Comics/Sequential Art

Reinhard Kleist' s graphic novel The Boxer tells the story of Holocaust survivor Harry Haft and his participation in forced boxing matches in Nazi concentration camps. Throughout the work, Kleist works against clear delineations of right and wrong by offering what I term 'nuancing gestures'. Haft is a morally complex protagonist who works against the image of the heroic and sanctimonious survivor, and Kleist identifies other characters that challenge comforting notions of good and bad. The work uses visual correspondences between panels to highlight cycles of interpersonal violence, showing how issues of complicity are carried forward later in life. Furthermore, the graphic novel depicts in vivid detail how traumatic intrusions disrupt Haft' s daily life. This article explores how The Boxer' s particular stylistic rendering of moral ambiguity, complicity, and the longer lasting effects of trauma raises new insights about how the medium of comics can navigate a sensitive and complex Holocaust narrative.

An article about Anders Nilsen's work, Don't Go Where I Can't Follow, in the context of grief theory and the literature of grief. The article can be found in the edited collection, Pathographics: Narrative, Aesthetics, Contention, Community (The Pennsylvania State University Press, 2020), and it was edited by Susan Merrill Squier and Irmela Marei Krüger-Fürhoff.

Through the theoretical framework of queer phenomenology and monster theory, this scholarly comic presents an analysis of the unauthorised, Turkish remake of E.T., titled Homoti (1987), featuring a gay alien as its main character. Being one of the three Turkish films made in the 1980s dealing with gay themes, Homoti emerges as a metaphor for the oppression of LGBT communities in Turkey by a patriarchal, military, nationalistic regime in the 1980s. Published in the online journal Sequentials. https://www.sequentialsjournal.net/issues/issue2/yalcinkaya.html

This book chapter, published as part of the edited volume "Empirical Comics Research (Routledge, 2018), puts forward a quantitative approach to the study of comics by introducing a stylistic analysis of a corpus of around 240 graphic novels, graphic memoirs and other non-fiction.

If Barbara Postema’s Narrative Structure in Comics is any indication, RIT Press’s new “Comics Monograph Series” promises to offer first-rate scholarly work for both newcomers and veterans in the field. Postema offers a smart, lucid dissection of the art form, starting from the single panel up to entire page layouts and long-form narratives. Delineations of genre and prestige that have cropped up over time, like graphic narrative, newspaper comics, superhero comics etc., are not preserved by Postema, as she uses an eclectic group of examples for her analysis, from Charles Schulz’s Peanuts to Lynda Barry’s One Hundred Demons. In doing so, she explains how the form, in its many manifestations, has pushed the creative boundaries of narrative structure and necessitates a methodology that meets comics on its own frontier.

In Narrative Structure in Comics: Making Sense of Fragments, Barbara Postema uses the notion of the gap to explain how comics create meaning. As texts that combine words and images, comics rely on the verbal register to communicate meaning, but they also use images in a number of different ways, many of which are based on leaving out information, forcing readers to fill in the blanks. By foregrounding the narrative qualities of comics, Postema demonstrates the ways in which comics are structured at every level of communication—image, panel, sequence, narration—to guide the reader to assemble the narrative from fragments. Besides advancing a new understanding of the structure of meaning in comics, this work’s exploration into the form of comics integrates two traditionally separate approaches to the study of comics, namely, the semiotics of the Franco-Belgian school of visual culture and comics studies, and the practice-based comics theory advanced by American cartoonists Will Eisner and Scott McCloud. It combines these traditions to advance a novel analytical framework and a vocabulary to study the form, an approach that is demonstrated through a series of readings of contemporary North-American comics.

