"WITH GREAT POWER THERE MUST ALSO COME -- GREAT RESPONSIBILITY!"

Stan Lee, "Spider-Man!" Amazing Fantasy No. 15 (Sept. 1962)

Tuesday, May 4, 2021

Call for Responses: Comics and Medieval Studies Survey (7/1/2021)

  Please forgive the cross-posting.


Call for Responses: Comics and Medieval Studies Survey


The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture--in an attempt to further our outreach efforts--seeks to gather some information on experiences with the comics medium and uses of that material by teachers and/or scholars of Medieval Studies.

If you're willing to share, please complete the survey at https://tinyurl.com/Medieval-Comics-Survey no later than 1 July 2021.

More information on the Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture can be found at https://medievalinpopularculture.blogspot.com/.

The Medieval Comics Project is based at https://medieval-comics-project.blogspot.com/. We also maintain a listserv, the Medieval Comics Project Discussion List. Please sign-up at https://groups.io/g/medieval-comixlist.



If you have any questions or concerns on the survey or other related matters, please reach out to us at MedievalinPopularCulture@gmail.com or Comics.Get.Medieval@gmail.com.



Michael A. Torregrossa, Founder, Blog Editor, and Listserv Moderator, and The Comics Get Medieval Sessions Organizer

Wednesday, April 28, 2021

IJoCA for Fall/Winter 2020


Just released this month: International Journal of Comic Art Vol. 22, No. 2.

Source: http://ijoca.blogspot.com/2021/04/new-issue-of-ijoca-is-out-22-2.html


As always, the journal can be purchased at http://www.ijoca.net/.





INTERNATIONAL JOURNAL OF COMIC ART
Vol. 22, No. 2 Fall/Winter 2020


Editor's Notes
1
Survilo and Historical Trauma in Contemporary Russian Comics
Jose Alaniz
5
Tintin: From Violent Communist-Hating Conservative to Radical Peacenik, Part 2
Marty Branagan
33
An Interview with Patricia Breccia
Hector Fernandez L'Hoeste
64
"The Fez, The Harem Pants, and the Embroidered Tie: Fashion and the Politics of Orientalism
in Three Francophone Graphic Novels"
Annabelle Cone
92
Far Out of the Box: The Comics of Chile's Marcela Trujillo (Maliki)
John A. Lent with Geisa Fernandes
134
The Characteristics of Japanese Manga
Natsume Fusanosuke
Translated by Jon Holt and Teppei Fukuda
164
Ordinary Enemies: Robert Kanigher, Garth Ennis, and the Myth of the Unblemished Wehrmacht
Stephen Connor

180
Re-invention of Indian Myths in the Superhero Comic Books of Nagraj
Pritesh Chakraborty
213
Watchmen: An Exploration of Transcendence in Comics
Christine Atchison
229
The 1936-1939 Spanish Civil War and American Comics
Francisco Saez de Adana and Michel Matly
261
Comix from the Cosmos: Interview with Barbara "Willy" Mendes
Kim Munson
284
Trying Times Require Re-inventiveness: Ways of Coping of Taiwan's Ling Qun
John A. Lent
336
"Reoccurring Dreams": Music and the Elegiac Voice in John Porcellino's Perfect Example
Brian Cremins
341
The Maternal-Feminine and Matrixial Borderspace in Megan Kelso's Watergate Sue
Alisia Grace Chase
351
How Sugiura's Ninja-Boy Comics Developed after the Asia-Pacific War
Kosei Ono
365
The Pedagogy and Potential of Educational Comics
Aaron Humphrey
375
To Play or Not to Play? That Is the Question:Perspectives on Organized Youth Sports in Comic Strips
Jeffrey O. Segrave
405
An Interview with India's Ghost Animation Studio about Their Short Film "Wade"
Alexandra Bowman
424
An Expert on Arrow: Critical Fan Activism and Gail Simone's Twitter
Peter Cullen Bryan
434
Is It a Bird? Is It a Plane? It's Jack the Ripper!
Andrew Edwards
451
Habibi Worth a Thousand Words, and a Few Words Worth a Thousand Tales
Safa Al-shammary
462
In Memory of Theresa Lee Wai-chun (1943-2020)
Wendy Siuyi Wong
476
Print Is Dead; Long Live Print!: Are Digital Comics Killing the Print Comics Industry?
Kyle Eveleth
482
Comics as a Window into Disposability: Some Thoughts
Angelo J. Letizia
496
Cartoons in the Time of Corona in India
Mrinal Chatterjee
509
The Wild Career Path of Taiwan's Tsai Chih-chung: Animator, Comic Strips and Books Creator, Physicist, now Monk
John A. Lent with Xu Ying
525


