graphic Novel: Chris Ware and the Age of Mechanical Reproduction |
| M. Thomas Inge |
214-219 |
William Faulkner and the Graphic Novel |
| Hector D. Fernandez L'Hoeste |
220-230 |
The Mystery of Kaliman, el Hombre Increible: Race and Identity in Mexican Comics |
| Richard Ostrom |
231-243 |
The changed Function of Political Cartoonists in Indonesia: From Challenging a Repressive Regime to Promoting Democratic Reforms |
| Kenneth D. Nordin |
244-255 |
The Editorial Comic Art of Clay Bennett |
| John A. Lent |
256-289 |
Cartooning in malaysia and Singapore: The Same, but Different |
| Ron Provencher |
290-291 |
Remembering "The Chief," Rejab Had: Cartoonist, Story Teller, Teacher, and Philosopher |
| Muliyadi Mahamood |
292-304 |
An Overview of malaysian Contemporary Cartoons |
| Mel Gibson |
305-324 |
"You Can't Read Them, They're for Boys!" British Girls, American Superhero Comics and Identity |
| Chetan Desai |
325-333 |
The Krishna Conspiracy |
| Craig Fischer |
334-354 |
Fantastic Fascism? Jack Kirby, Nazi Aesthetics, and Klaus Theweleit's Male Fantasies |
| Live Action Cartoonists |
355-365 |
Have Markers, Will Travel: Live-Action Cartoonists in the Age of Multimedia Performances and Online Comics |
| Martha H. Kennedy |
366-373 |
Early Creative Responses to 9-11 by Comic Artists: Panelists Share Personal Experiences |
| John A. Lent |
374-376 |
The Printed Word |
| David Kunzle |
377-384 |
Review Essay |
| David Kunzle Leonard Rifas Marc Singer |
385-393 |
Book Reviews |
| Bart Beaty Maurice Horn Jennifer Wood Michael Hill Michael Rhode |
394-405 |
Exhibition / Festival Reviews and Report |
| Gene Kannenberg, Jr. |
406-407 |
Critical Closure |
|
408-426 |
Portfolio |
| Vol. 5, No. 2, Fall 2003 |
| John A. Lent |
i |
Editor's Note |
| [Spanish Comics: A Symposim] |
| Ana Merino |
3-4 |
Introduction |
| Viviane Alary |
5-27 |
Briefness in Spanish Comics: A Few Landmarks |
| Manuel Barrero |
28-49 |
The Evolution of Children's Comics in Spain |
| Jesus Jimenez Varea |
50-65 |
You Can Never Win: An Analysis of Comic Strips by the Spanish Cartoonist Penarroya |
| Anne Magnussen |
66-84 |
Spanish Comics and Family |
| Pedro Perez del Solar |
85-101 |
Old Fashions for New Times: El Desencanto in Spanish Comics |
| Juan Garcia Cerrada |
102-109 |
The Graphic Humor Program of the General Foundation of the University of Alcala |
| Miguel Alejo |
110-118 |
Chumy Chumez: The Work of Jose Maria Gonzalez Castrillo |
| Ernesto J. and Gabriel E. Abad |
119-137 |
Cels Pinol: The Comics Fan and The Author |
| Alvaro Pons |
138-153 |
Between Avant-garde and Commerciality: The Dichotomy of New Alternative Publishing Companies in Spain |
|
|
|
| Kenneth D. Nordin |
154-167 |
Cartoonist Dick Locher in Retrospect: His Life and Work |
| Bart Beaty |
168-183 |
The Contemporary Field of European Comics: The Example of Lewis Trondheim |
| Wai-ming Ng |
184-193 |
Japanese Elements in Hong Kong Comics: History, Art, and Industry |
| Muliyadi Mahamood |
194-204 |
Japanese Style in Malaysian Comics and Cartoons |
| [Pioneers of Comic Art Scholarship Series] |
| Bill Blackbeard |
205-215 |
The Four Color Paper Trail: A Look Back |
| Fusami Ogi |
216-232 |
Shimizu Isao: A Pioneer in Japanese Comics (Manga) Scholarship |
| Sol M. Davidson |
233-240 |
Culture &the Comic Strips |
| Donald Ault |
241-260 |
In the Trenches, Taking the Heat: Confessions of a Comics Professor |
|
|
|
| Benjamin F. Towle |
261-280 |
An Examination of Historiography in the Comics Medium |
| Joseph Witek |
281-295 |
Long Form/Short Form: Narrative Strategies of Some 9/11 Comics |
| A. David Lewis |
296-311 |
One for the Ages: Barbara Gordon and the (Il-)Logic of Comic Book Age-Dating |
| Tomas Prokupek |
312-338 |
Czech Comics |
| Brian Cremins |
339-350 |
"I Asked for Water (She Gave Me Gasoline)": Tim Truman's Scout and Social Satire in the Independent Comics of the 1980s |
| John A. Lent and Xu Ying |
351-366 |
Chinese Women Cartoonists: Historical and Contemporary Perspectives |
| Christopher Murray,Joyce A. Walker, andDouglas Webster |
367-391 |
My Mouth Is Quiet, but My Mind Is Noisy: The Work of John Watson |
| Jason Tondro |
392-424 |
Angel Passage: An Edition Lyris by Alan Moore |
| Kinko Ito |
425-436 |
Japanese Ladies' Comics as Agents of Socialization: The Lessons They Teach |
| John A. Lent |
437-440 |
The Printed Word |
| David Kunzle |
441-449 |
Review Essay |
| David Berona |
450-452 |
Book Review |
| Mark David Nevins,Christian Hill,Susannah Mandel,Marc SingerMartha H. Kennedy |
453-467 |
Exhibitions Reviews |
| Gene Kannenberg, Jr. |
468-469 |
Critical Closure |
| John A. Lent |
470-483 |
Tootin' Our Own Horn |
| Jae-Woong Kwon, John A. Lent |
484-519 |
International Journal of Comic Art Index, Volumes 1-5 (1999-2003) |
|
520-526 |
Portfolio |
| Vol. 6, No. 1, Spring 2004 |
| Christian Hill |
1-17 |
Narrative Aesthetics of Time and Space in the Comics Series, Broussaille, by Frank and Bom |
| Clare Tufts |
18-36 |
Vincent Krassousky - Nazi Collaborator or Naive Cartoonist? |
| Adam Cathcart |
37-55 |
Cruel Resurrection: Chinese Comics and the Korean War |
| John A. Lent |
56-76 |
India's Amar Chitra Katha: "Fictionalized" History or the Real Story? |
| Jigal Beez |
77-95 |
Katuni Za Miujuza: Fantastic Comics from East Africa |
| Levi Obonyo |
96-116 |
Cartoonists in Kenya: Past, Present, and Future |
| Bert Hansen |
117-147 |
True-Adventure Comic Books and American Popular Culture in the 1940s: An Annotated Research Bibliography of the Medical Heroes |
| Hector D. Fernandez L'Hoeste |
148-162 |
Vladdo, Aleida, and the Politics of Gender in War-Torn Colombia |
| Jeffrey F. Taffet |
163-190 |
Selling the Alliance: US Propaganda vs. Chilean Editorial Cartons during the 1960s |
| David R. Spencer |
191-220 |
The Trojan Horse: Free Trade, the Americans, and Canadian Political Cartoonists, 1849-1879 |
| Marco Tulio Vilela / Waldomiro Vergueiro |
221-235 |
The Brazilian X-Men: How Brazilian Artists Have Created Stories That Stan Lee Does Not Know About |
| Marc Singer |
236-249 |
Unwrapping The Birth Caul: Word, Performance, and Image in the Comics Text |
| Masao Yokota |
250-265 |
Satoshi Kon's Transition from Comics to Animation |
| Jeffrey Miller |
266-280 |
A Response to Kobayashi Yoshinori's On Taiwan |
| Sueen Noh |
281-298 |
The Gendered Comics Market in Korea: An Overview of Korean Girls' Comics, Soonjung Manhwa |
| David A. Berona |
299-315 |
Pumping Iron: Male Stereotypes in Delisle's Albert et les Autres |
| Kent Worcester (Transcribed) |
316-328 |
Words and Pictures in the Classroom: A Symposium |
| Daiwon Hyun |
329-339 |
Promoting the Digital Content Industry in Korea, Focusing on Exporting Animation |
| John A. Lent |
340-343 |
The Printed Word |
| Craig Fisher / Mark C. Rogers / Charles Hatfield / Michael Rhode |
344-357 |
Book Reviews |
| David A. Berona / Ron Stewart / Michael Rhode / Trina Robbins / Michel Kempeneers |
358-367 |
Exhibition Reviews |
| Gene Kannenberg, Jr |
368-372 |
Critical Closure |
|
373-379 |
Portfolio |
| Vol. 6, No. 2, Fall 2004 |
| Patch Adams, MD |
1-29 |
My Life as a Cartoon Character |
| Fabio Gadducci |
30-77 |
Notes on the Early Decades of Italian Comic Art |
| Maurice Horn |
78-89 |
Guido Crepax: A Memorial Tribute |
| Harlen Makemson |
90-117 |
Private Vice and Public Virture: Political Cartoons as "Opprobrious Discourse" Against Grover Cleveland During the 1884 Presidential Campaign |
| Karon Reinboth Speckman |
118-137 |
The Bush-Blair Duo Before 2003 Iraqi War: Cartoons from London Newspapers |
| Leonard Rifas |
138-171 |
Globalizing Comic Books from Below: How Manga Came to America |
| Matthias Schneider(trans. Annette Gentz) |
172-181 |
Der Fuehrer's Animation -- Animation and Propaganda in the German Reich |
| Kathrin Bower |
182-194 |
Holocaust Avengers: From "The Master Race" to Magneto |
| Pascal Lefevre |
195-204 |
The Cold War and Belgian Comics (1945-1991) |
| Joel E. Vessels |
205-221 |
What Your Children Are Reading |
| Fabrice Leroy / Livio Belloi |
222-237 |
The Cartoonist as Iconoclast: Flaubertian Irony and Media Parody in Pierre La Police's Comics |
| Dominique Le Duc |
238-253 |
XX1st Century Graphic Novels: A Voyage with Edmond Baudoin |
| Marc Weidenbaum |
254-265 |
The Maestro of Belleville: Benoit Charest |
| Barbara Postema |
266-272 |
Memories That Don't Weaken: Seth and Walter Benjamin |
| David Ehrlich |
273-284 |
An Interview with Dan Mitsui, Dartmouth College's Graphic Novelist |
| Edward Portnoy |
285-303 |
Follow My Nose: Self-Caricature in Cartoons of the Yiddish Press |
| Jose Alaniz |
304-324 |
Supercrip: Disability and the Marvel Silver Age Superhero |
| Tim Blackmore |
325-349 |
300 AND TWO: Frank Miller and Daniel Ford Interpret Herodotus's Thermopylae Myth |
| Stephen Rauch |
350-363 |
"We Have All Been Sentenced": Language as Means of Control in Grant Morrison's Invisibles |
| James Bucky Carter |
364-375 |
"There'll Be Others Converging": Fighting American, The Other, and "Governing" Bodies |
| Masao Yokota |
376-391 |
A Master Animator: Yasuji Mori's Works for Children |
| Kinko Ito |
392-403 |
Growing Up Japanese Reading Manga |
| Vivian Zenari |
404-414 |
Sluts for a Story: Narrative and Comics in Patricia Seaman's New Motor Queen City |
| Lim Cheng Tju |
415-430 |
Chop Suey -- Cartoons about the Japanese Occupation and National Education in Singapore |
| Carmen Moran |
431-444 |
Allies Cartoon Humor in World War II: A Comparison of "Willie and Joe" and "Bluey and Curley" |
| Mark T. Rusch |
445-455 |
The Deranged Episode: Ironic Dissimulation in the Domestic Scenes of Edward Gorey's Short Stories |
| John A. Lent |
456-457 |
The Printed Word |
| A. David Lewis / Ana Merino |
458-463 |
Book Reviews |
| Ivy Garlitz / Roger Sabin / Michael Rhode / Stephen Rauch |
464-471 |
Exhibition Reviews |
| Gene Kannenberg, Jr. |
472-476 |
Critical Closure |
|
477-483 |
Portfolio |
| Vol. 7, No. 1, Spring 2005 |
| John A. Lent |
1 |
Will Eisner (1917-2005), a Friend of Comics Scholarship |
| [Late/Post-Soviet Russian Komiks: A Symposium]edited by Jose Alaniz |
| Jose Alaniz |
5-21 |
Introduction or, Why I Call Them Komiks |
| Vitor Erofeyev (Jose Alaniz) |
22-38 |
Comics and the Comics Disease |
| Denis Chekalov (Jose Alaniz) |
39-55 |
Comics: The World, If You Blink Slowly |
| Oleg Semenyuk (Jose Alaniz) |
56-63 |
Comics Art in the USSR: A Short Overview (1917-1985) |
| Philippe Morin |
64-66 |
Komiks and Russian Youth Culture |
| Ivan Mitrevski |
67-74 |
Russian Komiks and the Internet "Underground" |
| (Seth Graham) |
75-94 |
Comics in Education: Are They Useful? A Roundtable prepared by Svetlana Masimova |
|
95-102 |
Interview: Andrei Snegirov |
|
103-109 |
Interview: The Tema Studio |
| Jose Alaniz |
110-125 |
The "Quintessentially Russian" Komiks of Zhora Litichevsky |
| Margo Bistis |
126-148 |
Bad Art: The Decline of Academic Art in the Caricatural Salon |
| Brandon W. Bollom &Shawn N. Mckinney |
149-179 |
Alphonse Marie Mucha: Posters, Panels...and Comics Books? |
| Eric A. Holmes |
180-187 |
Horror, Crime, and Red Dupes: The Agitative Rhetoric of Entertaining Comics |
| Monica Fontana |
188-205 |
From a Figure on the Left to a Caricature of the Right: Changes in the Public Image of Lula |
| Hector D. Fernandez L'Hoeste |
206-229 |
Flopi Bach: A Benevolent Misogyny? |
| Richard De Angelis |
230-249 |
Of Mice and Vermin: Animals as Absent Referent in Art Spiegelman's Maus |
| Lyombe Eko |
250-269 |
Beasts of No Nation: African Satirical Press "Re-Presentations" of Political Leaders in the Post-Cold War Era |
| Matthew T. Jones |
270-286 |
Reflexivity in Comic Art |
| Rob Lendrum |
287-303 |
Queering Super-Manhood: Superhero Masculinity, Camp and Public Relations as a Textual Framework |
| Hector D. Fernandez L'Hoeste |
304-316 |
How To Face Neoliberalism and Make It as a Mexican Cartoonist: Oscar Gonzalez Loyo and the ka-Boom! Experience |
| [Asian Animation, Online Cartooning, and Gaming: A Symposium] edited by John A. Lent |
| John A. Lent |
319 |
Introduction |
| Jae-Woong Kwon |
320-350 |
New Type of Popular Culture in the Internet Age: An Analysis of the Korean Essay Cartoon |
| Seungmin Song |
351-259 |
Korean Independent Animation: Its Origin and Meaning |
| Jia Jia |
360-388 |
Female Subject Animated: A Case Study of Digital Online Animation in Contemporary China |
| Hu Tze Yue |
389-403 |
Japanese Independent Animation: Fuyu no hi and its Exclusivity |
| Qi Wang |
404-421 |
Troubled Identities at Borderland -- Fantasy about the Past and the Future in Anime |
| Juhanita Jiman |
422-431 |
Malaysian Animation Industry: The History, Development, and Collective Efforts To Set Up a Global and Recognizable Animation Standard |
| Anthony Fung |
432-448 |
Hong Kong as the Asian and Chinese Distributor of Pokemon |
| Wan-Wen Day |
449-461 |
Being Part of Digital Hollywood: Taiwan's Online Gaming &3D Animation Industry Under the New International Division of Cultural Labor |
| John A. Lent |
462-472 |
Cartooning in Reunion, with Special Reference to the Work of Serge and Appollo |
| Anita K. McDaniel |
473-484 |
Dave Sim on Guys |
| Francisco Tadeo Juan (Dere Petrey) |
485-503 |
The Valencia School: Pioneer of Spanish Comic Strips |
| Myra Partridge |
504-512 |
Webtoonists: Making a Living Online |
| Sol M. Davidson |
513-529 |
Games People Play in the Comic Strips |
| Annalisa Di Liddo |
530-545 |
Transcending Comics: Crossing the Boundaries of the Medium in Alan Moore and Eddie Campbell's Snakes and Ladders |
| Jake Black |
546-552 |
Flop of Steel: Why "It's a Bird, It's a Plane, It's Superman" Did Not Fly Over Broadway |
| John A. Lent |
553-556 |
The Printed Word |
| Trina RobbinsPatric RosenkranzDavid A. Berona |
557-562 |
Book Reviews |
| Bart BeatyMichael HillNick ThorelsonMichael Rhode |
563-572 |
Exhibition Reviews |
| Gene Kannenberg, Jr. |
573-577 |
Critical Closure |
|
578 |
Portfolio |
| Vol. 7, No. 2, Fall 2005 |
| [Pioneers of Comic Art Scholarship Series, Part IV]edited by John A. Lent |
| R. C. Harvey |
3-43 |
It's Not My Fault Confessions of a Comics Junkie. Or, How I Became a Crazed Fanatic About Cartooning, Its History and Lore |
| John A. Lent |
44-46 |
Armand Mattelart and How To Read Donald Duck |
| Fusami Ogi |
47-67 |
Katayori Mitsugu: A Pioneer of Manga Studies in Japan Before and After the War |
| Randall W. Scott |
68-77 |
Beginnings and Landmarks: The Comic Art Collection at the Michigan State University Libraries and My Career |
| Richard Langlois (Randall W. Scott) |
78-88 |
Pioneer in the Teaching of Bande Dessinee (Comic Art and Narrative) in Canad |
| John A. Lent and Xu Ying |
89-125 |
Cartooning and China’s “Cultural Revolution” |
| Louise C. Larsen |
126-146 |
The Flight of the Forehead in the Third Reich: The Political Satire of Hans Bendix |
| Janusz Kazmierczak |
147-163 |
Raymond Williams and Cartoons: From Churchill’s Cigar to Cultural History |
| Yamile Regalado Someillan |