People receiving treatment for cancer are under significant emotional stress (Andersen, Kiecolt-Glaser, & Glaser, 1994). Nearly half of women undergoing treatment for breast cancer show signs of depression or anxiety (Thyme, et al., 2009). Art therapy in group settings has been shown to relieve some of this pain and anxiety for both patients and their loved ones. This positive change is particularly apparent in groups where members may share their creations with one another (Luzzatto & Gabriel, 2011). Similarly, narrative therapy helps terminally ill people find meaning in their lives by recontextualizing their struggles as necessary for growth (Jones, 2005). Art and narrative intersect in sequential art, e.g., comic books. One way to combine art therapy and narrative therapy is by helping clients create autobiographical comic books or graphic novels. Autobiographical sequential art is a well-established art form, with a history of authors expressing their struggles with everything from typical growing pains to surviving the Holocaust. Writers often say that the process of creating comics is contemplative and cathartic, and helped them find meaning in their struggles. Graphic Novel Art Therapy (GNAT) is a promising new field with the potential to help people struggling with a variety of issues. The Pentagon is currently investigating GNAT as an intervention for veterans with combat-related post-traumatic stress disorder (Shilling, 2013). Based on the evidence, a similar form of therapy would be helpful for people undergoing treatment for cancer.

PROGETTO PROMOSSO DA
Fabio Muzi, Dirigente Liceo Artistico Dosso Dossi di Ferrara

A CURA DI
Stefania D’Arcangelo, Federica Zabarri Liceo Artistico Dosso Dossi

GIURIA DEL CONCORSO
Matteo Anderolini spazio Zuni - Ferrara
Cinzia Calzolari Liceo Artistico Dosso Dossi
Gianluca Costantici disegnatore e blogger indipendente

Workshop sulle tecniche grafico-espressive dell’illustrazione e del fumetto dal 19 al 26 Marzo 2014

Comic_ONoir #04
Tutta dedicata al Noir, l’edizione 2014 del concorso di arti visive Comic-On: sulla scia del fumetto e altro promosso dal Liceo Artistico “Dosso Dossi” di Ferrara.
Il racconto oggetto delle opere grafiche, che in questo anno ha visto cimentarsi gli studenti del Liceo Artistico con il linguaggio espressivo del fumetto e dell’illustrazione, è infatti il capostipite del genere: “Il cuore rivela- tore” di Edgar Allan Poe.
Il concorso, nato quattro anni fa all’interno del Liceo “Dosso Dossi” con l’intento di stimolare la creatività indi- viduale degli studenti e di favorire la partecipazione dei giovani alla vita culturale della scuola, ha creato non solo momenti di sana competizione studentesca per il riconoscimento delle eccellenze, ma anche possibilità di incontro con il mondo professionale: le edizioni precedenti hanno infatti visto impegnati nella collabora- zione al progetto numerosi esperti del settore, da fumettisti e illustratori (come Germano Bonazzi e Rocco Lombardi), a editori, galleristi e sceneggiatori.
Come per le precedenti edizioni, il concorso ha premiato i primi classificati con l’accesso all’annuale workshop organizzato dal Liceo Artistico, dedicato alle tecniche del fumetto e dell’illustrazione, che ha visto per l’edizio- ne del 2014, il coinvolgimento di un docente d’eccellenza: il disegnatore e blogger Gianluca Costantini, autore di spicco nel panorama illustrativo italiano ed europeo.
Questa piccola pubblicazione vuole essere un omaggio nei confronti di quegli alunni che hanno saputo di- stinguersi per il loro impegno e la loro partecipazione, e per tutti i docenti e collaboratori, che in questi quattro anni, hanno permesso con il loro lavoro, la realizzazione del progetto.

A CURA DI
Gianluca Costantini

PRIMO PREMIO
Camilla Neri, III°A
Per aver dimostrato una notevole capacità compositiva
ed esecutiva e per aver padroneggiato l’elaborazione del racconto, cogliendone in pieno l’atmosfera noir.

SECONDO PREMIO
Anna Molchanova, V°A - DIS. PITT.
Per aver saputo rendere graficamente il testo con estrema originalità narrativa, utilizzando una tecnica espressiva efficace e personale,
cogliendo con estrema ironia anche i tratti più drammatici del racconto.