Book Reviews
John A. Lent
Janis Be Breckenridge
Bryan Bove
Christopher Roman
Tony Wei Ling
John A. Lent
Lizzy Walker
Elke Defever
John A. Lent
Cord A. Scott
John A. Lent
Matthew Teutsch
A. David Lewis
John A. Lent
Aaron Ricker
John A. Lent
531


Exhibition Reviews
Chris Yogerst
Lim Cheng Tju
Chaney Jewell and Cassandra Christ
582


Portfolio
590

IJoCA for Spring/Summer 2020

Released last fall, here are the contents for the International Journal of Comic Art Vol. 22, No. 1.

Source: http://ijoca.blogspot.com/2020/10/new-issue-of-ijoca-is-out-22-1.html



Cultural Imperialism Strikes Back: A South American Symposium



Cultural Imperialism Strikes Back: A South American Symposium

Martin Alejandro Salinas and Sebastian Horacio Gago

2

One World, Many Batmen: From Cultural Imperialism to the Culture of the Empire

Martin Alejandro Salinas

10

"What Does a Few Lives Matter?'': Notes on Two Comic-book Invasions of Hector Oesterheld (1974-1977)

Sebastian Gago

Translated by Alejandra Pina Mas and Martin Salinas

43

Graphic Narratives, a Tool of Imperialism in South America?

Deconstructing American Superheroes in Brazilian and Chilean Comics (1960-1970)

Ivan Lima Gomes

63

Writing the History of Comics: The Case of. the Di Tella Biennial (Buenos Aires, "1968)

Lucas R. Berone

Translated by Mariana de Madariaga and Lucas Berone

83

Disney Academy: Donald Duck as the Western Imperialism Paradigm

Rodrigo Browne S. and Rosmery-Ann Boegeholz C.

99

-----



Toxic Reading Material: Techniques Used by Society and Governments to Control Comic Books

Ignacio Fernandez Sarasola

115

Book Review Essay

Hector Fernandez L'Hoeste

154



Graphic Narratives in Sikh Comics: Iconography and Religiosity as a Critical Art Historical Enquiry

of the Sikh Comics Art Form

Jasleen Kandhari

170

Tintin: From Violent, Communist-Hating Conservative to Radical Peacenik

Marty Branagan

187

Lost in Modernity: Doodling in the Digital Age

Levi Obonyo and Njoki Chege

207

Sacrificing Healing: The Loss and Resilience of Yurok Healing in Chag Lowry and Rahsan Ekedal's Soldiers Unknown

Robyn Johnson

232

This Land Is Whose Land? Voices of Belonging in Three First-Generation American Graphic Memoirs

Mirvat Mohamed and Kirsten Mellegaard

257

Representations de l'autre solitude dans quelques BD et comics canadiens dont l'histoire se passe a Montreal (1st partie)

[Representations of the Other Solitude in Select Canadian Comics and BDs Which Take Place in Montreal (Part 1)]

Chris Reyns-Chikuma

274

Representations de l'autre solitude dans quelques BD et comics canadiens dont l'histoire se passe a Montreal (2· partie)

[Representation of the Other Solitude in Some Canadian BD and Comics Which Take Place in Montreal (Part 2)]

Chris Reyns-Chikuma

311

Chinese Comic Art Museums and Centers Part One: A Personal Mission

John A. Lent

347

Chinese Comic Art Museums and Centers Part Two: The China Comics Village

Yan Chuanming, Xu Ying, John A. Lent

358

Anime and Gender Roles in Kuwaiti Islamic Culture: A Conflict of Cultural Values?