164-197 |
Visual Culture and the New Cuban Man: Examining a Core Force of the Cuban Revolution, 1959-1963 |
| Claudia Sanchez and Richard I. Parker |
198-224 |
Cultural Values in Latin American and U.S. Superhero Comics: A Text Analysis |
| Jerry Robinson |
225-235 |
The Ultimate Fantasy |
| Neil Cohn |
236-248 |
Un-Defining “Comics”: Separating the Cultural from the Structural in Comics” |
| Thierry Smolderen |
249-261 |
Thackery and Topffer: The Weimaer Connection |
| Eric A. Holmes |
262-272 |
Solidification, Hidden Guilts and “The Prude”: EC’s Agitative Rhetoric Continued |
| Chunhyo Kim and John A. Lent |
273-282 |
The Inside and Outside Worlds of North Korean Animation |
| Chris Murray |
283-310 |
Noble Enterprises: Strip for Me and the British Small Press |
| Stephen E. Kercher |
311-311 |
Cartoons as “Weapons of Wit”: Bill Mauldin and Herbert Block Take on America’s Postwar Anti-communist Crusade |
| Flavio Mario De Alcantara Calazans (Kenzi Tomoa) |
321-339 |
From the “Cricket” (Grilo) to the “Cockroach” (Barata): Visual Poetics in the Brazilian Comics (European BD + Japanese Manga and USA Underground Comix) |
| Sol M. Davidson |
340-357 |
The Funnies’ Neglected Branch: Special Purpose Comics |
| Julia Round |
358-369 |
Fragmented Identity: The Superhero Condition |
| Thomas Alan Holmes |
370-374 |
Warren Ellis’ “Shoot” and Media Passivity |
| Brian Ruh |
375-398 |
Creating “Amateur” Manga in the US: Pedagogy, Professionalism, and Authenticity |
| John A. Lent |
395-400 |
The Printed Word |
| Craig Fischer |
401-403 |
Book Reviews |
| Steven M. Bergson Marc Weidenbaum Michael Rhode Meisha Rosenberg Ana Merino |
404-412 |
Exhibition Reviews |
|
413 |
Portfolio |
| Vol. 8, No. 1, Spring 2006 |
| Noelle P. Bradley |
1 |
Masks That Reveal: Social Inequality in J.-J. Grandville's Les Metamorphoses du Jour (1828-1829) |
| Leonard Rifas |
17 |
"Especially Dr. Hilde L. Mosse": Wertham's Research Collaborator |
| Carolyn Wong |
45 |
Learning about My Grandfather |
| John A. Lent |
71 |
The Richness of African Cartooning: A Secret Far Too Long |
| Jigal Beez |
114 |
Winners, Cheats, and witches: East African Soccer Cartoons |
| John A. Lent |
137 |
Life of a Cartoonist in one of Kenya's Worst Slums. Drawing by Rough (Rafael Opany) |
| Jose Alaniz |
145 |
Caricature and Incarceration: The Case of Slava Sysoev |
| [Ever-Ending Battle: A Symposuim]edited by A. David Lewis |
| A.David Lewis |
163 |
Ever-Ending Battle |
| Edward Brunner |
174 |
Death and the Maiden: Milton Caniff's Pre-War Anti-Elegiac War Elegy |
| Arnold T. Blumberg |
197 |
"The Night Gwen Stacy Died": The End of Innocence and the "Last Gasp of the Silver Age" |
| Abraham Kawa |
212 |
The Universe She Died In: The Death and Lives of Gwen Stacy |
| Jose Alaniz |
234 |
Death and the Superhero: The Silver Age and Beyond |
| Wilbur Farley |
249 |
"The Disease Resumes Its March to Darkness": The Death of Captain Marvel and the Metastasis of Empire |
| William Duffy |
258 |
Sing Muse, of the Immortal Hero: Using Epic To Understand Comic Books |
| Michael Niederhausen |
271 |
Deconstructing Crisis on Infinite Earths: Grant Morrison's Animal Man, JLA: Earth 2, and Flex Mentallo |
| Nuh-Hoa Nguyen |
283 |
The Rhetoric of Omission in Comic Art |
| Caitlin E. Pantos |
301 |
La Donna Di Carta Guido Crepax's Valentina and the Dream of Italian Female Emancipation |
| Hector D. Fernandez L'Hoeste |
346 |
Beyond Just Gender On The World of Maitena Burundarena |
| Ana Merino Translation by Derek Petrey |
362 |
Variable Identities in the Mexican Comic-Strip: Don Catarino in the Stereotypical Space of the Cannibals |
| Frank Verano |
378 |
Spectacular Consumption: Visuality, Production, and the Consumption of the Comics Page |
| Matthew T. Jones |
388 |
Fiend on Film: Edwin S. Porter's Adaptation of Dreams of the Rarebit Fiend |
| Jeff McLaughlin |
412 |
9-11-01: Truth, Justice and Comic Books |
| Ryan Holmberg |
426 |
For Your Words, I Shall Rip Out Your Tongue: Shirato Sanpei and the Talking Head of Manga |
| Chang-de Liu |
456 |
Negative Impact of Digital Technologies on Artists: A Case Study of Taiwanese Cartoonists and Illustrators |
| Michael van Dyk |
466 |
Turkey's Soprano of Cartooning -- Selma Emiroglu-Aykan |
| Vicki Karaminas |
498 |
"No Capes!" Uber Fashion and How "Luck Favors the Prepared": Constructing Contemporary Superhero Identities in American Popular Culture |
| Mark C. Rogers |
509 |
Understanding Production: The Stylistic Impact of Artisan and Industrial Methods |
| Delphine Carron |
518 |
Paul Auster's City of Glass: From Word to Picture |
| Nancy Hudson-Rodd and Sundar Ramanathaiyer |
532 |
Cartooning the Iraq War: No Laughing Matter |
| Cord Scott |
546 |
The "Good" Comics: Ising Comic Books To Teach History |
| John A. Lent |
562 |
The Printed Word |
| David A.BeronaHarvey PekarMartha H. KennedyJessica Milner DavisMichael RhodeMarc Singer |
567 |
Book Reviews |
| Christian HillRon StewartLotta FjelkegardAaron KashtanMartha H. KennedyBarbara PostemaNick ThorkelsonPhilip Sandjfer |
579 |
Exhibition Reviews |
| John A. Lent |
607 |
The Story Behind the Cartoon |
|
608 |
Portfolio |
| Vol. 8, No. 2, Fall 2006 |
| John A. Lent |
1 |
Ediotr's Note |
| C Hill |
6 |
Marjane Satrapi Interviewed, August 24, 2003 |
| Wood-hung Lee and Yomei Shaw |
34 |
A Textual Comparison of Japanese and Chinese Editions of Manga: Translation as Cultural Hybridization |
| Marco Pellitteri |
56 |
Manga in Italy History of a Powerful Cultural Hybridization |
| Ron Stewart |
77 |
An Australian Cartoonist in 19th Century Japan: Frank A. Nankivell and the Beginnings of Modern Japanese Comic Art |
| Amy Kiste Nyberg |
98 |
Theorizing Comics Journalism |
| Stephan Packard |
113 |
Reflections of the Cartoon |
| Michael Rhode |
126 |
Harvey Pekar at the 2005 Small Press Expo |
| Hector D. Fernandez L'Hoeste |
163 |
On Angels, Drugs, and Trade: Edgar Clement's Operacion Bolivar |
| Ozge Samanc |
181 |
Lynda Barry's Humor: At the Juncture of Private and Public, Invitation and Dissemination, Childish and Professional |
| Sol M. Davidson |
200 |
Love Affair with a Unique Medium: Big Little Books |
| Katrina D. Thompson |
228 |
The Stereotype in Tanzania Comics: Swahili and the Ethnic Other |
| Kristin L. Matthews |
248 |
The ABCs of Mad Magazine: Reading, Citizenship, and Cold War America |
| Marc Singer |
269 |
"A Serious House on Serious Earth": Rehabilitating Arkham Asylum |
| Ed Ross |
283 |
The Representation of Immigrants and Immigration in UK Political Cartoons from 1968 to 2005 |
| Jose Alaniz |
307 |
Speaking the "Truth" of Sex: Moore &Gebbie's Lost Girls |
| Frank Verano |
319 |
Invisible Spectacles, Invisible Limits: Grant Morrison, Situationist Theory, and Real Unrealities |
| Clark Farmer |
330 |
Comic Book Color and the Digital Revolution |
| Fang Cheng |
347 |
What Is Humor? |
| Racial Identity: A Mini Symposium |
| Dale Jacobs |
363 |
Ho Che Anderson Interview |
| Neil Shyminsky |
387 |
Mutant Readers, Reading Mutants: Appropriation, Assimilation, and the X-Men |
| Matthew Diebler |
406 |
"I;m Not One of Them Anymore": Marvel's X-Men and the Loss of Minority (Racial) Identity |
| William H. Foster III |
414 |
Do We Still Have To Be Black? Comic Book Creators Discuss Racial Identity |
|
430 |
Corrections |
| John A. Lent |
432 |
The Printed Word |
| Jose AlanizLeonard Rifas |
436 |
Book Reviews |
| Michael Rhode |
445 |
Exhibition and Media Reviews |
| Jose AlanizFrancesco CasoloCraig FischerMichael RhodeTrina RobbinsRoger SabinRandall W. ScottNick Thorkelson |
447 |
Exhibition Reviews |
| John A. Lent |
497 |
The Story Behind the Cartoon(s) |
|
500 |
Portfolio |
| Vol. 9, No. 1, Spring 2007 |
| [Kibyoshi: The World's First Comicbook?]edited by Adam L. Kern |
| Adam L. Kern |
3 |
The Kibyoshi: Japan's Eighteenth-Century Comicbook for Adults |
| Glynne Walley |
33 |
Kyokutei Bakin's Buy My Candy and I'll Give you a Kite Story |
| Ivan Grail |
61 |
The Truly Un-Canny Samurai: Classical Literature and Parody in the Kibyoshi |
| William Fleming |
79 |
The Tao of Kibyoshi: Santo Kyoden's Zhuang-zi: The Licensed Edition |
| Kristin H. Williams |
119 |
Cerisscrossed Confucianism: Images of Edo as a Virtuous Dystopia |
| William Burton |
135 |
Fantastic Travel as Utopia or Dystopia in Edo Period Illustrated-Fiction |
| Akiko Walley With a Translation by Akiko Walley and Glynne Walley |
157 |
Through the Looking-Glass: Reflections on Kibyoshi Illustrations in Kishida Toho's Comicbook Chronicle |
| Florencia Paula Levin |
198 |
Politics Seen Through the Prism of Humor in the Argentinean Democratic Transition of 1973: Landru and Ian |
| Kyle D. Wegner |
231 |
Lalo Alcaraz's "La Cucaracha" "Normalizes" chicanos |
| David R. Spencer |
262 |
The Press and the Spanish American War: Political Cartoons of the Yellow Journalism Age |
| Jay Casey |
281 |
The Dynamics of Quiet Heroism and Invisible Death In American Soldier Cartoons of the World Wars |
| Pascal Lefevre |
296 |
The Unresolved Past: Repercussions of World War II in Belgian Comics |
| Karna Mustaqim |
311 |
Mumbling Our Comics: An Overview of Indonesial Comic Books' Condition |
| Anne Reef |
332 |
The Art of Darkness: Repression and Its Expression in J. M. Coetzee's Waiting for the Barbarians, Athol Fugard's Tsotsi, and Sue Coe and Holly Metz's How To Commit Suicide in South Africa |
| Maren Dick |
353 |
Sneaky, Sinister, and Scapegoated: Chinese Immigration and Exclusion as Represented in The Wasp, 1877-1889 |
| [Cartooning in Australia: Asymposium]edited by John A. Lent |
| John A. Lent |
378 |
Introduction |
| Vane Lindesay |
380 |
The Rise and Demise of the Australian Comic Strip |
| Michael Hill |
411 |
The Graphic Expression of the Lives, Obsessions, and objections of Small Press Sick Puppies and Scat(ology) Cats: A Short Survey of Some Aspects of Australian Alternative Comics 1990-2000 |
| Vicki Karaminas |
438 |
Australian Gothic: Black Light Angels, Fashion, and Subcultural Style |
| Rolf Heimann |
453 |
Ned Kelly -- Australian Cartoonists' Favorite Idiom |
| Lindsay Foyle |
460 |
An Essay: The Life and Death of the Larrikin Image |
| Roman Rosenbaum |
468 |
Australia and Symbolic Representation in the "Cartoon Controversy" |
| Barbara Postema |
487 |
Draw a Thousand Words: Signification and Narration in Comics Images |
| Dale Jacobs |
502 |
Beyond Visual Rhetoric: Multimodal Rhetoric and Newspaper Comic Strips |
| Massimo REpetti |
515 |
African "Ligne Claire": The Comics of Francophone Africa |
| Jigal Beez |
542 |
The Swahili Titanic: The Tanzanian Appropriation of a Global Tragedy |
| Edward Whatley |
554 |
"In the Crooked Shadows of Wildwood Cemetery": Will Eisner's The Spirit and the Gothic Tradition |
| Robert S. Petersen |
578 |
The Acoustics of Manga: Narrative Erotics and the Visual Presence of Sound |
| Roman Rosenbaum |
591 |
Motomiya Hiroshi's The Conuntry Is Burning |
| Anna Notaro |
610 |
"Innocence Is Life": Searching for the Post-Human Soul in Ghost in the Shell 2 |
| Domingos Isabelinho |
625 |
Matt Marriott: The Western with a Human Face |
| Alfonz Lengyel |
640 |
Liao Bingxiong (1915-2006) |
| Fang Cheng |
644 |
Long Live, Brother Bing! |
| Liao Bingxiong Translated by Xu ying |
647 |
Speaking Out on Going To Make a Will |
| John A. LentXu Ying |
650 |
Liao Bingxiong: "A Chinese Style Man with Universal Values" |
| Vesna Dovnikovic |
668 |
Croatian Animation Today |
| Borivoj Dovnikovic Bordo |
672 |
My Work in Animation |
| Michael J. Lecker |
679 |
"Why Can't I Be Just Like Everyone Else?": A Queer Reading of the X-Men |
| Anita K. Mcdaniel |
688 |
Negotiating Life Spaces: Has Marriage Marginalized Storm? |
| John A. Lent |
703 |
The Printed Word |
| Michael Rhode |
707 |
Book ReviewsJohn A. Lent's Comic Art Bibliographies: An Appreciation |
| K.A. Laity |
710 |
Moomin Book One: The Complete Tove jansson |
| Michael Rhode |
712 |
Exhibition Reviews |
| Michael Rhode |
715 |
Enduring Outrage: Editorial Cartoons by Herblock and Cartoon America: Highlights from the Art Wood Collection of Cartoon and Caricature |
| A. David Lewis |
722 |
Black and White and Read All Over: Comic Art and Artists |
| Pascal Lefevre |
723 |
Le Monde de Franquin |
| Michael Rhode |
726 |
Simplicissimus and the Empire 1896-1914 |
| Trina Robbins |
729 |
The Rejection Collection: Not in the New Yorker Cartoons |
| Craig FischerMichael Rhode |
730 |
Masters of American Cartoons -- Two Reviews |
| Michael Rhode |
738 |
Superheores: Good and Evil in American Comics |
| Jenny Robb |
740 |
Resources: An Updating The ohio State University Cartoon Research Library Turns 30 |
| Randall W.Scott |
743 |
comic Art Collection at Michigan State University Libraries 2006 Report |
| John A. Lent |
745 |
The Story Behind the Cartoon(s) |
| Cartoons byGodfrey Mwampembwafan LintaoWinfried BesslichMohamed HakemEsmail EffatXu PengfeiHabib HaddadMassoud Shojai Tabatabei,Jozef SchekRolf HeimannQi Jianhua |
748 |
Portfolio |
| Vol. 9, No. 2, Fall 2007 |
| John A. Lent |
1 |
Editor's Note |
| [Gallery Comics: A Symposium]edited by C Hill |
| C Hill |
6 |
Gallery Comics: The Beginnings |
| Joanna Roche |
13 |
Gallery Comics: Contemporary Contexts |
| Andrei Molotiu |
24 |
Permanent Ink: Comic Book and Comic Strip Original Art as Aesthetic Object |
| Mark Staff Brandl |
43 |
Panels, Covers, and Viewers: My Mongrels of Painting, Installation, and Comics |
| Maurice Horn |
58 |
Comics and Cinema: The Beginnings (1896-1913) |
| Mark K. McKinney |
68 |
Georges Remi's Legacy: Between Half-Hidden History, Modern Myth, and Mass Marketing |
| Adam Rosenblatt |
81 |
The Making and Remaking of El Eternauta |
| Roberto Elisio dos Santos |
93 |
Humor Comics in Brazil: A Study of the Production of the Circo Editorial |
| Rodrigo Baeza |
118 |
Obituary Roberto Fontanarrosa (1944-2007) |
| Interview with Nicoletta Fagiolo |
121 |
Zapiro's Weapons of Mass Destruction |
| [Egyptian Cartooning: A Symposium]edited by John A. Lent |
| John A. Lent |
140 |
Egyptian Cartooning: An Overview |
| Rania M.R. Saleh |
187 |
Political Cartoons in Egypt |
| Abdelghani Jbara with John A. Lent |
226 |
Using Comics in Development in the Arab World: Prospects and Impediments |
| Mohamed Hamdy Hamed Ahmed |
243 |
Sarcasm in the View of the Ancient Egyptian |
| Jon C. Gordon |
248 |
John Miller Baer: congressman-Cartoonist |
| Ann Miller |
258 |
Postcolonial Identities |
| Woody Woodis |
275 |
Caricature in French Political Cartoons |
| Scott R. Schoner |
288 |
A Survey of Doughboy Humor in World War I |
| Julia Round |
316 |
Visual Perspective and Narrative Voice in Comics: Redegining Literary Terminology |
| Martin de la Iglesia |
330 |
An Essay Geographical Classification in Comics |
| Christophe L. Dony |
340 |
Trauma, Identity and Memory: The Individual/Collective Dialectic in 9/11-related Comics |
| Matthew T. Jones |
373 |
Construction of Social Memory through Strategies of Reflexivity: A Case Study in Three Texts by Art Spiegelman |