TERZO PREMIO
Diana Bianchi, V°A - DIS. PITT.
Per aver dimostrato capacità di sintesi unita ad una efficace
espressività figurativa e per aver saputo sviluppare il brano illustrato attraverso una suggestiva ambientazione spaziale.

Il Workshop ha visto impegnati gli alunni in due differenti fasi. Durante le prima è stato chiesto ai ragazzi di analizzare tre elementi particolari, quali una volpe, un cacciatore e il bosco: il frutto di queste prime esercitazioni si è tradotto nella realizzazione di un’azione narrativa unica, da parte di tutti, mediante l’esecuzione di una tavola a fumetti inchiostrata.
La seconda fase li ha visti impegnati nella produzione di un micro racconto, da risolversi in tre tavole con la possibile introduzione del colore, il cui cardine, comune per tutti, è stato un semplice elemento: una mela.

El conocido por algunos teóricos y editores como boom del cómic adulto, fue el último momento en que el cómic pensado para quiosco tuvo un carácter masivo en España, gracias a revistas como El Víbora, Cairo o 1984. Durante las décadas de los años setenta y ochenta estas publicaciones fueron la base del sistema editorial, además de «medio de vida y escuela», en palabras de Max, para muchos autores.

Entre la segunda mitad de los años ochenta y comienzos de los noventa, la revista como formato desaparece progresivamente. El entramado de edición en el que podían publicar los creadores españoles cambia y, tras una apuesta efímera por el comic-book, pasa a basarse principalmente en el formato libro y en la idea de novela gráfica. Muchos historietistas, sin los ingresos estables que proporcionan las revistas, dejan el cómic en beneficio de otras artes como la pintura, el audiovisual, la ilustración o el diseño gráfico.

Las voces reunidas en el libro narran este apasionante momento de cambio, vital para la historia del cómic y, por extensión, para la historia del arte en España, en un proceso compartido parcialmente a nivel internacional. Se crea una visión amplia, en la que se encuentran representadas desde las autoras y autores del periodo, hasta autoeditores, editores y otros agentes clave en el mercado, como las librerías especializadas. Los protagonistas de la época se sinceran con el lector en lo que constituye la mayor reunión de testimonios relativos al cómic español.

Reprenant partiellement mon mémoire de master II, ce dossier aborde l'histoire des éditions Lug, principal importateur des comics Marvel entre 1969 et 1989 en France, évoquant à la fois la biographie de ses membres fondateurs, la pression de la loi de contrôle de 1949 et les méthodes employés pour la traduction et l'adaptation.

In an article about Chris Marker's 1962 film, La Jetée, Jake Hinkson writes about the nature of memory that " the past is never as simple as we wish it to be. To return to it is to realize that we never understood it3 ". Seeing the past as a contested, confused terrain, as Hinkson suggests, is perhaps one way in which the reader can approach Kristen Radtke's Imagine Wanting Only This. With its focus on loss and the recovery of memory, Radtke's work of 'graphic non-fiction' navigates the multiple sub-genres of graphic novel, narrative, and memoir. Like most other graphic narratives, it invites the viewer-reader to look again, both in terms of time and space. This paper will seek to examine the ways in which Radtke works through the formal limitations and freedoms offered by the graphic, or 'comic' form, and her use of documents, archives, and photographic images within this form as a formal disruption4. I shall also study the implications of Radtke's decision to use photography, or photo-realistic drawn images, with relation to her work as an exploration of the past, as well as an archival project.

Unnatural narratology has recently focused our attention on unnatural representations of time. It is usually assumed that the ‘typical sjuzhet’ must be linear, while the ‘variable sjuzhet’ is unnatural and belongs exclusively to experimental works. Instances of time travel are also considered unnatural story elements that have been conventionalised by popular culture. In this article, these supposedly unnatural ingredients of narratives will be examined in the context of the semiotic potential and cultural tradition of European comics. I shall argue that a variable sjuzhet should be considered a natural quality of the medium because of its tabularity and its nonlinear organisation, and that most time travel that we find in comics is a mere extension of the motif of the ‘extraordinary journey’ and does not engender time paradoxes. Thus, it appears that, in the comics tradition, the graphic potential of time travel has predominated over scriptwriting complexities, highlighting the specificity of the ‘graphic imagination’.