Ahmed Baroody

366

The Outdatedness of Superheroism? The Condition of the Superhero Myth: Past and Today

Michal Chudolinski

401

Hans Jaladara, Creator of Indonesia's Panji Tengkorak

Iwan Zahar and Toni Masdiono with John A. Lent

413

Ganesh TH, the Author of Si Buta dari Goa Hantu: The Most Celebrated Comics of the Indonesian Comics Golden Age

lwan Zahar and Toni Masdiono

424

Nearly 50 Years Ago

An Early Glimpse of China's Maoist Comics: A Review

David Kunzie

432

"You're a star if you can louse up 70% of the time": Sport in Jeff MacNelly's "Shoe"

Jeffrey 0. Segrave and John A. Cosgrove

439

Flexible Comics?: Sequential Images on Screen Media

Jakob F. Dittmar

460

A Transmedia Case Study: Batman - The Animated Series

Jason D. DeHart

475

Remembrances

John A. Lent

484



The Printed Word

John A. Lent

489

Book Reviews

Maite Urcarcgui

Marie Sartain

Misha Grifka Wander

John A. Lent

Edward Salo

Sam Cowling

Patrick ljima-Washburn

492

Exhibition Review Essay

Exhibitions of the 47th Angouleme International Comics Festival

Nick Nguyen

511

Exhiibition Reviews

Nick Nguyen



525

Monday, June 8, 2020

Worth Reading: DC's Batman: Last Knight on Earth

I usually post short reviews to Amazon; this summer, I thought I'd try some blog posts.

Batman: Last Knight on Earth
https://www.dccomics.com/graphic-novels/batman-last-knight-on-earth-2019/batman-last-knight-on-earth

Billed as "The Last BATMAN Story Ever Told...," Snyder and Capullo's series Batman: Last Knight on Earth (now collected in a hardcover edition) builds on their last arc of the New 52's Batman series.

Batman: Last Knight on Earth positions a new Batman/Bruce Wayne to rise to become a hero in a potential future of the DCU. It is a bleak world (rather like DCeased and Justice League Dark: Apokolips War), but there is a lot of hope in the end (and some intriguing use of the Joker character).

See below for DC's teaser trailer for the series:



Thursday, March 19, 2020

CFP Futures of Cartoons Past: The Cultural Politics of X-Men: The Animated Series (Edited Collection) (6/30/2020)

CALL FOR ABSTRACTS — Futures of Cartoons Past: The Cultural Politics of X-Men: The Animated Series (Edited Collection)


deadline for submissions:
June 30, 2020

full name / name of organization:
Nicholas E. Miller

contact email:
nemiller@valdosta.edu


FUTURES OF CARTOONS PAST: THE CULTURAL POLITICS OF X-MEN: THE ANIMATED SERIES

Edited by Jeremy M. Carnes, Margaret Galvan, and Nicholas E. Miller.

Collection under Advance Contract with the University Press of Mississippi.

This volume will collect new scholarship on X-Men: The Animated Series (1992-1997), providing scholars and fans with an overdue assessment of the series from perspectives in comics studies, fan studies, and media studies. While the 90s have often been viewed as a “regressive” era for comics by creators and scholars alike (e.g. Trina Robbins), this collection carefully examines the complicated cultural politics of X-Men: The Animated Series across disciplines such as animation studies, childhood studies, comics studies, culture studies, fashion studies, gender and sexuality studies, media studies, and visual art. This collection will not only serve as a foundation for future scholarship on the animated series, but also on the transmedial landscapes of X-Men narratives specifically and “Saturday cartoons” more broadly. In addition to scholarly essays, we invite the contribution of original comics, zines, or transcripts of relevant interviews and podcasts.

