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Nick Nguyen, Philippe Kaenel, Michael Kelly, Charles Forsdick, Rikke Platz Cortsen, Sylvain Rheault, Hugo Frey, and Mark Nixon

man wandering on an absurd journey at the edges of time and space. ‘→’ refers to the recurring sign that appears throughout the book and keeps the protagonist and the narrative moving forward. For practical reasons, the book needed a name, so Mathieu

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Ann Miller and Kaveri Gopalakrishnan

issue ‘15 Writers to Watch Out for in 2015’, and distributed at the 2015 Jaipur Literature Festival. Her more recent graphic story Basic Space was published in 2015 as part of the Drawing the Line anthology by Zubaan Books (India) and Ad Astra Comix

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Instrumentalising Media Memories

The Second World War According to Achtung Zelig! (2004)

Maaheen Ahmed

narrate the Holocaust through comics, Art Spiegelman ‘heretically reinserts the Holocaust into the political realm by highlighting its necessary imbrication in the public sphere and in commodity production’. For Michael Rothberg the ‘“comic” space’ of

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Thule as Frontier

Commons, Contested Resources, and Contact Zones in the High Arctic

Kirsten Hastrup

( Nuttall 2010 ). However, the present moment affords a broader understanding of the analytical portent of ‘frontier’, as suggested by Anna Tsing in the following manner: A frontier is an edge of space and time: a zone of not yet – not yet mapped, not yet

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Claire Allison, Luis I. Prádanos, and Richard Scully

University of Glasgow Benjamin Fraser, The Art of Pere Joan: Space, Landscape, and Comics Form (Austin: University of Texas Press, 2019). 328 pp. ISBN: 978-1-4773-1812-6 ($50.00) The previous books by cultural scholar Benjamin Fraser have significantly

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Martin Woodside

space of “perennial rebirth,” where savage meets civilized to form the “dominating American character” (1894: 2). Assessing this mythic rebirth, Richard Hofstadter borrows D.H. Lawrence’s description of James Fenimore Cooper’s novel series The

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A Vision of the Viewer

Situating Narration in the Fiction Film in the Context of Theories of Narrative Comprehension

Joseph P. Magliano and James A. Clinton

, which are linked via semantic relationships such as time, space, and causality (e.g., Van Dijk and Kintch 1983 ). Part of the fall of schema-dominant theories of comprehension came from the realization that many of these relationships required inference

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Dan Smith

situated in relation to these other practices. Like Blandy, Plender uses the comics medium to draw out an intriguing set of relationships and possibilities with real space and sculptural elements. As with Laura Oldfield Ford, Plender’s work is concerned

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Mark McKinney, Jennifer Howell, Ross William Smith, and David Miranda Barreiro

, death) serves as a backdrop, leaving space for reflection on the meaning of war itself. Pasanovic's study of civilian life in wartime Sarajevo serves as a logical transition to part 2, ‘“Noncombatants” Experiences’. The section's five essays explore

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Editorial

Historical Perspectives – Theory and Practices

The Editors

revealed to be a nightmare. This ambiguity of signs is shown to pervade the entire album, from the opening episode in which emanata (the ‘stars’ seen by a dazed Snowy) occupy the same space as the celestial body that will later threaten the characters