Der Comic hatte es lange Zeit schwer: Kritiker und Kritikerinnen verurteilten ihn als Schundliteratur und unterstellten ihm, die Jugend zu gefährden. Erst in den 1960er- und 70er-Jahren stieg die Akzeptanz für die Bildergeschichten.

Einer, der den Weg des Comics im deutschsprachigen Raum ebnete, war der 1917 geborene Verleger Rolf Kauka. Er schuf unter anderem Fix und Foxi und wurde als deutscher Walt Disney bezeichnet.

Die Veranstaltung gibt einen Einblick in die Welt der sequenziellen Kunst und in ihre wissenschaftliche Betrachtung. In einer Mischung aus Vortrag und Workshop werden verschiedene Comicformen wie Manga, Bande Dessinée und Graphic Novel thematisiert und ihre formal-ästhetischen Merkmale exemplarisch analysiert.

Communication pour le colloque international "Traduire, un engagement politique" organisé par le CET à l'université Paris Diderot du 29 novembre au 1 décembre 2018.

La traduction des comics Marvel par les éditions Lug: Un engagement dans le compromis.

Entre 1969 et 1989, les éditions Lug, dirigées par Marcel Navarro et Alban puis Claude Vistel ont publié certaines des séries les plus emblématiques des comics Marvel en France : Spider-Man, X-Men, Iron Man, Fantastic Four mais aussi Star Wars. Si ce sont bien les revues anthologiques de Lug qui ont installé les personnages Marvel dans l'imaginaire français, influant encore sur le mode de publication actuel et la traduction des comics ainsi que des films dérivés, il apparaît que le choix de traduire est fait dans une situation de compromis complexe. L'acte même de traduire constitue pour les éditeurs un acte politique et idéologique.

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The Translation of Marvel Comic Books by Éditions Lug : A Commitment in Compromise

Between 1969 and 1989, the éditions Lug, directed by Marcel Navarro and Alban Vistel, then his daughter Claude, published some of the most important work of Marvel in France: Spider­Man, X-Men, Fantastic Four, Iron Man, the Star Wars comic book adaptation...  Those publications, in their form, determined how comic books are still published these days and how they are translated. It appears the choice to translate is the result of a complex compromise. The act of translating, in itself, is a political and ideological choice for the editors. Indeed, given the context inducted by the 1949 law regarding publishing for adolescents, Navarro and Vistel show a kind of resistance against a rule perceived as iniquitous. For the two editors, former member of the French Resistance, their obstination to publish Marvel comic books  is a battle with well perceived dangers. Beyond the economic risk, the trauma of Pierre Mouchot's death in 1967 after being harassed by censors, is a motivation in this fight. We'll show how they had to follow narrow path, having to balance the will of the law and the respect of the published material and the readers.

Super-héros : histoire d’un mythe américain
UE libre pour le Bureau des enseignements transversaux de l’université Paris 3 Sorbonne-Nouvelle
Année universitaire 2020-2021
Du 27 janvier 2021 au 21 avril 2021
Descriptif :
En plus de quatre-vingts ans, l’histoire des super-héros, apparus dans les comics des années 1930 aux États-Unis, est longue et complexe. Le genre d’ailleurs ne cesse de s‘enrichir chaque année de nouveaux personnages et de nouveaux récits alors qu’il se diffuse dans de nombreux médias (séries télévisées, jeux vidéo, cinéma, etc.) et sur tous les continents. Si une telle profusion interdit toute exhaustivité, il reste toutefois possible de comprendre, à travers les exemples les plus célèbres (Superman, Batman, Wonder Woman, Captain America, les X-Men, etc.), mais aussi d’autres cas bien moins connus en France et parfois aujourd’hui oubliés (Namor, l’Escadron Suprême, le Punisher) les raisons sociales, économiques et politiques qui ont présidé à l’apparition et au succès de ce genre.