Contributors may choose to consider (but are certainly not limited to) the following topics and issues in relation to X-Men: The Animated Series:


  • Historical considerations of the series—including nostalgia and the legacy of 1990s comics culture
  • Transmedia and adaptation—including considerations of technologies such as coloring and animation
  • Artistic considerations related to costuming, design, fashion, merchandising and the music in/of the series
  • Representation and mutant metaphors—including issues of race, ethnicity, indigeneity, gender, sexuality, disability, class, etc.
  • Youth culture, girlhood studies and other considerations related to audience engagement
  • Reception studies, fan studies, and the importance of fan fiction, fan art, and other types of paratexts
  • Post- futures and the potential failures of the series—including the postcolonial, the posthuman, etc.


Please submit CVs and 300-word abstracts to Nicholas E. Miller at nemiller@valdosta.edu. Final essays will be limited to 6000 words. Questions and inquiries before the deadline are welcome.

ABSTRACTS DUE:
JUNE 30, 2020

NOTICE OF ACCEPTANCE:
JULY 30, 2020

COMPLETED ESSAYS DUE:
DECEMBER 15, 2020


Last updated October 8, 2019


Monday, March 16, 2020

IJoCA Fall/Winter 2019

The latest number of the International Journal of Comic Art is now available to subscribers and for purchase at http://www.ijoca.net/.

Full contents from the IJoCA Blog are as follows:

INTERNATIONAL JOURNAL OF COMIC ART
Vol. 21, No. 2 Fall/Winter 2019
Editor's Notes
John A. Lent
1

Encrumbed by the Signifying Monkey: Con Men, Cackling Clowns, and the Exigencies of Desire in the Comics of Robert Crumb
Andrew Perry
4

Initial Investigation of Political Cartoons and Illustrations in the Anti-Extradition Bill Protest in Hong Kong
Justin, Chiu-tat Wong
47

War, Romance, and Everyday Life in Beirut's Emerging Alt-Comix Scene
Jonathan Guyer
74

Invisible, Unseeing, Alienated: Mexico and William S. Burroughs in Bernardo Fernandez's Uncle Bill
Ryan Prout
91

Underground Cartoonists Exhibit in the Soviet Union, 1990
Gilbert Shelton
115

Italian Underground, The Secret Life of ltalian Comics, 1968-1978
Simone Castaldi
123

The Intrigue Surrounding China's Ink Wash Painting Animation
John A. Lent and Xu Ying
149

Patriarchal Ideology in Kenya's Editorial Cartoons: A Cultural Studies Approach
Joseph N. Nyanoti
169

Out the Window: Illustrating the Realities of Alzheimer's in Paco Roca's Arrugas
Janis Be Breckenridge
Devyani Gupta
178

I'm Blackety Black Y'all: Conventions of the Superhero in the CW's "Black Lightning"
Haley Hulan
202

The Geek Culture in the Urban Environment: The Comics' Characters in Cranio's Graffiti
Joiio Batista Freitas Cordosa
Evandro Gabriel Izidoro Merli
Lucas Scavone
221

Portraying Social Issues: A Heuristic Study of Contemporary Cartoons in India
Mrinal Chatterjee
234

Becoming a Man: The Allure of Muscular Masculinity in Manga by Ikki Kajiwara
Noboru Tomonari
243

Generative Comics: Introduction and Analysis
Malik Nairat and Palle Dahlstedt
268

"Ao Correr da Pena"--"With a Stroke of the Pen" Drawing Vila Franca De Xira and Its People
Marlene Pohle
295

Commentary
I Have Much To Tell You: Reflections on Cartoonists Zapiro and Khalid Albaih
Louise C. Larsen
315