| Meisha Rosenberg |
396 |
Multimodality in Phoebe Gloeckner's Diary of a Teenage Girl |
| Randall W. Scott |
413 |
European Western Comics: A Kind of Round-Up |
| Marco Pellitteri |
425 |
Pornography and Sinaesthesia in Manga: Multi-sensorial Reception of Eros in Japanese Comics |
| Herbeth L. Fondevilla |
441 |
Contemplating the Identity of Manga in the Philippines |
| Sueen Noh |
454 |
"To Be or Not to Be, That Is the Question": What Is Happening with Korean Comics, (Manhwa), Today? |
| Fang Cheng |
478 |
Fang Cheng's Theories on Humor and Cartooning |
| David Beard with Katelyn Hoa Vo Thi-Beard |
511 |
Silver Age in Hidden Places: The Other Orgin of Brainiac |
| John A. Lent |
518 |
The Printed Word |
| Sol M. DavidsonPascal LefevrePhillip TroutmanDavid A. BeronaMatthew J. SmithJohn A. LentGert Meesters |
525 |
Book Reviews |
| Vanessa Rane |
551 |
Review Essay |
| Michael RhodeK.A. LaityRichard GrahamClare PitkethlyPhillip TroutmanDavid RobertsonMartha H. KennedyMichael HillMeisha RosenbergJose AlanizMatthias WivelVanessa RaneyRon Stewart |
561 |
Exhibition and Media Reviews |
|
632 |
Letters |
|
635 |
Resources |
|
637 |
Correction |
|
638 |
Portfolio |
| Vol. 10, No. 1, Spring 2008 |
| [Biff! Bam!! Crikey!!!]A Comics Conference In Scotland, 2007Compiled and edited by Christopher Murrary |
| Christopher Murray |
3 |
Introduction |
| Section 1: Gazooks! Comics in Scotland |
| Matthew Jarron |
9 |
1.1 Before The Beano -- The Prehistory of Dundee Comics |
| John ChalmersSandra Marrs |
18 |
1.2 Meeting with metaphrog |
| Section 2: Wizard! Moore, Morrison, and Superhero Comics |
| Julia Round |
24 |
2.1 London's Calling: Alternate Worlds and the city as Superhero in Contemporary British-American Comics |
| Shaum Manning |
32 |
2.2 Language and Fiction in the Creation of Reality in The Invisibles |
| Section 3: Zoinks! Comics, Politics and Identity |
| Peter Hughes Jachimiak |
39 |
3.1 " D'You Wanna be In My Gang?": Boys' Comics, Club Membership, and a "Tribal Britain" |
| Nicole Devarenne |
48 |
3.1 "A Language Heroically Commensurate with His Body": nationalism, Fascism, and the Language of the Superhero Comic |
| Section 4: Zap! Comics and Other Media |
| Anna Zanfei |
55 |
4.1 Defining Webcomics and Graphic Novels |
| Brian Hoyle |
62 |
4.2 Irresponsible Pictures: Questions of Adaptation and Morality in the comic and Film Versions of Road to Perdition |
| Kevin Corstorphine |
68 |
4.3 Killer7 and Comic Book Aesthetics in Contemporary Video Games |
|
74 |
Contributors |
| John A. LentXu Ying |
76 |
Cartooning and Wartime China: Part One -- 1931-1945 |
| Adam Cathcart |
140 |
Atrocities, Insults, and "Jeep Girls": Depictions of the U.S. Military in China, 1945-1949 |
| Todd S. Munson |
155 |
Dangerous! China and Xenophobic Comics in Contemporary Japan |
| Helen Yu-Rivera |
174 |
Drawing the Line Between Racism and Political Correctness: Filipino Editorial Cartoonists Reconsider the Japanese |
| Ryan Holmberg |
200 |
Let We Go: An Interview with Hiroki Otsuka |
| Joseph Witek |
218 |
American Comics Criticism and the Problem of Dual Address |
| Robert S. Petersen |
226 |
Metamorphosis of the Phylactery: changes in Emanata from the Medieval Times through the 18th Century |
| orion ussner Kidder |
248 |
Show and Tell: Notes Towards a Theory of Metacomics |
| Benjamin Woo |
268 |
EssayAn Age- Old Problem: problematics of Comic Book Historiography |
| Pedro Perez del Solar |
280 |
"A Fuhrer's Day": Comics and Politics of Memory in 1980s Spain |
| Hector Fernandez L'Hoeste |
298 |
Amid nation and Empire: Puerto Rico's El Antillano and Its Interactive Cuadernos |
| Mike Kelly |
313 |
Ary Spiegelman and His Circle: new York City Comix and the Downtown Scene |
| Luc D. Guglielmi |
340 |
The Fantastic in the Work of jean-Claude Servais |
| John A. Lent |
352 |
Cartooning, Public Crises, and Conscientization: Aglobal Perspective |
| Matthew Blake |
387 |
Political and Promotional Conceptions in Woody Guthrie's People's World Cartoons |
| Jose Alaniz |
407 |
"Rutting in Free-Fall": Moore and Bissette/Zulli's "Act of Faith" |
| Janis :. Edward |
120 |
Visualizing the Face of Domestic Terrorism in Editorial Cartoons: Transforming a Stereotype |
| Lindsay Foyle |
433 |
Essay Australian Politics and "Cartoon Bias" |
| Hamish Ironside |
438 |
Alan Guppy and "Stone de Croze" |
| Louis Gordon |
452 |
EssayJewish Graphic Gangster |
| Joseph J. Darowski |
461 |
It's A bid, It's a Plane, it's ... Synthesis: Superman, Clark Kent, and Hegel's Dialectic |
| R. J. Gregov |
471 |
The Re-illustration of Comic Book Heroes |
| Muhammed Shahriar Haque |
482 |
"Kee's World": Reflections of Evolving Identity |
| Luiu Hong YingTang Min |
513 |
Finance Cartoons: A Way of Reviving Chinese Press Cartoons |
| Peter Walton |
522 |
The "Archaic Mother" in Charles Burns' Black Hole: A Psychoanalytic Reading |
| Eileen Akin |
535 |
Resource My Beloved Cartoonists: original Cartoon Art from Fred Waring's America |
| Zheng Huagai |
543 |
He Was Such a Kind Person -- Eulogistic Comments on Chinese Cartoonist Wang Fuyang, 1935-2008 |
| John A LentXu Ying |
553 |
Editors' Remembrances of Wang Fuyang |
| John A. Lent |
554 |
The Printed Word |
| David A. BeronaJohn A. LentMarc SingerJeff GeersMatthew J. SmithSteven M. Bergson |
559 |
Book Reviews |
| Michael RhodeTrina RobbinsJose AlanizBobby Kuechenmeister |
580 |
Exhibition Reviews |
|
592 |
Letters |
|
593 |
Portfolio |
| Vol. 10, No. 2, Spring 2008 |
| John A. Lent |
1 |
Celebrating 10 Years of Continuous Publication: Taking Stock |
| [Women and Cartooning: A Global Symposium] edited by John A. Lent |
| John A. Lent |
6 |
Introduction |
| Marlene Pohle |
10 |
17 Women Cartoonists + One |
| Vicki Karaminas |
33 |
"There's a Bug in My Ink Bottle":The Graphic Art of Australian Women -- Greenberg, Graber, and Ord |
| Martha H. Kennedy |
45 |
A Self-Selected Sisterhood: Women Cartoonists Represented in the Library of Congress Collections |
| Ana Merino |
70 |
Feminine Territoriality: Reflections on the Impact of the Underground and Post-Underground |
| Trina Robbins |
89 |
Wonder Woman: Queer Appeal |
| Trina Robbins |
95 |
Here Are the Great Women Comics Artists of the United States! |
| Jill S. Katz |
101 |
Women and Mainstream Comic Books |
| Fusami Ogi |
148 |
Shojo Manga(Japanese Comics for Girls) in the 1970s' Japan as a Message to Women's Bodies: Interviewing Keiko Takemiya -- A Leading Artist of the Year 24 Flower Group |
| Fusami Ogi |
170 |
Hana yori dango(Boys over Flowers) as a Trans-National Comics for Girls beyond Japan |
| Kinko Ito |
186 |
The Touching and the Sensual in Japanese Ladies' Comics: An Interview with Asako Shiomi |
| Kinko Ito |
199 |
Masako Watanabe: 50 Years of Making Girls’ and Ladies’ Comics in Japan |
| Sueen Noh |
209 |
Science, Technology, and Women Represented in Korean Sci-Fi Girls' Comics |
| Raquel Orzuj |
235 |
Female Cartoonists in Uruguay |
| Nicky Heron Brown |
242 |
Major Malcolm Wheeler-Nicholson, Cartoon Character or Real Life Hero? Correcting Hajdu's The Ten Cent Plague |
| Lisa Brooten |
254 |
Burmese Political Cartoons and the Transnational Public Sphere in Times of Crisis |
| Allen Douglas andFedwa Malti-Douglas |
282 |
From the Algerian War to the Armenian Massacres: Memory, Trauma, and Medicine in Petit Polioof Farid Fedwa Malti-Douglas Boudjellal |
| Asai Motofumi |
308 |
Barefoot Gen, Japan, and I: The Hiroshima Legacy: An Interview with Nakazawa Keiji |
| Timothy Perper andMartha Cornog |
328 |
" Never Said I Was a Boy": Utena, Arita Forland, and the (Non) Phallic Woman |
| Roman Rosenbaum |
354 |
Mizuki Shigeru's Pacific War |
| Luke Arnott |
380 |
BLAM!The Literal Architecture of Sin City |
| Matthias Schneider |
402 |
un regard moderne |
| Seetha Srinivasan |
416 |
Publishing on Comics and Comics Culture at University Press of Mississippi |
| Bi Keguan |
421 |
Why I Research Chinese Cartoon History |
| Susan Honeyman |
437 |
Transforming Segar's Progressive Everyman into Fleischer's Depression-Era Supersalesman: The Hidden Powers of Popeye's Spinach |
| Joel T. Terranova |
451 |
Art of Killing -- The Literary Merits of Johnny the Homicidal Maniac |
| Arcadio Esquivel Mayorga |
468 |
Graphic Humor in Costa Rica: A Cartoonist's Experience |
| Jorge L. Catala Carrasco |
495 |
Costumbrismoand Cubanity in Rafael Fornes |
| Sol M. Davidson |
519 |
Educational Comics: A Family Tree |
| Jorge Salgueiro |
581 |
Synesthesia and Onomatopoeia in Graphic Literature |
| Juan Meneses |
598 |
A Bakhtinian Approach to Two Graphic Novels: The Individual in Art Spiegelman's Mausand Chester Brown's Louis Riel |
| Gorg Mallia |
607 |
Satirical Cartoons in Malta |
| Alan Fern |
621 |
An Evening with Jules Feiffer |
| Frank Hoffmann |
627 |
Some Thoughts on Germany and the Art of the Cartoon |
| Brian Swafford |
632 |
The Death of Captain America: An Open-ended Allegorical Reading of Marvel Comics' Civil WarStoryline |
| Cord Scott |
649 |
The Return of the War Comic: A Revival of Military Themes and Characters in Comic Books |
| Nadilson Manoel da Silva |
660 |
Mauricio de Souza and the Development of the Market For Children in Brazilian Comics: A Turma da Monica (Monica's Gang) |
| Carolyn Wong |
669 |
Huang Yao and His Cartoon, "Niu Bizi," in China, 1934-1947 |
| Lingling Pan |
694 |
Post-Liberation History of China's Lianhuanhua(Pictorial Books) |
| John A. Lent andHong-Chi Shiau |
718 |
Seeking Inwards, Looking Outwards: Taiwanese Cartoonists' Quest To Transcend Japanese Influences |
| Christophe Cassiau-Haurie |
737 |
Comic Books in the Indian Ocean: Between Openness and Isolation |
| Rania M.R. Saleh |
746 |
What Inflamed the Iraq War? The Perspectives of American Cartoonists |
| John A. Lent |
788 |
The Printed Word |
| Louis GorgonMichael Rhode |
794 |
Book Reviews / Review Essay: Isaac Cates |
Matt Wuerker
David A. Berona
Michael Rhode
Trina Robbins
Leonard Rifas
Cord Scott
Sean P. Connors
Benjamin Woo
David Robertson
Ofer Berenstein
Jose Alaniz |
806 |
Exhibition Reviews |
| John A. Lent |
862 |
The Story Behind the Cartoon |
| Jenny E. Robb |
866 |
International Museum of Cartoon Art To Move to Ohio State Cartoon Research Library |
| Leonard Rifas |
868 |
Letters |
| Vol. 11, No.1, Spring 2009 |
Czech Comics: A Symposium |
José Alaniz |
7 |
Introduction: A Czech Patchwork |
Tomáš Prokůk and Renáta Skřebská |
21 |
Ladislav Vlodek and The Globe |
Tomáš Prokůk |
34 |
Pérák and Spring Heeled Jack: From Prague Avenger to London Ghost and Back Again |
Tomáš Pospiszyl |
45 |
Bohumil Konečný: An Unwilling Comics Artist |
Helena Diesning |
51 |
Kája Saudek: The King of Czech Comics |
Martha Kuhlman |
63 |
Time Machine: Rudiš/Jaromír 99’s Wilson Main Train Station |
Lisa Mangum |
74 |
František Skála, or Deep Into the Enchanted Bohemian Woods |
|
|
|
Prtricia Breccia |
80 |
Remembrances of My Father, Alberto Breccia |
Mark David Nevins |
90 |
High Art at the Drive-In: An Interview with Robert Williams |
Valérie Agosta-Ives |
113 |
Salomon Assus (1950-1919). Humoristic Postcards as a Powerful Visual Medium Transcending Ethnic and Gender Issues in Early 1900s’ French Algeria |
David Kunzle |
135 |
Gary Larson and the World Upside Down |
David Robertson |
158 |
Scotland’s Comics Master, Ian Kennedy: An Interview |
Ben Little |
182 |
Constructing the Reader’s Perspective in V for Vendetta |
David R. Spencer |
203 |
No Laughing Matter: 19th Century Editorial Cartoons and the Business of Race |
Héctor Fernández L’Hoeste |
229 |
From Mexifornia to Newyorktitlan: East vs. West Meets the Mexican Tradition |
Waldomiro Vergueiro and Roberto Elísio dos Santos |
247 |
Crás! Comic Book: Brazilian Comics and the Publishing Industry |
Derek Parker Royal |
262 |
To Be Continued…: Serialization and Its Discontent in the Recent Comics of Gilbert Hernandez |
Jigal Beez |
281 |
Cartoons as Pop Idols: The “Sani Star Search” Contest in Tanzania |
William H. Foster III |
294 |
Langston Hughes’s “Jesse B. Simple” and Ollie Harrington’s “Bootsie”: Cartoons and Stories That Preserve the Voice of the African American Everyman |
John A. Lent |
307 |
Cartooning in Cyprus: Small Is Beautiful |
Jason Tondro |
320 |
Spenser and the Comics Critic |
Roy Bearden-White |
347 |
Closing the Gap: Examining the Invisible Sign in Graphic Narratives |
Pauline Uchmanowicz |
363 |
Graphic Novel Decoded: Towards a Poetics of Comics |
Marco Pellitteri |
386 |
Three Italian Authors Who Know the Formulas of Success: Gnone, Canepa, and Barbucci: From W.I.T.C.H. to Sky Doll, to the Fantasy Novel, and Again to the Monster Allergy Comics |
José Alaniz |
396 |
Masculinity and the Superhero in Post-Soviet Russian Comics |
Travis Langley |
426 |
Freedom versus Security: The Basic Human Dilemma from 9/11 to Marvel’s Civil War |
Richard A. Becker |
436 |
The Crisis of Confidence in Comics Adaptations: Why Comics Are So Rarely Faithfully Adapted to the Big Screen |
Robert G. Weiner |
457 |
Sequential Art and Reality: Yes, Virginia, There is a Spider-Man |
John A. Lent |
478 |
The Printed Word |
|
484 |
Book Reviews |
|
551 |
Exhibition Reviews |
|
568 |
International Journal of Comic Art Index, Volumes 1-10 (1999-2008) |
|
662 |
Portfolio |
| Vol. 11, No.2, Fall 2009 |
Indian Cartooning Symposium Edited by John A. Lent |
John A. Lent |
3 |
An Illustrated History of Indian Political Cartooning |
Karline McLain |
26 |
Vivalok Comics: Celebrating All That Is Small in India |
Gokul T. G. |
44 |
G. Aravindan’s “Small Men and the Big World”: Re-Defining the “Comic” in the Strip |
Shevlin Sebastian |
53 |
Making People Laugh: Toms and K. J. Yesudasan, Premier Cartoonists in Kerala, India |
|
|
|
Rodosław Bolałek |
59 |
The Most Popular Polish Comics (1957-1989) |
Paul Cheng |
88 |
The Smartest Comic on Earth: Metafiction in Chris Ware’s Acme Novelty Library #16 |
Clodualdo del Mundo, Jr. |
103 |
Lessons My Father Taught Me about Komiks |
Marla Harris |
119 |
“Sex and the City”: The Graphic Novel Series Aya as West African Comedy of Manners |
Bram Draper |
136 |
Sandino and Other Superheroes: The Function of Comic Books in Revolutionary Nicaragua |
Julie A. Davis |
176 |
Both Everyman and Other: “Dilbert” as an Exemplar of Newspaper Comics’ Simultaneous Identification and Distance |
John A. Lent and Xu Ying |
195 |
Chronicler of Most of a Century: Cartoonist Ding Cong (1916-2009) |
Gregory N. Daugherty |
208 |
“The Greatest Story Every Drawn!” Cleopatra in American Comics |
Jean-Marie Bertin |
231 |
Press Cartoons in France: A Short History |
Joel Vessels |
272 |
Vive la France, Now Who Are We? Bande Dessinée, the 16 July 1949 Law, and the Political Re-imagining of Post-World War II France |
Kim Munson |
283 |
Beyond High and Low: How Comics and Museums Learned to Co-exist |
Patti Luedecke |
299 |
Affect and the Body in Melville’s “Bartleby” and Jillian Tamakin and Mariko Tamaki’s Skim |
|
322 |
Working Around Words: Rauf talishinsky’s Azerbaijani Web Cartoons |
Benjamin Stevens |
