Richard Johnson, sometime apprentice and later producer of a baker’s dozen of very popular works of prose and verse, would today be dismissed as a hack. That he was noticed at all in his day and since then, however, suggests that his work has an important place in the record of how, and why, reading became not only a leisure-time activity of a late Elizabethan and Jacobean citizenry, but also both a marker and maker of an emerging English bourgeois self-consciousness. His Most Famous History of the Seven Champions of Christendom (Part 1: STC 14677; Part 2: STC 14678), a prose romance of epic proportions regarding the exploits of St George, with token attention to the other six, was one of the more popular works of the late Elizabethan and Jacobean periods.
The Example of Richard Johnson
Naomi C. Liebler
The Great War in the EC Comics
The U.S. publisher EC Comics produced several war comics between 1950 and 1955. These comic books, especially the issues published during Harvey Kurtzman's editorship, are still considered masterpieces, as rare examples of war comics attempting to present an unvarnished account of the ordeals of war. This article focuses on the treatment of the Great War in comics. While current stories about the First World War usually underline its inhuman realities for the soldiers, the EC stories offered a more ambivalent representation. The now traditional stories of trenches and suffering infantry soldiers were counterbalanced by stories of heroic air fights and chivalrous aces. This approach towards the First World War as a 'noble war' progressively increased during the run of these comics, refl ecting the shifting balance that characterised the production of EC war comics: that between the constraints of the market, artistic ambition and the popular cultural mythology of air aces.
Workings and Imagery
Within Europe and beyond, the centenary of the Great War began to be commemorated in 2014. As with any act of retelling history and re-creating memories, the events orchestrated around this centenary involve a certain tailoring of narratives and a process of forgetting that reflects more on the present milieu than the past. As noted by the sociologist and philosopher Elena Esposito, recent neurophysiological findings posit memory ‘as a procedural capability realizing a constant recategorisation’. Especially relevant for this issue of European Comic Art is her claim that the memory of society as a whole ‘is constituted, first of all, by the mass media and ruled by their always changing forms’. As emphasised by the articles in this issue, popular media during and after the First World War (music hall, illustrated magazines, comics, cartoons, pulps) were propagators of images that have persisted, often with altered significance, into our times.
William M. Reddy Politics and Theater: The Crisis of Legitimacy in Restoration France, 1815-1830 by Sheryl Kroen
Willa Z. Silverman Pulp Surrealism: Insolent Popular Culture in Early Twentieth-Century Paris by Robin Walz
Lenard R. Berlanstein The Modernist Enterprise: French Elites and the Threat of Modernity, 1900-1940 by Marjorie A. Beale
Laura Lee Downs Ouvrières parisiennes: marchés du travail et trajectoires professionnelles au vingtième siècle by Catherine Omnès
Mary D. Lewis The Colonial Unconscious: Race and Culture in Interwar France by Elizabeth Ezra
Seth Armus The Collaborator: The Trial and Execution of Robert Brasillach by Alice Kaplan
Robert C. Ulin Crafting the Culture and History of French Chocolate by Susan J. Terrio
Thomas Bénatouïl Comparer l’incomparable by Marcel Detienne
John Mollenkopf The Social Control of Cities: A Comparative Perspective by Sophie Body-Gendrot
W. Rand Smith Tocqueville’s Revenge: State, Society, and Economy in Contemporary France by Jonah D. Levy