Reviewed August 2014, updated October 2015
To commemorate his 75th year in 2013, this is the fascinating true story about the "birthplace" and "parents" of Superman. Not Krypton. Not Jor-el and Lara. Not even Jonathan and Martha. But the Depression-era team of writer Jerry Siegel and illustrator Joe Shuster in the old Jewish village of Glenville in Cleveland, Ohio. Super-interesting, leading to my visit to their homes during my Summer 2014 vacation.

Despite the growing sophistication of comics studies as a discipline, it has yet to fully embrace the cultural materialist approaches of book history and publishing studies, a fact that seems rather intriguing in the face of the form’s insistent materiality. These omissions extend to an eliding of the roles played by agents other than the author in the production of a text; a factor of particular significance in comics where there is almost always a supporting cast of artists, pencillers, colourists and letterers who contribute to the finished product. In addition, the role played by publishers and editors in the dissemination and circulation of comics and graphic novels has also been ignored in much of contemporary comics criticism. By drawing on perspectives grounded in the disciplinary contexts of book history and publishing studies, I aim to provide a useful counterpoint to work done in comics studies that tends to focus on author as auteur.

Time traveling / time travel in comic strips (in Dutch) [ ‘Tijd, continuïteit en teletijd in strip - Het fenomeen tijdmachine’ ]
Published in: Kees Ribbens & Rik Sanders, Getekende tijd. Wisselwerking tussen geschiedenis en strips (Utrecht 2006)
I.v.m. tijdreizen in stripverhalen

Winston Churchill once said, "History is written by the victors." Or maybe he didn't. The quote is often attributed to him, despite the fact that it appears in other print sources prior to World War II and Churchill's appointment to the office of British Prime Minister. However, apocryphal it may be, the attribution of the quote to Churchill in many ways illustrates the point that he-or whoever the originator is-was trying to make. We view war through the historical lens of the victorious side, or at the very least through the lens of our current cultural ideology applied to the conflict of the past. The majority of our memoirs of World War II focus on the lives and actions of soldiers in the Allied Forces and the civilian victims of the Holocaust. Unsurprisingly, given the atrocities committed by the Axis, relatively few narratives focus on the experiences of the participants on the losing side. However, war is a complicated subject and regardless of the horrors perpetrated by the Nazis, these participants were human beings with very real fears, emotions and lives. Two recent graphic novels published by Dead Reckoning attempt to explore these lives and do the difficult work of humanizing them without valorizing them.

Sport annually mobilizes millions of people across Europe: as practitioners in a wide variety of competitive, educational, or recreational contexts, and as spectators, who are physically present or following events through the mass media. This book presents original research into modern sport funded by the Irish Research Council for the Humanities and Social Sciences. Its aim is to examine the distinctive contribution made by this complex phenomenon to the construction of European identities. Attention is focused on sport's social significance, as a set of mass-mediated practices and spectacles giving rise to a network of images, symbols, and discourses. The book seeks to explore, and ultimately to explain, the processes of representation and mediation involved in the sporting construction, and subsequent renegotiation, of local, national, and, increasingly, global identities. It offers a survey of key developments in sporting Europe - from the mid-nineteenth century to the present, and from the Atlantic to the Urals - presenting findings by acknowledged international experts and emerging scholars at the level of individuals, communities, regions, nation-states, and Europe as a whole, in both its geographical and political incarnations. Its focus on representation offers a broadly conceived, and consciously inclusive, approach to issues of 'Europeanness' in modern and contemporary sport.

Análise da relação entre a Banda Desenhada e a Arte Paleolítica, a partir da apresentação da obra de Banda Desenhada “La Légende de la Grotte de Niaux”, referindo-se outros exemplos que tratam do mesmo assunto. Conclui-se que, apresentando uma forma e conteúdo variados, a banda desenhada reflete a perceção social sobre a arte paleolítica, com todos os seus preconceitos. Ela apresenta-se contudo como um importante meio de divulgação do discurso científico.

