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Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward

first volume of Bayou (2009) and particularly to instances in which the novel remaps the natural and built spaces of Black subjugation and death as memory worlds which are both constricting and emancipatory. James Ziegler revisits the racial component

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Matthew Screech, Susan Slyomovics, Armelle Blin-Rolland, and Ana Merino

rhetorical figure of the frontalier who inhabits the in-between spaces of French-Algerian contestations. The frontalier (most are male) takes as his subject and may himself belong to a community of memory peripheral to national narratives of France

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Laurence Grove

, Melinda Gebbie, Edmond Baudoin and Pierre Fresnault-Deruelle (read in absentia) theme of ‘Time and Space’ first joint conference with Graphic Novels and Comics, with the feeling that the joint, and so mutually transnational, format was a successful natural

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Gauguin and Van Gogh Meet the Ninth Art

Postmodernism and Myths about Great Artists

Matthew Screech

occasional ‘expansive layouts, favoring wide open spaces and emphasizing decors and atmospheres’. 38 The earlier pages of Gauguin: Deux voyages à Tahiti follow Gauguin's Noa Noa ; that work is another collection of untrustworthy memoirs where, as Thomson

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Mike Classon Frangos

and invisibility around menstruation. ‘Heavy Flow’ portrays the menstruating Julie emerging out of the private space of the home and into the streets, transformed into a grotesque giant with her unruly bodily fluids bleeding out over the city. I agree

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Schemata in the Graphic Novel Persepolis

Accommodation, Combination, Integration

Fredrik Strömberg

'Association. One departure from established conventions in comics is that the curvilinear art in these examples in Persepolis is more extensive, sometimes filling the space around a character, whereas in comics it often consists of a few lines in close proximity

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Pogo, Pop and Politics

Robert Benayoun on Comics and Roy Lichtenstein

Gavin Parkinson

was the very ironic spaces of the art world that validated them as art; in any other context than the swanky gallery, orderly museum or wealthy bourgeois collector’s home they would lose their potency or, more likely, be overlooked altogether

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Introduction

Print Culture, Mobility, and The Pacific, 1920–1950

Victoria Kuttainen and Susann Liebich

The first half of the twentieth century saw the emergence of mass travel, mass print, and mass consumption, and this special section considers how they were interlinked. In an era when sea travel massified, liner routes crisscrossed ocean spaces

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Guillaume Lecomte

ability of the two art forms to present narratives in sequences of images. 17 Moreover, the space that film adaptations of comics occupy within the contemporary media ecology and popular discourses is a clear manifestation of the affinity between the two

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Adapting Brittany

The Ker-Is Legend in Bande Dessinée

Armelle Blin-Rolland

breton’ [it is forbidden to spit on the ground and to speak Breton]. 42 The footnote under this image explains that it is redrawing the reproduction by the UDB of a notice found in the interwar years in some public and administrative spaces in Lower