336 |
Drawn to Distraction: Comics Reading in Kevin Huizenga’s “Lost and Found” |
Gêisa Fernandes D’Oliveira |
350 |
From Bumpkin to Belssed – Comics and National Identity: A Brazilian Case Study |
Jeff McLaughlin |
364 |
Comic Book Artists and Writers and Philosophers |
Charles Natoli |
372 |
The Spirit Passes: The Second Coming of the Comic Strip’s Golden Age |
Isaac Cates |
380 |
“How to Draw Thinking” Panel, Small Press Expo, Rockville, MD, Oct. 14, 2006 |
Murray Lee Eiland |
396 |
From Cartoon Art to Child Pornography |
Connie Lam |
410 |
Hong Kong Manhua after the Millennium |
Maaheen Ahmed |
421 |
Moebius, Gir, Giraud, Gérard: Self-Visualizations |
Jamie Egolf |
432 |
Political Commentary and Dissent in the Tapestry and the Cartoon Strip |
John A. Lent |
447 |
The Printed Word |
|
455 |
Book Reviews |
|
472 |
Exhibition and Media Reviews |
|
515 |
Portfolio |
| Vol. 12, No.1, Spring 2010 |
Biography of Authors |
Kees Ribbens |
1 |
World War II in European Comics: National Representations of Global Conflict in Popular Historical Culture |
Warat Karuchit |
34 |
The Renaissance of Thai Knowledge Cartoons |
Peter M. Coogan |
50 |
From Love to Money: The First Decade of Comics Fandom |
John A. Lent and Xu Ying |
68 |
Workers-Specific Comic Art of China: Worker’s Cartoon Group (Beijing) and Frog Cartoon Group (Qiu County, Hebei) |
Maaheen Ahmed |
103 |
Fallen Angels and Shattered Skies: Rejected Conventions in Yslaire’s Could 99 (XXe Ciel) |
Giulio C. Cuccolini |
124 |
A Two-sided Narration through Words and Images |
Héctor Fernández L’Hoeste |
135 |
Edgar Clément’s “The Sword of God”: On The Practice of Hybridization in Mexican Comics |
William Boerman-Cornell |
147 |
History Is Relatives: Educational Affordances of the Graphic Novel in The Magical Life of Long Tack Sam |
Airel Kahn |
157 |
Between Eros and Thanatos: Death and Desire in the Short Fiction of Koren Shadmi and Rutu Modan |
Tony Venezia |
183 |
Archives, Alan Moore, and the Historio-Graphic Novel |
Ana G. Gal |
200 |
The Social Modes of Heroization and Vilification in Stoker’s Dracula, a Graphic Novel by Roy Thomas and Dick Giordano |
Sarita G. |
215 |
Remembering the Relics: Study of Select Comic Books That Trace the Roots of India’s Cultural Inheritance |
Sol M. Davidson |
243 |
Have Comics, Will Travel: Two Hobbies, One Great Journey |
John Otu |
275 |
Nigerian Cartooning and the Dearth of Female Cartoonists |
Geoffrey Moses |
288 |
“What a Life!” Carl Barks’ Donald Duck as Nervous Modern |
Jeremy Stoll |
302 |
A Domestic Schizophrenia: Gender and Political Cartoons in the Middle East |
Robert G. Weiner |
323 |
Portrayal of Nurses and Marvel Comics’ Night Nurse |
A. David Lewis |
337 |
New Jerusalem Postponed: Revelation and Darnall & Ross’s Uncle Sam |
Bob Britten |
355 |
Picturing Terror: Visual and Verbal Rhetoric in The 9/11 Report Graphic Adaptation |
Aaron Clayton |
370 |
Bloody Hell: Realism in American War Comics |
Jessica Kowalik |
388 |
Miller Misunderstood: Rethinking the Politics of “The Dark Knight” |
Andy Smith |
401 |
The Ephemeral Nature of Everything: A Conversation with Art Spiegelman |
Marguerite Imbert |
410 |
The Spirit of Animation: An Interview with Jules Feiffer |
Roman Rosenbaum |
415 |
Tezuka Osamu: Adolf – Towards a Historio-graphic Novel |
Andrew Yang |
435 |
The Two Japans of “Spirited Away” |
Asif Iqbal |
453 |
Origins and Status of Pakistani Animation |
Wai-Ming Ng |
460 |
The Consumption and Perception of Japanese ACG (Animation-Comic-Game) among Yong People in Hong Kong |
John A. Lent |
478 |
The Printed Word |
Derek Parker Royal |
483 |
Four Recent Guides to Graphic Novels |
|
493 |
Book Reviews |
|
507 |
Exhibition and Media Reviews |
|
529 |
Portfolio |
| Vol. 12, No.2, Fall 2010 |
John A. Lent |
1 |
Editor's Note |
Fabrice Leroy |
2 |
Yves Chaland and Lue Cornillon's Rewriting of Classical Belgian Comics in Captivant: From Graphic Homage to Implicit Criticism |
| Giancarla Unser-Schutz |
25 |
Exploring the Role of Language in Manga: Text Types, Their Usages, and Their Distributions |
| Rick Marschall |
44 |
Nurturing the Butterfly: My Life in Comic Art Studies |
| Derik A. Badman |
91 |
Talking, Thinking, and Seeing in Pictures: Narration, Focalization, and Ocularization in Comics Narratives |
| Enrique Garcia |
112 |
Coon Imagery in Will Eisner's The Spirit and Yolanda Vargas Dulché's Memín Pinguín and Its Legacy in the Contemporary United States and Mexican Comic Book Industries |
| Kerry Soper |
125 |
From Jive Crows in “Dumbo” to Bumbazine and “Pogo”: Walt Kelly and the Conflicted Politics Reracinating African American Types in Mid-20th Century Comics |
| Robert Furlong and Christophe Cassiau-Haurie |
150 |
Comic Books, Politics, and Manipulation: The Case of Repiblik Zanimo, the First Comic Strip and Book in Creole |
| Grazyna Gajewsk |
159 |
Between History and Memory – Marzi: Children Should Be Seen and Not Heard Marzena Sowa and Sylvain Savoia |
| Matthew M. Chew and Lu Chen |
171 |
Media Institutional Contexts of the Emergence and Development of Xinmanhua in China |
| Jörn Ahrens |
192 |
The Father's Art of Crime: Igort's 5 Is the Perfect Number |
| Marco Pellitteri |
209 |
Comics Reading and Attitudes of Openness toward the Other: The Italian-Speaking Teenagers' Case in South Tyrol |
| Iren Ozgur |
248 |
Have You Heard the One about the Islamist Humor Magazine? |
| Weidan Cao |
251 |
The Mountains and the Moon, the Willows and the Swallows: A Hybrid Semiotic Analysis of Feng Zikai’s “New Paintings for Old Poems” |
| Candida Rifkind |
268 |
A Stranger in an Strange Land? Guy Delisle Redraws the Travelogue |
| Daniel Stein |
291 |
The Long Shadow of Wilhelm Busch: “Max & Moritz” and German Comics |
| Hannah Miodrag |
309 |
Fragmented Text: The Spatial Arrangement of Words in Comics |
| Christopher Eklund |
328 |
Toward an Ethicoaesthetics of Comics: A Critical Manifesto |
| Muliyadi Mahamood |
336 |
The Malaysian Humor Magazine Gila-Gila: An Appreciation |
| Roy Bearden-White |
354 |
Inheriting Trauma in Chris Ware's Jimmy Corrigan: The Smartest Kid on Earth |
| Philippe Gauthier |
367 |
On “Institutionalization”: From Cinema to Comics |
| Marc A. Londo |
376 |
Mr. Tap and His African-American Cartoons of the 1940s/1950s |
| Marcia R. Ristaino |
395 |
Two Linked by Another, Ding Cong: Interviews with Betty McIntosh and Shen Jun |
| Shelley Drake Hawks |
402 |
Ding Cong’s “True Story of Ah Q” in Art and Life |
| John A. Lent and Xu Ying |
425 |
Fengjing – The Town That Claimed Ding Cong |
| Phillip Troutman |
432 |
The Discourse of Comics Scholarship: A Rhetorical Analysis of Research Article Introductions |
| Ross Murray |
445 |
Referencing Comics: A Comprehensive Citation Guide |
| Sylvain Rheault |
459 |
Curvy Alterations in “Gaston” by Franquin |
| Miriam Peña-Pimentel |
469 |
Baroque Features in Japanese Hentai |
| Yuko Nakamura |
487 |
What Does the “Sky” Say? – Distinctive Characteristics of Manga and What the Sky Represents in It |
| B.S. Jamuna |
509 |
Strategic Positioning and Re-presentations of Women in Indian Comics |
| Meena Ahmed |
525 |
Exploring the Dimensions of Political Cartoons: A Case Study of Pakistan |
| Camila Figueiredo |
543 |
Tunes Across Media: The Intermedial Transposition of Music in Watchmen |
| Rania M. R. Saleh |
552 |
Making History Come Alive Through Political Cartoons |
| Bill Kartalopoulos |
565 |
Taking and Making Liberties: Narratives of Comics History |
| Toni Masdiono |
577 |
An Indonesian Bid for the First Graphic Novel |
| John A. Lent |
581 |
In Remembrance of Five Major Comic Art Personalities |
| Perucho Mejia Garcia |
588 |
Ismael Roldan Torres (1964-2009) of Colombia: A Memorial Tribute |
| Zheng Huagai |
598 |
Tributes to Two Famous, Anti-Japanese War Cartoonists: Zhang Ding and Te Wei |
| John A. Lent |
614 |
The Printed Word |
| |
620 |
Book Reviews |
| |
644 |
Exhibition and Media Reviews |
| |
696 |
Correction |
| |
697 |
Portfolio |
| Vol. 13, No.1, Spring 2011 |
John Weeks |
3 |
Economics and Comics: Khmer Popular Culture in Changing Times |
| John Marston |
32 |
Im Sokha and Cambodian Satirical Cartoons |
| John A. Lent |
59 |
Uth Roeun, the “First” Cambodian Comic Book Author: An Interview |
| Chi Do Huu |
62 |
Comic Art in Vietnam: A Brief History |
| Dean Wilson |
87 |
Vietnam: Animation Is Everywhere |
| Masashi Ichiki |
109 |
Embracing the Victimhood: A History of A-bomb Manga in Japan |
| Mark McKinney |
127 |
Redrawing the Franco-Algerian Affrontier in Là-bas |
| Konstantinos Tzikas |
153 |
Dissecting the Antiheroine: The Sexual Trangressions and Transfigurations of the Morally Ambiguous Heroine in Comics |
| Rachel Marie-Crane Williams |
176 |
The Cartoons of Norman Ethre Jennett and the North Carolina Election of 1898 |
| Jorge L. Catalá Carrasco |
208 |
Cuban Humor Magazines and Comics during the Special Period |
| José Alaniz |
235 |
“Serious” Comics Adaptations of the Classics in the Late Soviet Era: Askol’d Akishin’s A Chronicle of Military Actions |
| Brian Cremins |
249 |
Depersonalization, Mysticism, and Mourning in John Porcellino's Perfect Example and Carrie McNinch's You Don't Get There from Here |
| Foo Tee-Tuan |
275 |
Reading Hong Kong Comics in the Heartlands of Singapore |
| Richard Scully |
291 |
Sex, Art, and the Victorian Cartoonist: Matthew Somerville Morgan in Victorian Britain and America |
| David Schilter and Zane Zajančkauska |
326 |
Latvian Komiksi |
| Joseph L. V. Donica |
340 |
“They Are Trying To Kill Us All”: The Ethics of Urban Space in Post-Disaster Graphic Narrative |
| Mark McLelland |
348 |
Thought Policing or Protection of Youth? Debate in Japan over the “Non-Existent Youth Bill” |
| Paweł Timofiejuk and Łukasz Szostak |
368 |
Polish Comics as Instruments of Propaganda |
| Kinga Kuczyńska |
385 |
Polish Comics – A World Without Women? |
| Kevin Patrick |
398 |
The Invisible Medium: Comics Studies in Australia |
| Josh Benton |
411 |
Divine Sparks: Magic and the Self in the Work of Alan Moore |
| Hannah Means-Shannon |
426 |
A Funeral for Achilles: Burying the Heroic Code in Watchmen |
| David Brame, David Kolin, Peter Chung, and Joyce Nyhof-Young |
441 |
Don’t Forget to Check Your Comics! Developing “Novel” Resources To Educate Young Men about Testicular Cancer |
| Phil Yeh |
458 |
Using Comics and Graphic Novels for Education to a Global Audience |
| Tom Gill |
474 |
The Incident at Nishibeta Village: A Classic Manga by Yoshiharu Tsuge from the Garo Years |
| Daniel Moreira de Sousa Pinna |
490 |
Symphony of the Braves: The First Years of Brazilian Animation |
| José Alaniz |
514 |
Chris Ware and “Autistic Realism” |
| Carmina Sanchez-del-Valle |
529 |
DMZ's Dystopic Manhattan: Loving the City, Killing the City |
| Nicoletta Preziosi |
551 |
The Several Lives of Persepolis in Italy: from the Stores to the Newsstands |
| Rania M.R. Saleh |
558 |
Has the U.S. Won the Iraq War? The Perspectives of American Cartoonists |
| Bernadette C. Bravo |
581 |
On Turning Japanese: The Impact of Anime on Philippine Pop Culture |
| Jon C. Gordon |
602 |
The Cartoons of Kobayashi Kiyochika |
| Armando Rotondi |
617 |
“Manga Musicals”: Comics and Serialized Theatre |
| Juhanita Jiman |
633 |
A Study of “Upin & Ipin”: Observing Their Roles in Promoting Positive Values in Children |
| Jonathan Rikard Brown |
644 |
I Am Robin: The Reader's Gateway into the World of The Dark Knight Returns |
| Travis Langley and Robin Rosenberg |
654 |
Reflections on the Psychopathy of the Joker: A Comic-Con Panel Report |
| Joost Pollmann |
677 |
Comics Anthropology |
| Fabiano Maggioni and Adair Caetano Peruzzolo |
685 |
The Violence Visualized in Cartoons: An Analysis of Plastic Meaning |
| John A. Lent |
701 |
India's Anant Pai, Cuba's Tomy, and the Philippines' Pablo Gomez: Some Remembrances |
| Maurice Horn |
714 |
Peirre Couperie: A Memorial |
| Tim Madigan |
716 |
Remembering Harvey Pekar |
| John A. Lent |
719 |
The Printed Word |
| |
723 |
Book Reviews |
| |
728 |
Exhibition and Media Reviews |
| Vol. 13, No.2, Fall 2011 |
Women's Manga beyond Japan:
Contemporary Comics as Cultural Crossroads in Asia
Edited by Fusami Ogi, Tju Lim, Jaqueline Berndt |
Fusami Ogi |
3 |
“Women’s Manga Beyond Japan: Contemporary Comics as Cultural Crossroads in Asia” |
| John A. Lent |
7 |
Yes, There Are Women Cartoonists: Snippets from Those I Have Interviewed |
| Fusami Ogi |
32 |
Inspiring Women: 40 Years' Transformation of Shôjo Manga and Women's Voices |
| CJ (Shige) Suzuki |
57 |
Envisioning Alternative Communities through a Popular Medium: Speculative Imagination in Hagio Moto's Girls' Comics |
| Ming Hung Alex Tu |
75 |
“Silent Music”: Desiring-machine and Femininity in Some Music-themed Comics |
| Fujimoto Yukari |
87 |
Historical Shôjo Manga: On Women's Alleged Dislike |
| Akiko Sugawa-Shimada |
103 |
Functions and Possibilities of Female “Essay Manga”: Resistance, Negotiation, and Pleasure |
| Kim Hyojin |
116 |
Crossing Double Borders: Korean Female Amateur Comics Artists in the Globalization of Japanese Dojin Culture |
| Dwinita Larasati |
134 |
So, How Was Your Day? The Emergence of Graphic Diary and Female Artists in Indonesia |
| Mashima Tojirakarn |
143 |
Why Thai Girls’ Manga Are Not “Shojo Manga”: Japanese Discourse and the Reality of Globalization |
| Gan Sheuo Hui |
164 |
Manga in Malaysia: An Approach to Its Current Hybridity through the Career of the Shojo Mangaka Kaoru |
| Angela Moreno Acosta |
179 |
Women “Using Manga to Tell Local Stories”: A Workshop on the ”Glocality” of Manga in Southeast Asia |
| Lim Cheng Tju |
198 |
Afterwords |
| Richard Samuel West |
200 |
My Life in Cartoons |
| Kevin Patrick |
219 |
The Contested Frontier: Western Comics and Australian Identity, 1945-1960 |
| David Spencer |
244 |
Ryan Walker, American Radical: A Date with History from the Bottom Up |
| Gregory Steirer |
263 |
The State of Comics Scholarship: Comics Studies and Disciplinarity |
| Hubert Kowalewski |
286 |
“Where the Joke Comes From”: Comical Potential of Comics in the Works of Tadeusz Barannowski |
| Héctor Fernández L'Hoeste |
313 |
Transnationalism and Hegemony amid a Very Uneven Modernity: On Arandú, El Principe de la Selva, and the Dynamics of the Mexican Comics Industry |
| Tom Gill |
325 |
Fetuses in the Sewer: A Comparative Study of Classic 1960s Manga Tatsumi Yoshihiro and Tsuge Yoshiharu |
| Mark McKinney |
344 |
The Colonial Beginnings of Autobiography |
| Kim Munson |
369 |
Censorship and Super Bodies: The Creative Odyssey of Margaret Harrison |
| Tom Miller |
393 |
“Those Guys Give Me the Creeps”: Grant Morrison’s Doom Patrol and Satire in the Shared-Narrative Universe |
| Melissa Olson |
417 |
The Hero and the Apocalypse in Watchmen and Buffy the Vampire Slayer: Season 8 |
Graphic Narrative and Global Ground:
A Symposium
Edited by Tracy Lassiter, Stefan Buchenberger, Guiherme Pereira with assistance of Lea Pao |
| Tracy Lassiter |
432 |