From the Wall to the Paper: Palaeolithic Art and Comic Books
An analysis of the relationship between Comics and Palaeolithic Art, from the comic book “La Légende de la Grotte de Niaux” and other examples. We conclude that this subject is treated differently by the different examples presented, all of them conveying Palaeolithic art’s social perception, with its prejudices. Nevertheless comics are powerful media to convey scientific discourse.

En confrontant logiques de champs et de marchés, stratégies de légitimation et discours sociaux, culturels, politiques ou encore esthétiques, ce volume interroge l’apparition et les usages complexes de la notion de dissidence dans la bande dessinée contemporaine. Quelles formes prennent des pratiques éditoriales ou artistiques en rupture avec une certaine idée de l’ordre établi ? Comment déterminer les lignes de force et contradictions d’une (contre-)culture le plus souvent consciente d’elle-même ? À quels niveaux s’opèrent les échanges symboliques entre discours artistiques et discours critiques ? Prenant appui sur les démarches d’artistes et de structures éditoriales qui se réclament le plus souvent de l’alternatif ou de l’indépendance, cet ensemble de réflexions critiques explore des phénomènes du monde – dans son acception la plus large – de la bande dessinée.

This volume investigates the complex notion of dissent as it can be applied to contemporary comics in confronting field and market logic, legitimation strategies, and social, cultural, political and aesthetic discourses. How do artists and/or publishing structures distance themselves from a certain idea of the established order? In what ways do they challenge the existing systems and environments in which they operate? How can we characterize the many guises and sometimes conflicting objectives of a generally self-conscious (counter-)culture? And what kinds of symbolic exchanges can we observe between artistic and critical discourses? These are some of the questions that the here gathered essays explore in considering the practices and strategies of either so-called and/or selfproclaimed independent or alternative comics artists or publishers.

Although many disparage ‘spoilers’ as ruining reading experiences by revealing plot details prematurely, comics readers commonly experience texts in ways that reveal story information out of order: eager readers will flip through a comic and catch glimpses of future narrative events, wandering eyes will scan panels out of order, etc. Upon closer inspection, ‘sequential’ art is often experienced in decidedly ‘non-sequential’ ways. While scholars in literary and media studies have analysed the role of spoilers in reception of books and television, the topic remains marginalized and under-explored in comics studies. This article argues that non-sequentiality and spoilers are historically and aesthetically central to comic narration, and that they facilitate, rather than impede, the pleasures we receive when engaging with such texts. Specifically, I show how non-sequential reading complicates any formal analysis of graphic storytelling, even as it increases the potential enjoyment readers may receive from comic narratives.

Having the chance to explore the architecture of the Rocinha favela and in the same time, to further my research with a new experiment, that can prove that the characteristics of the comic strip structure can be an alternative manner to explore and discuss, this time, the architecture of one of the most chaotic and controversial spaces, another fellow architect and I, developed a two week experiment with the students of a local NGO, in Rio de Janiero. In order to be able to start an analysis in which we can explore the architectural composition of one the largest favela in Rio de Janiero, this city in a city, we must take into account all the overlapping layers: the everyday violence, the poverty, the poor state of the education system, the health issues, but also the vibrant and colourful environment of the narrow streets that go through this urban composition, without any regulations. In our opinion, in order to start an honest exploration, you must spend time, living, talking and working with the residents, gaining their trust, day by day. Drawing and discussing about the architecture they experience every day, with the students of Tio Lino NGO, we had the chance to investigate the built space, adding more information with each interview we conducted and every experience we had working alongside them, while, also, talking with them about what it means to be an architect, how we can draw our surroundings, after carefully examining it and how we can illustrate the solutions we can provide to the problems we observe..

Follow this and additional works at: http://digitalcommons.unl.edu/sane Part of the American Literature Commons, American Popular Culture Commons, Art Education Commons, Comparative Literature Commons, Creative Writing Commons, Curriculum and Instruction Commons, Educational Assessment, Evaluation, and Research Commons, Educational Methods Commons, Educational Psychology Commons, Feminist, Gender, and Sexuality Studies Commons, Higher Education Commons, Illustration Commons, Interdisciplinary Arts and Media Commons, Rhetoric and Composition Commons, and the Visual Studies Commons

In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar

Neste artigo são abordadas características temáticas e formais presentes nas histórias em quadrinhos do período conhecido como Era de Ouro, bem como rupturas estéticas surgidas em consequência ao Comic Code Authority, que levou ao desenvolvimento de um novo estilo conhecido como Era de Prata. São abordadas as convenções estabelecidas por uma primeira onda de autores vinculada à National Comics e seu posterior desenvolvimento por uma segunda onda no surgimento da Marvel Comics ao redor de Stan Lee e a importância de Jack Kirby e Steve Ditko nesta produção.

In this article are discussed the thematic and formal features present in the comics of the period known as the Golden Age, as well as aesthetic ruptures arising as a result of the Comic Code Authority that led to the development of a new style known as the Silver Age. It deals with the conventions established by the first wave of authors linked to the National Comics and its later development by a second wave in the appearance of Marvel Comics around Stan Lee and the importance of Jack Kirby and Steve Ditko in this production.

Un año después de su aparición en Francia durante el 2016 -coincidiendo, apropiadamente, con el centenario de la mentada batalla-, ha llegado a nuestras librerías El último asalto de Jaques Tardi (Valence, 1946), la tercera parte de la saga que el gran dibujante de cómics ha dedicado a lo más crudo de la Primera Mundial y de la que forman parte previa La guerra de las trincheras (1993) y ¡Puta Guerra! (2009) -en français suena más fino-, todas publicadas en España por Norma durante la presente década.

This seminar will introduce students to Muslim American histories and cultures through diverse visual representations of Muslim Americans. Selected pieces of photography and visual art as well as film scenes will raise awareness for stereotypical representations of Muslim Americans, while cultural artifacts produced by Muslim artists will illustrate how those stereotypes can be disrupted. Additionally, this seminar will also cover graphic novels by Muslim American writers: Toufic El Rassi’s "Arab in America" (2007) and G. Willow Wilson’s "Ms. Marvel: No Normal" (2014). Toufic El Rassi’s graphic memoir "Arab in America" addresses his struggles of growing up as a Lebanese immigrant in the United States and his experiences with post-9/11 islamophobia. In contrast to the more realist mode of representation in El Rassi’s work, G. Willow Wilson’s "Ms. Marvel: No
Normal" is the first volume of a superhero comic series that features Muslim Pakistani American teenage protagonist Kamala Khan whose secret superhero identity is shaped by her religious orientation and whose desire to fit into Anglo-American mainstream society is thwarted by her classmates’ xenophobic and islamophobic prejudices. We will pay special attention to the graphic novels’ narrative structure and style as well as to the ethical, social, political, and cultural issues they raise.

Jerusalem is the frontline and a microcosm of the Israeli-Palestinian conflict. In recent years, comic artists have turned their attention to the Middle East, including the ‘Holy City’. Scholars, however, have yet to study how comics engage with life in Jerusalem, in particular the relationships between Arabs and Jews. In this article, I will take on this critical oversight and explore how Mira Friedman’s ‘Independence Day’ (2008), Sarah Glidden’s How to Understand Israel in 60 Days or Less (2010) and Miriam Libicki’s Jobnik!: An American Girl’s Adventures in the Israeli Army (2008) engage with the complicated social situation. The philosopher, Emmanuel Lévinas, has argued that face-to-face encounters are the basis for recognizing the Other as human and for feeling responsibility towards him or her.1 In this article I show that we rarely see the Other’s face in the corpus of the Jewish comic artists I discuss here. Instead, the Arab presence is brought into the texts by way of urban elements such as the Dome of the Rock, media remediations or indistinct, distant figures. This highlights that comics are closely tied into the current situation between Israelis and Palestinians, where fear and separation rule to a level where the Arab Other – whether Christian or Muslim – of the Jews of Jerusalem is almost invisible.