Introduction: “Graphic Narrative and Global Ground” |
| Hiroko Terai |
437 |
Disembodiment of Our Physical Bodies and Embodiment of Urban Space in Oshii Mamoru's Animations |
| Peter Swirski |
448 |
Freeze-Frame: The Vagaries of Textual Analysis, the Intentions of Art Spiegelman, and the Ascendancy of Nobrow art |
| Angelo Piepoli |
458 |
Sequential Art between Language and Textuality |
| Kai Mikkonen |
473 |
The Implicit Narrator in Comics: Transformations of Free Indirect Discourse in Two Graphic Adaptations of Madame Bovary |
| Tracy Lassiter |
488 |
Metafiction: The Graphic Novel Embedded in Laura Esquivel's Multimedia Novel The Law of Love |
| Barbara Grüning |
499 |
Narrating the Cities in Comics: The Case of Bologna |
| Sonja Faessler |
518 |
In Search of New Caledonian Comic Books: The Image of New Caledonian Society, the Growth of Cultural Consciousness, and the Movement towards Citizenship |
| Guilherme Choovanski |
529 |
Tex, Lone Wolf and Cub, and Preacher: Justice Wanders through Three Countries |
| Stefan Buchenberger |
539 |
Comic Book Super Villains and the Loss of Humanity |
| Richard Scully |
553 |
Mr. Punch versus the Kaiser, 1892-1898: Flashpoints of a Complex Relationship |
| Mark Bryant |
579 |
Vinegar not Vitriol: The Picture-Politics of Sir Francis Carruthers Gould (1844-1925) |
| Felipe Muanis |
599 |
Between Photography and Drawing: The Documentary Comics as Translation of the City |
| Todd S. Munson |
614 |
“A Sojourner Amongst Us”: Charles Wirgman and the Japan Punch |
| Daniel King |
627 |
Visual Transgressions and Queer Representations in Gaiman's A Game of You |
| John D. Schwetman |
642 |
Sympathetic Geography: Tropes of the Cityscape in Chris Ware's Jimmy Corrigan, the Smartest Kid on Earth |
| John A. Lent |
659 |
Reminiscences |
| Filomena Coching |
660 |
It Is an Honor To Be the Wife of Francisco V. Coching (Dean of Pilipino Illustrators) |
| Hugo Yonzon III |
668 |
Hugo C. Yonzon, Jr. |
| Ayisha Abraham |
674 |
India's Abu Abraham: A Private View |
| Kinko Ito |
679 |
Osamu Tezuka: His Life, Works, and Contributions to the History of Modern Japanese Comics |
| Jon LaCure |
700 |
Sailor Moon and Art Deco |
| Shayla Monroe |
714 |
Sex and Power in “Absent Friends”: An Essay |
| John Baird and Dana Newborn |
725 |
The Effect of Age on Comic Narrative Creation |
| John A. Lent |
739 |
The Printed Word |
| |
744 |
Exhibition and Media Reviews |
| Lim Cheng Tju |
749 |
A Response and an Observation |
| Vol. 14, No.1, Spring 2012 |
Comic Strips: An International Symposium
edited by John A. Lent |
| Ediliane de Oliveira Boff |
3 |
Until Death Do Them Apart: Gender Relations in the Brazilian Comic Strip “Radicci” |
| Michael Freund |
17 |
Funny Papers, Unfunny Wars: A Comparison of Three Armed Conflicts as Depicted in “Doonesbury” |
| John A. Lent |
35 |
Sanmao and Tokai: Popular Street Urchins of Asian Comic Strips |
| Sean P. Connors |
51 |
Lessons Learned: Milton Caniff’s “Dickie Dare” |
| Roy T Cook |
66 |
Schulz, “Peanuts,” and Metafiction |
| Pedro Pérez del Solar |
93 |
Stories of an Invisible War: Comics and the Peruvian “Internal Conflict” (1980-2000) |
| Michael Rhode and JTH Connor |
112 |
Graphic Tales of Cancer |
| Jennifer Babcock |
157 |
Ancient Egyptian ParodicOstraca and “Comics” |
| Dietrich Grünewald |
171 |
The Picture Story Principle |
| José Alaniz |
198 |
“A Groovy, Different Kind of Lay”: Sex, Disability, and Amputee Love |
| Peter Sandmark |
216 |
Tibetan Mysticism and the Development of Golden Age Superheroes |
| Kotaro Nakagaki |
236 |
Tibetan Mysticism and the Development of Golden Age Superheroes |
| Hannah Means-Shannon |
251 |
Strength and the Supernatural: Navigating Liminal Zones in the Herakles Tradition and Alan Moore’s Tom Strong |
| John A. Lent |
267 |
Reminiscences |
| Kosei Ono |
268 |
Saseo Ono in His NichiyoHochi Days |
| Xu Chang (Charles) / Translated by Xu Ying |
283 |
Recalling Ah Da |
| Wang Yiqian / Translated by Xu Ying |
292 |
Memory of the Past |
| Sheng Dalong / Translated by Xu Ying |
305 |
Recalling My Father Bit by Bit in His Daily Life |
| Zhan Yong / Translated by Xu Ying |
321 |
Recalling My Father -- Zhan Tong |
| He Ting / Translated by Xu Ying |
332 |
Farewell to My Father |
| Bill Schulte |
339 |
The Man Without Fear, a Time of Fear:A Review of Countercultural Themes in the First 100 Issues of Daredevil |
| Jose Alaniz |
360 |
“What Can We Ever Have to Fear From a Blind Man?!!” or Spoiled (Secret) Identities: Disability, Daredevil and Passing |
| Amna Ashraf and Naveed Iqbal Chaudhry |
376 |
Journalistic Comic Art of Pakistan: Coverage of the Kerry Lugar Bill 2009 |
Roberto Elísio dos Santos and
Waldomiro Vergueiro |
391 |
The Comic Book in Brazil: The Consolidation of a Publishing Format |
| Lucia Cedeira Serantes |
407 |
Comics in the Life of the Young Adult Reader: Understanding the Experience of Reading Comics in Contemporary Society |
| Jose Alaniz |
419 |
Tomáš Kučerovský Interview |
| Gerson Luís Pomari |
432 |
Lost in Translation --The Translations of Wilhelm Busch’s Illustrated Stories in Brazil |
| Justin Raymond |
463 |
“I Love the Mayhem More Than the Love: Homosocial Masculinity in Sgt. Fury and His Howling Commandos |
| Arlen Schumer |
474 |
The Auteur Theory of Comics |
| Barry Pearl |
485 |
Jack Kirby Makes an Auteur Detour |
| John A. Lent and Xu Ying |
492 |
Quan Yingsheng and the Blending of Traditional Chinese Painting with Comic Books |
| Leslie J. Anderson |
507 |
Myth and the Superhero: Personal Choice in Batman, Arkham Asylum: A Serious House on Serious Earth |
Kawamoto Kihachiro
Translated by Hiroko Takada Amick and Linda C. Ehrlich |
525 |
A Puppet´s Life |
| Cord Scott |
530 |
The Battles of Herbie, Willie and Joe: The Depiction of the Allied Soldier in World War II through Comic Illustration |
| Richard Iadonisi |
543 |
“A Man Has Risen”: Hard Bodies, Reaganism, and The Dark Knight Returns |
| Lim Cheng Tju |
554 |
An Interview with Malaysia’s Political Cartoonist Zunar |
| John A. Lent |
562 |
The Printed Word |
| Review and interview by Pedro Moura |
566 |
La composition de la bandedessinée.
Renaud Chavanne (PLG: Montrouge 2010) |
| |
595 |
Book Reviews |
| |
604 |
Exhibition and Media Reviews |
| John A. Lent and Xu Ying |
623 |
He Wei (1934-2012) |
| |
626 |
Portfolio |
| Vol. 14, No.2, Fall 2012 |
| Brannon Costello |
1 |
The Futurama Isn’t What it Used to Be: Embodiment and the “Real Thing” in Howard Chaykin’s Time |
| Michael Dean |
23 |
A Path Through Time: A Close Reading of Jim Steranko’s “At the Stroke of Midnight” |
| Daniel L. Werneck |
58 |
Decoding Laerte: “Minotaur Handbook” and the Politics of Gender |
| Brittany Tullis |
77 |
Paco Roca’s Arrugas, Miguel Ángel Gallardo’s María y yo, and the Impact of Social Comics in Contemporary Spain |
| Kent Worcester |
90 |
Making Stories Real and Concrete: An Interview with Nick Thorkelson |
| Richard Scully |
120 |
Constructing the Colossus: The Origins of Linley Sambourne’s Greatest Punch Cartoon |
| Kane Anderson |
143 |
V for Occupy: Transmedial Theatricality, V for Vendetta, and the Occupy Movement |
| Tom Gill |
169 |
“Chiko,” “A View of the Seaside,” and “Mister Ben of the Igloo”: Visual and Verbal Narrative Technique in Three Classic Manga by Yoshiharu Tsuge |
| Frederick Wright |
191 |
Watching Watchmen: The Reading of Motion Comics |
| Darren Harris-Fain |
200 |
It Rhymes with Bust: The Failure of the St. John Picture Novels |
| Boaz N. Adler |
214 |
Illustrative Lives in Spanish: Mexican Comic Books about Scientists as Inspiration for Science Education |
| Frenchy Lunning |
225 |
The Kyara, the Shôjo, and the Strange Trace |
| ©William McGrath |
239 |
Grace Drayton, a Children’s Illustrator Who Also Portrayed Young Women -- a Biographical Sketch |
| Kim Munson |
264 |
Revisiting “The Comic Art Show” |
| Shannon Lawson |
289 |
The Artifice of Representation: Vestiges of Orientalism in The Rabbi’s Cat |
| Bryan E. Vizzini |
306 |
Lightning Comics’ Tod Holton, Super Green Beret: American Exceptionalism in Vietnam |
| N. C. Christopher Couch |
314 |
We Shouldn’t Even Have to Say Comics Deserve Respect:Comparative Perspectives on Teaching Sequential Art |
| Cara Takakjian |
332 |
Gipi and the Continuation of the Neorealist Tradition in Italian Graphic Novels |
| Lawrence Rodman |
348 |
The Wolverton Bible and Other Visions |
| Maggie E. Morris Davis |
360 |
Reframe, Reframe: An Adaptation Study of Benjamin Percy, Danica Novgorodoff, and the Iraq War |
| Holger Briel |
368 |
The Drawn-Out Diaspora: Manga on the Shores of the Other |
| Muliyadi Mahamood |
385 |
An Evening with Lat and Malaysian Cartoonists |
| Su Feng and LuoXiaoyi |
393 |
The Mode of World Animation Education and Development Mechanism |
| Dan Mazur |
419 |
The Boston Comics Roundtable and the Creating of a Comics Community: A Case Study |
| John Offerman Sindall |
437 |
Q-Collection Comic Book Preservation Project |
| Phil Yeh |
446 |
Cartoonists Across America & the World: A New Direction for Our Global Literacy Campaign |
Richard Scully |
460 |
Mr. Punch Versus the Kaiser, 1892-1898: Flashpoints of a Complex Relationship, Part II -- Photographing “Wilful Wilhelm” |
| Kim Ki Hong |
464 |
Gatekeeping the Webtoons: A Study on the Internet-Based Cartoon Culture in Korea |
| Paul Kelemba (Maddo) |
472 |
Africa’s Hergé Takes A Bow: A Tribute to Frank Odoi (1948-2012) |
Thierry Groensteen
Translation by Pedro Moura with Miriam Sampaio |
475 |
A Response to Renaud Chavanne |
| John A. Lent |
477 |
The Printed Word |
| |
480 |
Book Reviews |
| |
493 |
Correction |
| |
494 |
Portfolio |
| Vol. 15, No.1, 2013 |
| John A. Lent |
1 |
Editor's Note |
| Mark McKinney |
2 |
Les mésaventures de M. Bêton by Léonce Petit: Reflexivity and Satire in an Early French Comic Book Inspired by Rodolphe Töpffer |
| Lara Saguisag |
35 |
The “Secret Tracts” of the Child’s Mind: Theorizing Childhood in Early 20th Century Fantasy Strips |
| Héctor Fernández L'Hoeste |
68 |
Súper Cholita and Bolivian Comics: In Search of Cultural and Political Hegemony |
| Ryan Prout |
84 |
Mapping Neuro-diverse Alterity in “Social and Sensitive” Comics from Spain |
| Iwan Gunawan |
100 |
Multiculturalism in Indonesian Comics |
| Uri Fink |
127 |
Comics in Israel -- A Brief History |
| Amy Bright |
146 |
Evaluating Text and Image Ratios in Contemporary Young Adult Literature |
| Muliyadi Mahamood |
163 |
Pioneers in Comic Art Scholarship Cartoon and Comics Scholarship in Malaysia: A Personal Experience |
| Scott Hales |
197 |
“Operation Replica?!!”: Captain America in the Age of Mechanical Reproduction |
| Tsugumi Okabe |
230 |
From Sherlock Holmes to “Heisei” Holmes: Counter Orientalism and Post Modern Parody in Gosho Aoyama’s Detective Conan Manga Series |
| Michael Rhode |
251 |
Ann Telnaes at the 2011 Small Press Expo |
| Jakob F. Dittmar |
270 |
Comics and History: Myth-making in Nazi references |
| Keegan Lannon |
287 |
Visualizing Words: The Function of Words in Comics |
| Muhamad Azhar Abdullah |
306 |
The Development of Malaysia Comic Art |
| Richard Scully |
323 |
The Lion and the Unicorn -- William Gladstone and Benjamin Disraeli through William Empson's Looking-Glass |
| Anita K. McDaniel |
338 |
Obama-man: The Fanboy Ideograph for “Hope and Change” |
| Sebastian Weinert |
354 |
Funny Education? Cartoons and Illustrated Stories as Media of Health Instruction in Weimar Germany |
| Jeremy Stoll |
363 |
A Creator's History of the Comics Medium in India |
| Sylvain Rheault |
383 |
Japanese Culture in Franco-Belgian Bande Dessinée |
| Jon LaCure |
395 |
CLAMP, the Magic Knights, and Art Nouveau |
| Jade Hidle |
408 |
Remembering in Red and Yellow: History, Memory, and Second-Generation Vietnamese American Identity in GB Tran's VIETNAMERICA |
| Anna Wiederhold |
419 |
The 9/11 Report: A Graphic Adaptation: Making Meaning in the (Gutter) Spaces between Word, Image, and Ideology |
| Fauzi Naeim bin Mohamed |
435 |
The Aesthetics of Oppression in Joe Sacco's Footnotes in Gaza |
| Eric A. Holmes |
450 |
The Horror and Humor of Entertaining Comics |
| John Baird |
456 |
Evaluating Math Concept Learning Using Comics |
| John A. Lent |
469 |
The Printed Word |
| Dale E. Seeds, John A. Lent |
472 |
Book Reviews |
| Edited by Michael Rhode, David Robertson, Michael Rhode |
480 |
Exhibition and Media Reviews |
| |
489 |
Portfolio |
| Vol. 15, No.2, 2013 |
| John A. Lent |
1 |
Fifteen Years of Continuous Publication |
| Richard Scully |
6 |
A Comic Empire: The Global Expansion of Punch as a Model Publication, 1841-1936 |
| Kent Worcester and Ethan Young |
36 |
Laura Slobe, Jesse Cohen, and
the Hidden History of Political Cartooning
|
| Daniela Miranda Loría |
55 |
Painted (Hi)stories: The Subversive Power of
Codex and Comics Elements in Codex Espangliensis: From Columbus to the Border Patrol
|
| Marni Stanley |
77 |
Where Do You Draw the (Front) Line:
Women's War Comics from the Middle East |
| Michael Rhode |
94 |
Richard Thompson Q&A at the 2008 Small Press Expo |
| Jeremy Stoll |
117 |
Bread and Comics: A History of the Pao Collective |
| Margareta Wallin Wictorin |
145 |
West African Tellings with Images and Words --
Comics in Senegal
|
| Athanasia Batziou |
167 |
Humoring the Greek Crisis |
| Héctor Fernández L’Hoeste |
185 |
On Historical Revisionism and the Chilean Experience:
The Case of Historia de Chile en cómic
|
| Annabelle Cone |
203 |
The Humorous Erotic in French Post-1968 Bande Dessinée |
| Leonard Rifas |
219 |
Fredric Wertham: Scientist (?)
A Transgeneration Paper in Two Parts
|
| Hend Alawadhi |
268 |
Reclaiming the Narrative:
The 99 and Muslim Superheroes |
| Chad Barbour |
278 |
Playing Indian and Performing Gender
in 1940s and 1950s United States Comics
|
| Alison Mandaville |
298 |
Comics? What Comics?!:
Cartoonists Gia Lapauri and Zaliko Sulakauri in the Republic of Georgia: Interviews and Commentary |
| Duncan Omanga |
323 |
The September 11th Attacks
in Editorial Cartoons in Kenya
|
| Julian Peters |
344 |
Explain Yourself: The Projector (1971)
by Martin Vaughn-James and the Reinvention of Narrative
|
| Benjamin Woo |
361 |
How to Think About Comics as Social Objects |
| Áine Llang Young |
373 |
I See What You Are Saying:
Visual Representations of Comic Sound in
Edgar Wright's Scott Pilgrim vs. The World (2010) |
| Ryan Holmberg |
389 |
The Eye and the Storm: Speed Lines and Gekiga FX |
| Bruce Mutard |
421 |
Out of The Gutter and into The Panel:
Comics Closure as Qualia of Art Imitating Life |
| John A. Lent |
430 |
"Give Me Some Skin," Clay, Fabric:
Cartooning the Armella Leung Way
|
| Julia Round |
453 |
Apocatastasis: Redefining Tropes of the Apocalypse
in Neil Gaiman and Dave McKean's Signal to Noise
|
| Aswathy Senan |
465 |
Bobanum Molliyum:
The Demon-Children of Kerala Comics |
| Colin Beineke |
485 |
Comics as Comics:
Comics Studies, Disciplinarity, and the Comics Scholar |
| Philipp Fidler and Johannes Fehrle |
495 |
"What's Happened to the American Dream?"
Transnationalism and Intertexts
in Alan Moore and Dave Gibbons' Watchmen
|
| Robert Loss |
528 |
Profluent Lingering, Trauma and Subjectivity |
| Vol. 16, No.1, 2014 |
| Joseph Thomas |
1 |
Guest Editorial
The Books Are Selling Just Fine, Thank You, or Scholarship and the Permissions Problem |
| John A. Lent |
9 |
Comics Scholarship: Its Delayed Birth, Stunted Growth, and Drive to Maturity |
| Richard Scully |
29 |
Towards a Global History of the Political Cartoon: Challenges and Opportunities |
| Brittany Tullis |
48 |
¿Chica moderna o mujer tradicional? Intersections of Modernity and Tradition
in Gabriel Vargas' La Familia Burrón
|
| Jeffery Klaehn |
74 |
Comics Don't Need to Be Literature with a Capital L: An Interview with Leah Moore and John Reppion |
| Eric A. Holmes |
90 |
Atomic Horror: Entertaining Comics and "One World or None" |
| Patrick W. Galbraith |
125 |
The Misshitsu Trial: Thinking Obscenity with Japanese Comics |
| Anna Howell |
147 |
Representation through Anti-Representation: Showing the Unspeakable in Stassen's Déogratias |
| John A. Lent |
163 |
"You Can't Deny the Uncomfortable Truths": Carol Tyler and Her Frank Autobiographical Comics |
| Joyce L. Arriola |
177 |
Semiotics of Filipino Komiks-to-Film Adaptation: Decoding Lapu-Lapu (1954) |
| Pfunzo Sidogi |
208 |
The Emergence of Black Cartoon Animators in South Africa: A Spotlight on the Work of Mdu Ntuli |
| Aaron A. Cloyd |
223 |
Voices from the Margins: The Place of Wilderness in Watchmen |
| Ben Whaley |
244 |
Doomed Hybrids: Three Cases of Fatal Mixing in the War Comics of Tezuka Osamu |
| John A. Lent |
258 |
Allied, Japanese, and Chinese Propaganda Cartoon Leaflets During World War II |
| Martha H. Kennedy |
302 |
Women Cartoonists and Illustrators Draw Covers for American Magazines:
Case Studies from The Library of Congress's Prints & Photographs Division
|
| Maaheen Ahmed |
322 |
The Art of Splicing: Autofiction in Words and Images |
| Marco R. S. Post |
339 |
R for Reason Gone Rampant? The Intricate Interplay between Madness &
Rationality in the Graphic Novel V for Vendetta
|
| Mark Anderson |
367 |
Writing History, Day by Day, From My Point of View: The Philosophy of Sudanese Cartoonist Khalid Albaih |
| Achim Hescher |
384 |
Classical Categories, Prototypes, and the Graphic Novel |
| David Hayes |
402 |
"Let's part before we become mushy": Femininity and Female Antagonists in Will Eisner's "The Spirit" |
| Jimoh, Ganiyu Akinloye |
431 |
I Voted Only for the Head Too: Visual Satire and Democratic Governance in AfricaCLAMP, the Magic Knights, and Art Nouveau |
| Gary Dufner and Joo Kim |
445 |
Text and Images: Varying Sizes of Word Balloons in Comics |
| Ryan Prout |
458 |
From Boom to Bubble and Bust: Comical Economics in Aleix Saló's Troika Trilogy |
| Vol. 16, No.2, Fall/Winter 2014 |
| Terry Mosher, OC1 |
1 |
Canadian Political Cartooning |
| Comic Empires-- Cartoons, Caricature, and Imperialism: A Symposium |
| Richard Scully |
58 |
Introduction |
| László Kürti |
65 |
“The Women-flogger, General Hyena”: Images of Julius Jacob von Haynau (1786-1853), Enforcer of Imperial Austria |
| Annick Pellegrin |
91 |
Nothing New under the Western Sun: The (Necessity and Inevitability of the) Conquest of the Americas in U.K.R.O.N.I.A./ Les Brigades du tempsand Helldorado |
| John Moores |
111 |
John Leech’s “‘General Février’ Turned Traitor” in the Imperial Imagination |
| Elena D. Hristova |
132 |
Joe Worker and the Story of Labor: Educating Workers for the Post-World War II Labor Program |
| Jonathan Guyer |
153 |
Gallows Humor: Political Satire in Sisi’s Egypt |
| Christina Bearden-White |
173 |
No Middle Ground: Reexamining Racialized Images in Luke Cage, Hero for Hire |
| Anri Yasuda |
192 |
Akutagawa Ryûnosuke: Manga Images of a Literary Icon |
| Roman Rosenbaum |
212 |
Ishinomori Shōtarō: (Re)presenting Japanese Graphic History |
Valérie Cools |
225 |
The Impossible Return: Innocence, Childhood and Predestined Love in Manga |
| Kinko Ito and Paul A. Crutcher |
240 |
Hayao Miyazaki’s Last Animation “The Wind Rises” (2013) and His Message for the Japanese Today |
| Gorana Tolja |
253 |
Urban Palimpsests of London in Alan Moore and Eddie Campbell’s From Hell (1989-1996) |
| Wladimir Chávez Vaca |
268 |
When the Aztecs Conquered Europe:Literary Tradition and Criticism of Society in The Art of Smoking Mirror (2012) |
| Philip Smith |
288 |
A Priest Dressed as a Man of Letters: Gene Luen Yang’s Boxers and Saints and the Legacy of Father Matteo Ricci |
| Abram Fox |
300 |
The Color and the Shape: Procedural Rhetoric
in Works by David Mazzucchelli and Daniel Clowes |
| Srdjan Tunić |
313 |
“Weird and Wondrous Comics of Aleksa Gajić:
Comics in the Expanded Field (Works 2011-2013)” |
| Richard Scully |
332 |
Accounting for Transformative Moments in the History of the Political Cartoon |
| Héctor Fernández L’Hoeste |
365 |
On Novel Constructions of Euro-American Heritage in the Americas |
| Panpan Yang |
380 |
Animating Landscape:Chinese Ink-and-wash Animation, 1960-2013 |
| Michael Rhode |
398 |
Jaime Hernandez Q&A at the Library of Congress’ National Book Festival 2013 |
| Daniel King |
413 |
The Crafting of Queer Domestic Space in Jaime Hernandez’s Love and Rockets |
| Tobias A. Mueller |
431 |
Sequential Art and Gerontology --
an Idle Field in Reflecting Images of Age and Aging |
| Muliyadi Mahamood |
452 |
Issues in Contemporary Malaysian Cartoons |
| Mike Lloyd |
465 |
Directing the Gaze: Humor in a Cartoon Caption Competition |
| Hong-Chi Shiau |
481 |
Caught in an Unattainable Dream in the Neoliberal Era: An Interview with Hung De-Lin on the History of Comicsin Taiwan |
| R. Brad Yarhouse |
496 |
A Relationship Between Harlem Renaissance Painter Jacob Lawrence and Comic Book Structure and Theory |
| Lawrence Beemer |
513 |
Superhero Comic Book Narrative and Continuity: From Freytag’s Pyramid to The Sierpinski Triangle |
| Iwan Gunawan |
528 |
Visual Design for the Universe of Wayang Comics |
| Zeffry Alkatiri |
546 |
Parody Criticism of the Military Regime of the Indonesian New Order in Yogyakarta Underground Comics, 1995–2000 |
| Anna F. Peppard |
565 |
“Big Fun on Monster Island”: Reading the Sexy Superbody in the Marvel Swimsuit Special |
| Wendy Siuyi Wong |
582 |
Fifty Years of Popularity of Theresa LeeWai-chun and Miss 13-Dot: Changing Identities of Women in Hong Kong |
| Aiden Ranford |
597 |
Impossible Filmstrips |
| Philip Smith |
608 |
Leslie Chew and Singapore’s Controversial, Online Political Cartoon |
Ayesha Ashfaq,
Adnan Bin Hussein,
Hina Fatima and Fahad Anis |
618 |
Unveiling the Art of Political Cartooning in Pakistan: A Retrospect |
| Naveed Iqbal Chaudhry andAmna Ashraf |
630 |
Killing the Killer: Pak-U.S. Relations after Osama Bin Laden: An Analysis of Editorial Cartoons from May-October 2011 |
| Michael Lipiner |
646 |
Super-Perception: Minorities Depicted In Comic Book Filmic Adaptations |
| John A. Lent |
655 |
The Printed Word |
| - |
659 |
Book Reviews |
| Edited by Mike Rhode |
674 |
Exhibition and Media Reviews |
| Resource |
686 |
Asian Comics Cataloging at Michigan State University |
| Vol. 17, No.1, Spring/Summer 2015 |
Neil Cohn
Kent Worcester |
1 |
Visual Language: Neil Cohn and Kent Worcester in Conversation |
| Hubert Kowalewski |
24 |
From Icono-linguistic Unity to Semiotic Continuity: An Alternative Description of Semiotic Repertoire of Comics |
| Hannah Miodrag |
45 |
Origins and Definitions: Arguments for a Non-Essentialist Approach |
| Louise C. Larsen |
57 |
Comic Composition; or When Kierkegaard and Cartoon Art Took to the Streets |
| Paul Morton |
74 |
The Archive as Comic: Aleksandar Zograf’s “Polovni svet” and Post-Yugoslav Serbia |
| Msanii Kimani wa Wanjiru |
90 |
Terry Hirst: The Renowned Trailblazer Editorial Cartoonist and Comics Author in Kenya |
| Kirsten A. McKinney |
117 |
The Waking Life of Winsor McCay: Social Commentary in A Pilgrim’s Progress by Mr. Bunion |
Richard Scully
Joshua Santospirito |
131 |
An Australian Comic Breakthrough: Craig San Roque’s The Long Weekend in Alice Springs. Adapted and drawn by Joshua Santospirito |
| Nick Stember |
149 |
The 19th Oddity of Yunnan: Propaganda and Memory in Li Kunwu and Philippe Ôtié’s Graphic Novel A Chinese Life |
| Héctor Fernández L’Hoeste |
181 |
Into the Present, by Way of a Non-Existent Past: Breccia, Trillo, and Alvar Mayor |
David Allan Duncan |
197 |
Daumier’s Deadline: Expedited Expressiveness and Franco-Belgian Cartooning |
| Mark McKinney |
210 |
Avant-Garde Abirached |
| John A. Lent |
246 |
The Self-named “Fool-in-chief”: Cameroon’s Hard-hitting Cartoonist, Nyemb Popoli |
| Jennifer Anderson Bliss |
257 |
Landscapes of Trauma in Grenier and Austini’s Rwanda 1994 |
| Gorana Tolja |
272 |
Against a “Tradition of the New”: Architectural Criticism in Chip Kidd and Dave Taylor’s Batman: Death by Design (2012) |
| Michael Rhode |
287 |
Bob Staake: “I don’t like the term cartoonist at all…” |
Monika Nowicka
Janusz Kaźmierczak |
299 |
Leading British Politicians in The Times’ and The Guardian’s Cartoons, 2010-2013 |
| Richard Scully |
336 |
Crossing the Line: Offensive and Controversial Cartoons in the 21st-Century --
“The View from Australia” |
| Mehedi Haque |
358 |
UNMAD and Bangladeshi Cartooning: A Socio-Cultural Journey with a Bitter Sense of Humor |
| Michael L. Maynard |
367 |
The Mediated Appeal of Kawaii “Cute” Mascot Characters in Japanese Consumer Culture:
A Case of Kumamon |
| Muhamad Azhar Abdullah |
395 |
Malay Pendekar: Silat Warrior in the Malaysia Graphic Novel |
John A. Lent
Pablo Turnes |
405 |
Oscar Steimberg and the Origins of Comics Studies in Argentina |
| Elizabeth Nijdam |
417 |
German Comics after Unification: The Politics of Anke Feuchtenberger’s Feminist Aesthetics |
| Jean-Matthieu Méon |
446 |
Comics Exhibitions in Contemporary France: Diversity and Symbolic Ambivalence |
| Paulo Ramos |
465 |
The Gradual Nationalization of Comic Strips in Brazilian Newspapers |
| Michael Rhode |
478 |
Matt Wuerker on the Cartoonists Rights Network International |
| Jeremy Stoll |
483 |
From Corporate to Collaborative Comics in India |
| Joost Pollmann |
500 |
Comics and Journalism: Witnessing the World with Pen and Paper |
| María Victoria Saibene López |
505 |
Bandas Orientales: Una Experiencia de Historieta Histórica Digital en el Marco Del Plan Ceibal |
| John Baird |
517 |
Comicvoice: Theory and Application |
| Davey Sams |
540 |
Considering the Perception of Time and Sequential Images in Digital Comics |
| Marc Wolterbeek |
557 |
Teaching Graphic Novels and Manga at the University |
| Philip Smith |
569 |
Measuring the Impact of Free Comic Book Day in Singapore |
| Asuka Yamazaki |
583 |
The Motif of the Wound in Attack on Titan |
John A. Lent |
598 |
Personal Remembrances: Interviews with Seven Recently-Deceased Giants
in Cartooning and Animation |
Mrinal Chatterjee
Triambak Sharma |
631 |
Vins: Chronicler of Life and Times |
John A. Lent |
640 |
The Printed Word |
Kirsten Møllegaard
Philip Smith
Andrew Lesk
John A. Lent |
639 |
Book Reviews |
Edited by Michael Rhode
David Robertson
Nick Nguyen
Michael Hill |
649 |
Exhibition and Media Reviews |
| Vol. 17, No.2, Fall/Winter 2015 |
| Martin Lund |
1 |
“NY 101” New York City According to Brian Wood |
Janis Breckenridge
John Gardner |
34 |
Desert (E)Scapes: Cinematic Visions in Road Story |
| Motoko Tanaka |
49 |
GANTZ Interpreted from Two Critical Perspectives |
| Tom Speelman |
67 |
“The Good Duck Artist”: How Carl Barks Changed Comics |
| Ryan Prout |
82 |
À la recherche du chien perdu: Watch Dogs, Memory, and Mourning in Recuerdos de perrito de mierda (Shitty Little Dog Memories) |
| Richard Scully |
98 |
The Foundations of the Anglo-American Tradition of Political Satire and Comic Art: The Eighteenth and Nineteenth Centuries |
| Dominick Grace |
133 |
An Alternative History of Canadian Cartoonists |
| Aarnoud Rommens |
162 |
Alberto Breccia: Memoirs of Resistance and the Ethos of Reading |
| Sean A. Guynes |
177 |
Fatal Attractions: AIDS and American Superhero Comics, 1988-1994 |
| James Yi Guo |
217 |
Conceptualizing the Freedom of the Press in Chinese Political Cartoons |
| Mike Lloyd |
238 |
Little Princess and the Mayor: Evaluating Cartoons on a Sex Scandal |
| Levent Gönenç and Levent Cantek |
256 |
A Comment on the Impact of Cartoon Art on Social and Political Events with a Special Reference to the Case of Turkey |
| Kirsten Møllegaard |
275 |
Chasing the American Dream: Gender, Race, and Identity in American Born Chinese and Shortcomings |
| Julia Round |
295 |
Revenant Landscapes in The Walking Dead |
| Jessika O. Griffin |
309 |
“We are the walking dead”: Zombified Spaces, Mobility, and the Potential for Security in Post-9/11 Zombie Comics |
| John A. Lent |
329 |
The Glimmering Glow of Comic Art Amidst the Blinding Glitter of the United Arab Emirates |
| Domingos Isabelinho |
346 |
A Comics Studies Pioneer In Portugal: António Dias de Deus |
| Leonard Rifas |
362 |
“Struggling Independently to Understand the World”: My Career in Comics Scholarship and Creation |
| Liam Burke |
375 |
The Comic Book Film Adaptation -- A Panel Discussion with Tom Brevoort, Joe Kelly, Michael E. Uslan, and Mark Waid |
| Amna Ashraf |
395 |
Talibanization in Pakistan -- An Uneasy Subject for Editorial Cartoonists Naveed Iqbal Chaudhry |
| Luka Hamacher |
421 |
The System Is in The System: Researching the Visualization of Abstract Systems in Peter Kuper’s Graphic Novel The System |
| John A. Lent |
441 |
A Brief Introduction to Some Iranian Women Cartoonists and Their Works |
| Danielle Cochran |
457 |
Surface Race Resolution: Race Commodification in Marvel Premiere’s Series Featuring Black Panther |
| William H. Foster III |
478 |
Images of African Americans in the Golden Age of Comics (1939-1965) |
| Sourav Chatterjee |
492 |
Batul: The Great Disciplinarian |
| Matteo Fabbretti |
509 |
The Translation Practices of Manga Scanlators |
| Kay K. Clopton |
530 |
Manga and Silent Film: Building a Bridge Between Modern Gitaigo, Giongo, and the Benshi |
João Batista Freitas Cardoso
Roberto Elísio dos Santos |
547 |
There’s Life in Other Systems: The Comic Character Outside Narratives |
| Jakob F. Dittmar |
561 |
Sequential Images, the Page, and Narrative Structures |
| Toni Masdiono and Iwan Zahar |
572 |
Visual Character and Context of Put On (1931-1965): The First Indonesian Comics |
| Philip Smith |
586 |
Sinann Cheah Interview |
| Jeffery Klaehn |
591 |
An Interview with Canadian Webcomic Creator Becka Kinzie |
| Mark Anderson |
600 |
I Don’t Know, Give It a Try, See What Happens |
| Damien Tomaselli |
612 |
Digital Comic Adaptation and Adjustment: Conceptual Boundaries in Comic Book Recognition |
| John A. Lent |
632 |
Remembrances |
| John A. Lent |
634 |
The Printed Word |
Edited by Mike Rhode
A. David Lewis
David Hyman
Leslie Gailloud |
641 |
Exhibition and Media Reviews |
| Rolf Heimann |
650 |
Dromkeen - A New Australian Cartoon Museum |
| |
655 |
<Portfolio> |
| Vol. 18, No.1,Spring/Summer 2016 |
Jeffrey O. Segrave and
John A. Cosgrove |
1 |
Calvinball: Sport, Imagination and Meaning in Bill Watterson’s Calvin and Hobbes |
Paul M. Malone |
14 |
Mali & Werner’s Mike: Underground Sensibility in a German Advertising Comic |
| Chris Gavaler |
36 |
The Meanings of Comics |
| Richard Scully |
60 |
Founding a Dynasty and an Art-Form: John Doyle (1797-1868) |
| Ashley Manchester |
103 |
Tactility Meets Visuality: Race, Sexuality, and Texture in Howard Cruse’s Stuck Rubber Baby |
| Ignacio Fernández Sarasola |
118 |
Forbidden Readings: The British Parliamentary Debate on “American-Style” Comic Books |
| Linn A. Christiansen |
138 |
Corruption Among the Cats:
Hypocrisy Exposed by Liao Bingxiong |
| Charlotte Pylyser |
157 |
Eye/I: Rodolphe Töpffer’s Style and the Concept of Graphiation |
| Benjamin Fraser |
169 |
Art and Science in Pere Joan’s Nocilla Experience (2011) |
| Thayse Madella |
196 |
Comics as Borderlands: The Asymmetrical Relations of Power in La Perdida, by Jessica Abel |
| Waldomiro Vergueiro |
211 |
An Independent Production: Comics in Paraíba (1963-1991) Regina Maria Rodrigues Behar |
| Aurélie Meilin Pottier |
240 |
Traces of Mauritian Origins and National Identity in Two Mauritian Comics |
| Subir Dey and Prasad Bokil |
260 |
Syntax of Sound Symbolic Words: A Study of the Hindi Comic Books in India |
| Thiago de Almeida Castor do Amaral |
278 |
Migration of Comics Onomatopoeia to Other Supports |
| |
293 |
Burma’s Loudspeaker An exclusive report by The Surreal McCoy |
| Marc Wolterbeek |
297 |
Grim Reapers and Shinigami: Personifications of Death in Comics and Manga |
Nathaniel Goldberg and
Chris Gavaler |
331 |
Economy of the Comic Book Author’s Soul |
Toni Masdiono and
Iwan Zahar |
355 |
Si Jin Kwi’s Comic by Otto Suastika (Siauw Tik Kwie) |
| Joseph Christopher Schaub |
368 |
Revenge, Roads, and Ronin: Finding the Weird West in Contemporary Japanese Anime |
| Msanii Kimani wa Wanjiru |
379 |
Kenya’s Kham and His Multi-Faceted Career |
| Amna Ashraf |
392 |
Caricaturing Imran Khan during His Anti-Electoral-Rigging Campaign in Pakistan Naveed Iqbal Chaudhry |
| Chew, Matthew M., Boris L. Pun, and Kofi P. Chan |
416 |
Hong Kong Comics after the Mid-1990s |
| Chadwick L. Roberts and Anita K. McDaniel |
434 |
It Started With A Kiss: Reframing Superheroines’ Visual Narratives |
| Rima Bhattacharya |
458 |
The “Not So Dark” World of the Dark Knight |
| Katherine Lundy |
477 |
History and Philosophy of Manga Translation in North America |
| Janis Breckenridge |
493 |
Cultural Revolutions and Stylistic Evolutions or, Reboots and Remakes: A Conversation with Derf |
| Zhiyu Zhang, Feng Su, Chang Fengxia |
506 |
Character Consumption and Character Industries in Japan |
Harrison Douglass |
525 |
The Next Generation of Comics Scholarship Huang Yao’s Roar of the Nation I (1938): Multi-media Approach to Wartime Cartooning |
| Christopher Crawford and Igor Juricevic |
561 |
Two Frameworks for the Interpretation of Metaphoric and Literal Size Depictions in Comic Books |
| Douglas Clarke |
585 |
An Essay
Exploring Wakanda: Black Superheroes, Comic Books, and Persistent Tropes |
| Daaniela Marino |
594 |
A Preliminary Study
Feminine Representation in Misty: Brazilian and American Editions |
| Jason Levine |
602 |
It’s a MAD World After All: Confessions of a MAD Collector |
| John A. Lent |
608 |
The Printed Word |
David Kunzle
John A. Lent
Kirsten Møllegaard
Lim Cheng Tju |
613 |
Book Reviews |
Edited by Mike Rhode and John Lent
Ayanna Dozier
Janis Breckenridge |
627 |
Exhibition and Media Reviews |
| Vol. 18, No.2, Fall/Winter 2016 |
| Frederik L. Schodt |
1 |
Pioneers in Comic Art Scholarship
My Drifting Manga Life |
Waldomiro Vergueiro |
20 |
Pioneers in Comic Art Scholarship
I Am Just a Comic Book Reader Who Became Curious… |
| Sylvain Rheault |
33 |
Heroism Reversed: Graphic Novels About the Great War |
| Kim Munson |
61 |
A Collaborative Journey: Malcolm Whyte, Troubador Press, and the Cartoon Art Museum, San Francisco |
| Kim Munson |
111 |
How the French Kickstarted the Acceptance of Comics as an Art Form in the US: The Books and Exhibitions of Maurice Horn |
| Eike Exner |
156 |
A Brief History of the Translation of American Comic Strips in Pre-World War II Japan and the Origins of Contemporary Narrative Manga |
| Sheng-Mei Ma |
175 |
Gene Luen Yang's Graphic Bi-Bye to China/town |
| Fabio Mourilhe |
196 |
From Phylacteries to Balloons: Consequences of Epistemological Evolution in Pictorial Representation of Discourse Support |
| José Alaniz |
216 |
Food in Post-Soviet Russian Comics |
| Citlaly Aguilar Campos |
234 |
The Influence of Cartoon and Animation for the Elaboration of Visual Art in the Electronic Dance Music Genre |
| Preeti Singh |
258 |
Hippies, Rogues, and Urban Losers: Subjects of the Indian Graphic Novel |
| Kirsten Møllegaard |
280 |
Graphic Adaptations of Pride and Prejudice: Pastiche, Parody, and Intertextuality |
| Dominic Davies |
299 |
Comics Journalism: An Interview with Josh Neufeld |
| Kay K. Clopton |
318 |
Poetics of Sound and Death: The Function of Nature and Effects in Kurosagi Corpse Delivery Service |
| Robyn Johnson |
337 |
I Will Not Bow : Analysis of the Feminine Refusal of Hegel's Master-Slave Dialectic in Inuyasha |
| Jeffery Klaehn |
354 |
An Interview with English Comic Book Artist Arthur Ranson |
| Kinko Ito |
367 |
Remembering Her 50 Years in Japanese Girls' and Ladies' Comics: An Interview with Chikae Ide |
| Amadeo Gandolfo |
384 |
The Neurotic Gaze: Jules Feiffer Seen Through a Feminist Lens |
| Edilaine Correa |
403 |
Violence Representation in Horror Comic Books |
| Mike Rhode |
417 |
Remembering Richard Thompson (1957-2016) |
| Alyssa Kim |
421 |
How Realism Is Shaping Korean Webtoons |
| Sourav Chatterjee |
434 |
“YES SIR!” 50 Years of Nationalism and the Indo-Pak War in Narayan Debnath’s Bñātul the Great |
| Luiza Lusvarghi |
453 |
Fiction, Transmedia Storytelling, and Cartoons: The Life and Death of Rê Bordosa |
| Fusami Ogi |
463 |
How a Shōjo (a Japanese Girl) Transcends National Borders Through an Incestuous
Body: Shōjo Mangafrom the 1970s to the 2000s |
| Jeffery Klaehn |
479 |
An Interview with Comic Book Artist Paul Gulacy |
| Varsha Jha (Singh) |
488 |
Writing the Picture: Ramayana Narrative in a Graphic Novel Form |
| Joseph Hancuch |
504 |
The Next Generation of Comics Researchers
The Visual Ideograph: The Advent and Departure of the Abu Ghraib “Hooded Specter” |
| Zac Clifton |
516 |
(YA)ru, (O)kasu, (I)kaseru: Do Him, Rape Him, Make Him Cum: Rape, Loss, and the Silence of Queer Identity in Boys Love Manga |
| John A. Lent |
531 |
The Printed Word |
José Alaniz
John A. Lent |
534 |
Book Reviews |
| |
540 |
Portfolio |
| Vol. 19, No.1, Spring/Summer 2017 |
| Edited by John A. Lent |
1 |
Freedom To Cartoon: An Endangered Concept A Symposium |
| John A. Lent |
4 |
Global Infringements on the “Right to Cartoon”: A Research Guide |
| Camila Gutierrez Fuentes |
71 |
From Socialism to Dictatorship: Editorial Ideologies in Chilean Science Fiction and Adventure Comics |
| Jorge Montealegre I. |
87 |
La Figura Del Presidente Salvador Allende. Caricatura Política E Imágenes Fatídicas |
| Ignacio Fernández Sarasola |
95 |
Control over Comic Books in Spain during the Franco Dictatorship (1939-1975) |
Cristiana de Almeida Fernandes,
Vera Lúcia dos Santos Nojima,
Ana Cristina dos Santos Malfacini,
and Maria da Conceição Vinciprova Fonseca |
130 |
Early Censorship of Comics in Brazil and Spain and Their Use as an Educational Resource as an Escape |
| John A. Lent |
159 |
Two Life Times and 15 Years: A Cuban Prisoner’s Coping Through Cartoons |
| Ulf Jonas Bjork |
177 |
American Infection: The Swedish Debate over Comic Books, 1952-1957 |
Rik Sanders
Translated by Melchior Deekman |
190 |
Seduced Innocence: The Dutch Debate about Comics in the 1940s and 1950s |
| John A. Lent |
205 |
“Acquire the Widest Possible Comics Culture”: An Interview with Thierry Groensteen |
| Fred Patten |
219 |
The Multi-Varied, 50-Year Career of a Fan-Researcher of Comic Art |
| Lin Young |
243 |
Gutter Ghosts and Panel Phantasms: Horror, Haunting, and Metacomics |
| Simon Desplanque |
270 |
World War II in French Collective Memory: The Relevance of Alternate History Comics. An Analysis of the Wunderwaffen Saga |
| Jaehyeon Jeong |
290 |
Genre Hybridity as the Scheme of the Comics Industry |
| Héctor Fernández L’Hoeste |
309 |
On the Pastoral Imaginary of a Latin American Social Democracy: Costa Rica’s El Sabanero |
| Jonathan Guyer |
334 |
Between Fine and Comic Art. On the Arab Page: Much Connects Art and Comics in Egypt and the Wider Middle East |
| Lim Cheng Tju |
345 |
“Art Is My Blood”: A Short Interview with Nora Abdullah, Pioneer Female Malay Comic Artist |
| Jesse D. Hurlbut |
353 |
Comics Theory for the Ages: Text and Image Relations in Medieval Manuscripts |
| R. Brad Yarhouse |
384 |
Examining Film Engagement Through the Visual Language of Comics |
| Janis Breckenridge |
405 |
Hemispheric Latinx Identities and Transmedial Imaginaries: A Conversation with Frederick Luis Aldama |
| Hong-Chi Shiau and Hsiang-wen Hsiao |
413 |
In Search of the Missing Puzzle Pieces: A Study of Jimmy Liao’s Public Art Installations in Taiwan |
| Kenan Koçak |
428 |
Far from the Maddening Crowd: Guy Delisle as Cultural Reporter |
| Sara Owj |
479 |
Comparative Study between Works of Joe Sacco, Art Spiegelman and Fumiyo Kono |
| Bryan Hikari Hartzheim |
499 |
Toriko’s Database World |
| Veronica Anzaldua |
525 |
Beyond Images and Gags: Comic Rhetoric in “Luann” |
| Michael Connerty |
538 |
Happy Ike, The Pink Kid, and the American Presence in Early British Comics |
| Ulf Jonas Bjork |
547 |
The Swedish Phantom: Sweden’s Domestication of an American Comic Book Hero |
| Barry Pearl |
562 |
Start Spreading the News: Marvel and New York City |
| Jasmin Cyril |
575 |
Honoré Daumier: Caricature and the Conception/Reception of “Fine Art” |
| Zola Zu |
586 |
China’s Cartooning in the War of Resistance against the Japanese Invasion |
| Annabelle Cone |
595 |
Belgian bande dessinée and the American West |
| John A. Lent |
620 |
The Printed Word |
M. Thomas Inge
David Lewis
John A. Lent
Lim Cheng Tju
Janis Breckenridge
Benoît Crucifix
Christopher Lee Proctor II
Michael J. Dittman
Leslie Gailloud |
627 |
Book Reviews |
Edited by Michael Rhode
Maite Urcaregui
Pascal Lefèvre
Keith Friedlander |
647 |
Exhibition and Media Reviews |
| - |
655 |
Portfolio |
| Vol. 19, No.2, Fall/Winter 2017 |
| John A. Lent |
1 |
Editor’s Notes |
| Nicky Wheeler-Nicholson |
8 |
Applying the Lasso of Truth to The Secret History of Wonder Woman by Jill Lepore |
| Trina Robbins |
46 |
Of Politics and Presidents in William Moulton Marston’s Wonder Woman |
| Afra S. Alshiban |
51 |
Saudi Arabia’s Role in Advancing Comics |
| Patrick Nash |
78 |
Re-imagining the Ku Klux Klan in Chinese Media through the 1950s |
| Wladimir Chávez Vaca |
97 |
The Film Noir’s Aesthetics in a Graphic Novel: The Case of Angelus Hostis (2012) |
| Robyn Johnson |
124 |
In the Past the Devil Has Won: Analysis of Seishi Kishimoto’s Satan and Savior in O-Parts Hunter |
| Dan Erdenebal |
148 |
Comics in an Unexpected Place: Mongolia |
| Sina Shamsavari |
163 |
The History of Gay Male Comics in the United States from Before Stonewall to the 21st Century |
| Pablo Turnes |
202 |
Drawing Memories. The “Comics for Identity” Project in Argentina as an Ethical and Aesthetical Challenge |
| John A. Lent |
213 |
Scalpels and Pens: Tools of Brazilian Surgeon/Cartoonist Ronaldo Cunha Dias |
| Martina Caschera |
224 |
Women in Cartoons -- Liang Baibo and the Visual Representations of Women in Modern Sketch |
| Tahseen Salman Choudhury |
253 |
By the Power of Lailies: History and Evolution of Women Characters in Bangladeshi Comics |
Jeffrey O. Segrave, John A. Cosgrove |
269 |
A Tribute to Trizophrenia: Sport in Jef Mallett’s Comic Strip “Frazz” |
| John A. Lent and Xu Ying |
286 |
Wang Zimei and Sun Zhijun: Cartoonists Hidden in Chinese History |
| Northrop Davis |
311 |
Peak TV and Anime: Why It Matters |
| Hongyan Sun |
341 |
Modular, Proportional, Patterning: Representation of Zhang Guangyu’s Ornamental Style in His Comics |
Laura Nallely Hernández Nieto
Iván Facundo Rubinstein |
357 |
History and Popular Memory. Alternative Chronicle of Mexico City in the Comics of Gabriel Vargas |
| Jeremy Stoll |
372 |
Art and Avarice: Tracing Careers in the Indian Comics World |
| Tolga Erkan |
381 |
A Turkish Comic Strip: “Abdülcanbaz” |
| John A. Lent and Xu Ying |
403 |
Pang Bangben: “This Old Man Can Do All Kinds of Art” |
| Citlaly Aguilar Campos |
415 |
Major Lazer: Animation in Electronic Music as a Transmedia Resource |
| Patrick Shank |
428 |
First Lesson of the Sea, Always Bring a Spare Pencil: Analyzing Navy Culture through Cold War Cartoons |
| Toni Masdiono and Iwan Zahar |
466 |
First Lesson of the Sea, Always Bring a Spare Pencil: Analyzing Navy Culture through Cold War Cartoons |
| John A. Lent |
475 |
The Printed Word |
John A. Lent
Janis Breckenridge
Mel Gibson
Michael Rhode |
483 |
Book Reviews |
| Edited by Michael Rhode |
493 |
Exhibition and Media Reviews |
| Vol. 20, No.1, Spring/Summer 2018 |
| Transnational Graphic Narratives |
1 |
Transnational Graphic Narratives |
| Daniel Stein, Lukas Etter, Michael A. Chaney |
4 |
Transnational Graphic Narrative A Special Symposium |
| Subir Dey and Prasad Bokil |
17 |
Sound Symbolic Words in Translation |
| Michael A. Chaney |
25 |
Misreading with the President: Re-reading the Covers of John Lewis’s March |
| Astrid Böger |
43 |
Transnational Graphic Narratives from Down Under |
| Stephan Packard |
65 |
The Inventibility of Other Audiences: Thoughts on the Popular Ideology of Fiction in Transnational Comic Books, on the Occasion of Captain Marvel #1 |
| Casey Brienza |
81 |
Domesticating Manga? Japanese Comics and Transnational Publishing |
| Franca Feil |
98 |
Kawaii Snow White and an Umbrella Called “Dornröschen”:
Manga Adaptations of Grimms’ Fairy Tales |
| Suraya Md Nasir |
118 |
Narrative and Identity: A Case Study on Malaysian Autobiographical Comics |
| Jocelyn Wright |
139 |
Transnational Banlieue Bande Dessinée in the 21st Century: An Introduction |
| Johannes C. P. Schmid |
153 |
Cartooning Resistance: Irony and Authentication in Zerocalcare’s Kobane Calling |
| Tobias J. Yu-Kiener |
170 |
Barbara Stok’s Graphic Biography Vincent: A Transnational Campaign |
| Isabelle Licari-Guillaume |
189 |
Transatlantic Exchanges and Cultural Constructs: Vertigo Comics and the British Invasion |
| Amadeo Gandolfo and Pablo Turnes |
204 |
Alcatena’s Malón: National Identity and Cultural Work in the American Comics Industry |
| Laura Nallely Hernández Nieto |
229 |
From the Post-revolutionary Mexico to the American Way of Life:
Analyzing Los Superlocos by Gabriel Vargas |
| Pfunzo Sidogi |
242 |
Supa Strikas: Transnational Afropolitan Superheroes |
| Ganiyu Akinloye Jimoh |
255 |
Josy Ajiboye: The Reluctant Cartoonist and Social Commentaries in Postcolonial Nigeria |
| Moritz Fink |
267 |
Of Maus and Gen: Author Avatars in Nonfiction Comics |
| Annemari de Silva |
297 |
Political Cartoonists and Censorship in Sri Lanka |
| Susan Signe Morrison |
331 |
Grendel’s Mother in Fascist Italy: Beowulf in a Catholic Youth Publication |
| Jeffrey O. Segrave and John A. Cosgrove |
349 |
“Games Are More Fun When There’s No Real Point”: Bizarre Sports in Comic Strips |
| Richard Scully and Robert Phiddian |
367 |
The Australian Political Cartoon -- An Historiographical Overview |
| Estelle A. Muller |
384 |
Reimaging South Africa’s Colonial History: Jan van Riebeeck as a Vampire in the Rebirth Graphic Novel |
| Alexandra L. Berglund |
401 |
Drawing (Dis)ability Panel by Panel: A Literature Review of (Dis)ability, Comics, and Graphic Narratives |
| Christopher Maverick |
418 |
Oracle of the Invisible: Rape in The Killing Joke |
| Marcela Murillo Lafuente |
430 |
The Clothes (Re)Maketh the Woman: Sartorial Empowerment in Contemporary Bolivian Comics |
| Charles Hatfield, Stephen R. Bissette, Brian Cremins, and Gene Kannenberg, Jr. |
453 |
Curious His Entire Life: Remembering Tom Roberts |
| Kin Wai Chu |
470 |
A Forgotten Link in the History of the Chinese Newspaper Political Cartoon: The Cartoon Album of The World of E-king Yen |
| Janis Breckenridge |
489 |
Sobriety Blows: Whiskey, Trauma, and Coping in Netflix’ “Jessica Jones” |
| M. Thomas Inge |
505 |
The American Sense of Humor |
| Ryan Prout and Roberto Bartual |
510 |
Wrinkles, Furrows, and Laughter Lines: Paco Roca in Conversation at the Lakes International Comic Art Festival |
| Thusha Rani Rajendra |
524 |
Visual and Verbal Representations in Mat Som: Lat and Multiculturalism |
| Julie Kaiser |
538 |
Veiling and Unveiling in Marjane Satrapi’s Persepolis |
| John A. Lent |
554 |
The CRNI as an Antidote to the Perils of Cartooning: An Interview with Robert “Bro” Russell |
| Kay K. Clopton |
563 |
Ha-Fuun and Other Sounds of Enjoyment: How Giongo and Gitaigo Shift from Entertainment to Lived Experience in Insufficient Direction |
| Ruth McClelland-Nugent |
575 |
“Will the Real Dr. Psycho Please Stand Up?” Finding the Origins of Wonder Woman’s Golden Age Characters |
| Ofer Ashkenazi and Jakob Dittmar |
587 |
Negotiating Documentation in Comics |
| Daniel D. Clark |
598 |
Manga’s Christian Other in Naoki Urasawa’s 20th Century Boys and Suu Minazuki’s Judas |
| Lauren Elyse Chivington |
615 |
The Girl, the Man, and the Maus: Holocaust Narratives in Controversial Media |
| John A. Lent |
649 |
The Printed Word |
| Alisia G. Chase |
653 |
Book Reviews |
Edited by Michael Rhode
Nick Nguyen
Lim Cheng Tju
Canan Marasligil |
656 |
Exhibition and Media Reviews |
| |
680 |
Reminiscences |
| Vol. 20, No.2, Fall/Winter 2018 |
| John A. Lent |
1 |
A 20-Year Harvest of Comic Art Scholarship: International Journal of Comic Art--1999-2018 |
Edited by John A. Lent |
|
A Symposium on Political Cartoons |
Rob Rogers |
44 |
Six in a Row? That Has to Be Some Kind of Record! |
Haydon Manning and Robert Phiddian |
57 |
The Editorial Cartoon’s Fading Impact -- The State of Play in Australia at the Federal Election of 2016 and Beyond |
John A. Lent |
90 |
The New Wave of Investigative Cartooning in South Korea |
Benjamin Wai-ming Ng |
110 |
Drawing Chinese Political Cartoons in Japan: Blessing in Disguise or Trade-off? |
Leonard Rifas |
128 |
The Politics of Underground Comix and the Environmental Crisis |
Richard Scully |
151 |
Mark Knight vs Serena Williams -- Crossing the Line: Offensive and Controversial Cartoons in the 21st Century -- “The View from Australia” -- Part Two |
Lim Cheng Tju |
177 |
Morgan Chua (1949 -- 2018) and Political Cartooning in Singapore |
Sara S. Elmaghraby |
181 |
Cartooning Poverty: Are Cartoonists Helping Sustainable Development in Egypt? |
José Alaniz |
192 |
“Hippies” and Pacifism in Igor Kolgarev’s Militariisk Comics |
Milind Ranade |
207 |
Discovering Tom Browne and His Postcards |
Jeffrey SJ Kirchoff |
222 |
Beyond the Printed Page: Dementia, Graphic Medicine, and Digital Comics |
Janis Breckenridge and Maia Watkins |
235 |
Reading Between the Lines: Drawing on the Horrors of Disappearance in “Un asesino anda suelto” |
Mike Rhode |
256 |
A Chat with Izar Lunaček of Slovenia |
Izar Lunacek |
261 |
A Brief History of Slovenian |
Melanie Hernandez |
268 |
Currier & Ives’s Darktown Series: Recovering White Social Capital through Violent Satire |
Tomasz Żaglewski |
290 |
Superhero Sentimentalism. Analyzing the Social Media Nostalgia for the First Wave of American Comics in Poland |
Jean Braithwaite |
312 |
Navigating Jimmy Corrigan: Time, Space, and Puzzles, Including Pagination |
Marlene Pohle |
342 |
A Cartoonist Chronicler of Cartoonists’ Confabs |
William H. Foster III |
360 |
March Graphic Novel: “American History Lives Again” |
Steve Danziger |
373 |
Malice, Metaphysics, and Mengele -- Holocaust Motifs and the Renunciation of Evil in EC Horror Comics |
Robyn Johnson |
399 |
Bishie Man or Woman, It Matters Not:
Grotesque Resistance to Heteronormative Love in Yu Wo’s ½ Prince |
Citlaly Aguilar Campos |
443 |
Liminality and Meta-fiction in Comics: The Ayotzinapa Case by Augusto Mora |
João Batista Freitas Cardoso and Caio Mattos Moreira Cardoso |
464 |
The V Mask in Translation: From Commercial to Subversive Systems |
| Ken Junior Lipenga |
478 |
Intersections of Sex and Violence in Preacher |
| Ignacio Fernández Sarasola |
493 |
Crime News:
Blaming Comic Books for Crimes Committed During the “Golden Age” |
| J.T.H. Connor |
518 |
Behind the Scenes of the “War in Comics” Exhibit: An Interview withCanada’s Andrew Loman and Irene Velentzas |
| Paola Moreno Izaguirre |
525 |
Art Toy as Anatomical Sketch |
| Northrop Davis |
536 |
Legendary Hollywood Designer Syd Mead’s Important Contributions to Landmark Anime |
| Barry Pearl |
542 |
Charles M. Schulz: Cartoons Without Peanuts |
| John A. Lent |
561 |
Reminiscences |
| John A. Lent |
571 |
The Printed Word |
| David Kunzle |
574 |
A Review Essay |
Kirsten Møllegaard
Dominick Grace
Mike Rhode
Varsha Singh
José Alaniz |
590 |
Book Reviews |
Mike Rhode
Dana Jeri Maier
Carli Spina
Emily Lauer |
613 |
Exhibition and Media Reviews
Edited by Mike Rhode |
| Vol. 21, No. 1, Spring/Summer 2019 |
| Ronald Stewart |
1 |
Itō Hirobumi’s Nose: Syphilis in Early 20th Century Japanese Cartoons |
Paul M. Malone |
28 |
“You Are Leaving the French Sector”: Flix’s Spirou in Berlin and the Internationalization of German Comics |
Anton Kannemeyer |
52 |
As I Please: A Personal Reflection on Censorship |
Annabelle Cone |
62 |
The “Bobo” (bourgeois-bohème) as Post-Modern Figure? Gentrification and Globalization in Dupuy and Berberian’s Monsieur Jean and Boboland |
Tania Pérez-Cano |
79 |
Graphic Testimonies of the Balsero Crisis of 1994: Narratives of Cuban Detainees at the Guantánamo Naval Base |
Ana Merino |
105 |
Comics Reinventing Creativity in the Museum: Some Thoughts about the Show “Viñetas Desbordadas/Overflowing Panels” |
Jon Holt |
118 |
Ishii Takashi, Beyond 1979: Ero Gekiga Godfather, GARO Inheritor, or Shōjo Manga Artist? |
Daniel F. Yezbick |
143 |
Of Bears, Birds, and Barks: Animetaphoric Antagonism and Animalscéant Anxieties within Dell Funny Animal Franchise Comics |
John A. Lent |
171 |
Wang Ning, Beijing Total Vision Culture Spreads Co. Ltd., and the Transnationalization of Chinese Comic Books |
Alvaro Alemán and Eduardo Villacís |
184 |
Pointed Language: Reading Paola Gaviria’s Virus Tropical (2009) from the Perspective of the Visual Protocols of the Graphic Novel |
Héctor Fernández L’Hoeste |
192 |
On Butterflies, Viruses, and Visas: Comics and the Perils of Diasporic Imagined Communities |
Anu Sugathan |
216 |
The City and the Medium of Comics: Depiction of Urban Space in Sarnath Banerjee’s Corridor and The Barn Owl’s Wondrous Capers |
Dietrich Grünewald
Translated by Christina Little |
242 |
Crossing Borders: Graphic Novels Quoting Art |
Kent Worcester |
275 |
That Chameleon Quality: An Interview with R. Sikoryak |
Sara Dallavalle |
300 |
Popular Format and Auteur Format in Italian Comics. The Case of Magnus |
Sam Cannon and Hugo Hinojosa Lobos |
329 |
Chile’s Military Dictatorship and Comics as Alternative Methods of Memorialization: Critical Approaches from Contemporary Chilean Graphic Novels |
Leila Sadegh Beigi |
350 |
Marjane Satrapi’s Persepolis and Embroideries: A Graphic Novelization of Sexual Revolution across Three Generations of Iranian Women |
Mathieu Li-Goyette |
366 |
A Sublime in Tension Around Alexandre Fontaine Rousseau and Francis Desharnais’ Les Premiers Aviateurs |
Michelle Ann Abate |
390 |
“They’re Quite Strange in the Larval Stage”: Children and Childhood in Gary Larson’s “The Far Side” |
Magnus Nilsson |
423 |
Marxism Across Media: Characterization and Montage in Variety Artwork’s Capital in Manga |
Debarghya Sanyal |
439 |
The Desi Archie: Selling India’s America to America’s India |
Sina Shamsavari |
463 |
Gay Male Porno Comics: Genre, Conventions, and Challenges |
Anno Moyoco Yasuko Akiyama |
498 |
Ambitious Women in Male Manga Magazines: Sakuran and Hataraki-Man |
Aimee Vincent |
508 |
“Hey Kids, Patriarchy!”: Satire and Audience on the Back Covers of Bitch Planet |
Chad A. Barbour |
519 |
The Fine Art of Genocide: Underground Comix and U.S. History as Horror Story |
John Darowski |
539 |
Superman’s Remediation of Mid-20th Century American Identity |
Héctor Fernández L’Hoeste |
551 |
A Matter of Affect: Illustrated Responses to the Immigration Debacle |
Bi Keguan
Edited by Bi Weimin
Translated by Xu Ying |
567 |
Random Notes of the Editorial Office of China’s Manhua Magazine |
Chu Der-Chung (Zola Zu) with John A. Lent
Translation by Xu Ying |
585 |
The Chus: A Family Teeming with Cartoonists |
Alvaro Alemán and Eduardo Villacís |
594 |
Faith in Comics: Ex-voto Religious Offerings and Comic Art |
Barbara Zocal Da Silva |
602 |
Translated Hispano-American Comics in Brazil |
Conversation with Jan Ziolkowski and Ariana Chaivaranon |
627 |
An Afternoon with R. O. Blechman |
John Gardner |
645 |
Kennedy Conspiracy Comics: ¡en Español! |
Michela Canepari |
665 |
The Myth of Frankensteinfrom Mary Shelley to Gris Grimly: Some Intersemiotic and Ideological Issues |
The Best We Could Do: A Mini-Symposium |
Isabelle Martin |
693 |
The Role of Water in the Construction of Refugee Subjectivity in Thi Bui’s The Best We Could Do |
Debarghya Sanyal |
704 |
A Burden of Tales: Memories, Trauma, and Narratorial Legacies in The Best We Could Do and Munnu |
Francesca Lyn |
710 |
The Fragmentary Body: Traumatic Configurations in Autobiographical Comics by Women of Color |
A. David Lewis |
724 |
A Graphic Medicine Prescription |
Pioneers in Comics Scholarship |
Kosei Ono |
732 |
My Life with American Comics: How It Started |
Shefali Elizabeth Mathew |
738 |
Nature of Reality in the Graphic: “Calvin and Hobbes” |
Introduced by Jochen Garcke |
748 |
The Mindset of a Professional Exhibition Curator |
Remembrances |
Licia Citti |
772 |
One Life, Many Loves: Dario Mogno’s Passion for Cinematography, Publishing, Comics, and Cuba |
John A. Lent |
780 |
The Printed Word |
David Kunzle |
790 |
Review Essay: Shawn Gilmore |
Jean-Paul Gabilliet |
811 |
Exhibition Review Essay |
Rachel Kunert-Graf
Stephen Connor
Kirsten Møllegaard
John A. Lent
Maite Urcaregui |
820 |
Book Reviews |
John A. Lent
Edited by Mike Rhode
Carli Spina |
832 |
Exhibition and Media Reviews |
|
839 |
Correction |
|
| Vol. 21, No. 2, Fall/Winter 2019 |
| John A. Lent |
1 |
Editor’s Notes |
Andrew Perry |
4 |
Encrumbed by the Signifying Monkey: Con Men, Cackling Clowns, and the Exigencies of Desire in the Comics of Robert Crumb |
Justin, Chiu-tat Wong |
47 |
Initial Investigation of Political Cartoons and Illustrations in the Anti-Extradition Bill Protest in Hong Kong |
Jonathan Guyer |
74 |
War, Romance, and Everyday Life in Beirut’s Emerging Alt-Comix Scene |
Ryan Prout |
91 |
Invisible, Unseeing, Alienated: Mexico and William S. Burroughs in Bernardo Fernández’s Uncle Bill |
Gilbert Shelton |
115 |
Underground Cartoonists Exhibit in the Soviet Union, 1990 |
Simone Castaldi |
123 |
Italian Underground, The Secret Life of Italian Comics, 1968-1978 |
John A. Lent and Xu Ying |
149 |
The Intrigue Surrounding China’s Ink Wash Painting Animation |
Joseph N. Nyanoti |
169 |
Patriarchal Ideology in Kenya’s Editorial Cartoons: A Cultural Studies Approach |
Janis Be Breckenridge
Devyani Gupta
|
178 |
Out the Window: Illustrating the Realities of Alzheimer’s in Paco Roca’s |
Haley Hulan |
202 |
I’m Blackety Black Y’all: Conventions of the Superhero in the CW’s “Black Lightning” |
João Batista Freitas Cordosa
Evandro Gabriel Izidoro Merli
|
221 |
The Geek Culture in the Urban Environment:
|
Mrinal Chatterjee |
234 |
Portraying Social Issues: A Heuristic Study of Contemporary Cartoons in India
|
Noboru Tomonari |
243 |
Becoming a Man: The Allure of Muscular Masculinity in Manga by Ikki Kajiwara |
Malik Nairat and Palle Dahlstedt |
268 |
Generative Comics: Introduction and Analysis |
Marlene Pohle |
295 |
“Ao Correr da Pena”--“With a Stroke of the Pen” Drawing Vila Franca De Xira and His People |
Louise C. Larsen |
315 |
Commentary
I Have Much To Tell You:
|
Brian Baynes |
331 |
An Interview with M. Thomas Inge |
Zhu Yaozhou
Translated by Xu Ying
|
354 |
My Father, Mi Gu, A Masterful Cartoonist |
Joanna Luisa B. Obispo |
370 |
Japan’s Country Image: Perceptions of Filipino Early Generations and Anime University Student-Viewers |
Cord Scott |
397 |
The Skull and the Elephant: The Significance of The Punisher in American Political Eras |
John A. Lent |
411 |
Remembrances
|
John A. Lent |
440 |
The Printed Word |
Carlotta Vacchelli
Radmila Stefkova
John A. Lent
Catherine E. Corder
Stephen Connor
John A. Lent
|
444 |
Book Reviews |
Edited by Mike Rhode |
468 |
Exhibition and Media Reviews |
Mike Rhode
Mike Rhode
|
473 |
Exhibition Reviews |
|
496 |
Correction |
|
497 |
Portfolio |
| Vol. 22, No. 1, Spring/Fall |
| Martín Alejandro Salinas and Sebastián Horacio Gago |
2 |
Cultural Imperialism Strikes Back: A South American Symposium |
Martin Alejandro Salinas |
10 |
One World, Many Batmen: From Cultural Imperialism to the Culture of the Empire |
Sebastian Gago Translated by Alejandra Pina Mas and Martín Salinas |
43 |
“What Does a Few Lives Matter?”:
Notes on Two Comic-book Invasions of Héctor Oesterheld (1974-1977) |
Ivan Lima Gomes |
63 |
Graphic Narratives, a Tool of Imperialism in South America? Deconstructing American Superheroes in Brazilian and Chilean Comics (1960-1970) |
Lucas R. Berone Translated by Mariana de Madariaga and Lucas Berone |
83 |
Writing the History of Comics: The Case of the Di Tella Biennial (Buenos Aires, 1968) |
Rodrigo Browne S. and Rosmery-Ann Boegeholz C. |
99 |
Disney Academy: Donald Duck as the Western Imperialism Paradigm |
Ignacio Fernández Sarasola |
115 |
Toxic Reading Material: Techniques Used by Society and G overnments to Control Comic Books |
Héctor Fernández L’Hoeste |
154 |
Book Review Essay |
Jasleen Kandhari |
170 |
Graphic Narratives in Sikh Comics: Iconography and Religiosity as a Critical Art Historical Enquiry of the Sikh Comics Art Form |
Marty Branagan |
187 |
Tintin: From Violent, Communist-Hating Conservative to Radical Peacenik |
Levi Obonyo and Njoki Chege |
207 |
Lost in Modernity: Doodling in the Digital Age |
Robyn Johnson |
232 |
Sacrificing Healing: The Loss and Resilience of Yurok Healing in Chag Lowry and Rahsan Ekedal’s Soldiers Unknown |
Mirvat Mohamed and Kirsten Møllegaard |
257 |
This Land Is Whose Land? Voices of Belonging in Three First-Generation American Graphic Memoirs |
Chris Reyns-Chikuma |
274 |
Représentations de l’autre solitude dans quelques BD et comics canadiens dont l’histoire se passe à Montréal (1e partie) [Representations of the Other Solitude in Select Canadian Comics and BDs Which Take Place in Montréal (Part 1)] |
Chris Reyns-Chikuma |
311 |
Représentations de l’autre solitude dans quelques BD et comics canadiens dont l’histoire se passe à Montréal (2e partie) [Representation of the Other Solitude in Some Canadian BD and Comics Which Take Place in Montreal (Part 2)] |
John A. Lent |
347 |
Chinese Comic Art Museums and Centers Part One: A Personal Mission |
Yan Chuanming, Xu Ying, John A. Lent |
358 |
Chinese Comic Art Museums and Centers Part Two: The China Comics Village |
Ahmed Baroody |
366 |
Anime and Gender Roles in Kuwaiti Islamic Culture: A Conflict of Cultural Values? |
Michal Chudolinski |
401 |
The Outdatedness of Superheroism? The Condition of the Superhero Myth: Past and Today |
Iwan Zahar and Toni Masdiono with John A. Lent |
413 |
Hans Jaladara, Creator of Indonesia’s Panji Tengkorak |
Iwan Zahar and Toni Masdiono |
424 |
Ganesh TH, the Author of Si Buta dari Goa Hantu: The Most Celebrated Comics of the Indonesian Comics Golden Age |
David Kunzle |
432 |
Nearly 50 Years Ago An Early Glimpse of China’s Maoist Comics: A Review |
Jeffrey O. Segrave and John A. Cosgrove |
439 |
“You’re a star if you can louse up 70% of the time”: Sport in Jeff MacNelly’s “Shoe” |
Jakob F. Dittmar |
460 |
Flexible Comics?: Sequential Images on Screen Media |
Jason D. DeHart |
475 |
A Transmedia Case Study: Batman -- The Animated Series |
John A. Lent |
484 |
Remembrances |
John A. Lent |
489 |
The Printed Word |
Maite Urcaregui
Marie Sartain
Misha Grifka Wander
John A. Lent
Edward Salo
Sam Cowling
Patrick Ijima-Washburn |
492 |
Book Reviews |
Nick Nguyen |
511 |
Exhibition Review Essay
Exhibitions of the 47th Angoulème International Comics Festival |
Nick Nguyen |
525 |
Exhibition Reviews |
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