An Interview with M. Thomas Inge
Brian Baynes
331

My Father, Mi Gu, A Masterful Cartoonist
Zhu Yaozhou
Translated by Xu Ying
354

Japan's Country Image: Perceptions of Filipino Early Generations and Anime University Student-Viewers
Joanna Luisa B. Obispo
370

The Skull and the Elephant: The Significance of The Punisher in American Political Eras
Cord Scott
397

Remembrances
13 Major Blows to the World of Comic Art
John A. Lent
411

The Printed Word
John A. Lent
440

Book Reviews
Carlotta Vacchelli
Radmila Stetlcova
John A. Lent
Catherine E. Corder
Stephen Connor
John A. Lent
Xu Ying
444

Exhibition and Media Reviews
Edited by Mike Rhode
468

Exhibition Reviews
Mike Rhode
Mike Rhode
Carli Spina
473

Correction
496

Portfolio
497

Wednesday, March 4, 2020

CFPs MLA 2021 in Toronto

The MLA's Comics and Graphic Narrative Forum has three active calls for papers for the 2021 meeting in Toronto.

Full details can be accessed via the links that follow:

MLA 2021 Special Session CFP: Comics and Graphic Narratives for Young Audiences (Deadline: 03/10/20): https://graphicnarratives.org/2020/02/19/mla-2021-special-session-cfp-comics-and-graphic-narratives-for-young-audiences-deadline-03-10-20/.

MLA 2021 Special Session CFP: Decolonizing Comics and/as Activism (Deadline: 03/15/20): https://graphicnarratives.org/2020/02/19/mla-2021-special-session-cfp-decolonizing-comics-and-as-activism-deadline-03-15-20/.

MLA 2021 Guaranteed Session CFP: New Flashpoints in Comics History (Deadline: 03/15/20):  https://graphicnarratives.org/2020/02/19/mla-2021-guaranteed-session-cfp-new-flashpoints-in-comics-history-deadline-03-15-20/.

 

 

IJoCA Spring/Summer 2019

Catching up again.

Here are the contents for the International Journal of Comic Art Vol. 21, No. 1 for Spring/Summer 2019 as posted on the IJoCA site (http://www.ijoca.net/new/sub3_past.html#vol21no1).

It is a massive issue totaling 840 pages and can be purchased from the publisher at http://www.ijoca.net/new/sub4_subscript.html. Subscriptions are also available at the same link.




Ronald Stewart 

Itō Hirobumi’s Nose: Syphilis in Early 20th Century Japanese Cartoons


Paul M. Malone 

“You Are Leaving the French Sector”: Flix’s Spirou in Berlin and the Internationalization of German Comics


Anton Kannemeyer 

As I Please: A Personal Reflection on Censorship


Annabelle Cone 

The “Bobo” (bourgeois-bohème) as Post-Modern Figure? Gentrification and Globalization in Dupuy and Berberian’s Monsieur Jean and Boboland


Tania Pérez-Cano

Graphic Testimonies of the Balsero Crisis of 1994: Narratives of Cuban Detainees at the Guantánamo Naval Base


Ana Merino 

Comics Reinventing Creativity in the Museum: Some Thoughts about the Show “Viñetas Desbordadas/Overflowing Panels”


Jon Holt 

Ishii Takashi, Beyond 1979: Ero Gekiga Godfather, GARO Inheritor, or Shōjo Manga Artist?


Daniel F. Yezbick 

Of Bears, Birds, and Barks: Animetaphoric Antagonism and Animalscéant Anxieties within Dell Funny Animal Franchise Comics


John A. Lent 

Wang Ning, Beijing Total Vision Culture Spreads Co. Ltd., and the Transnationalization of Chinese Comic Books


Alvaro Alemán and Eduardo Villacís 

Pointed Language: Reading Paola Gaviria’s Virus Tropical (2009) from the Perspective of the Visual Protocols of the Graphic Novel


Héctor Fernández L’Hoeste 

On Butterflies, Viruses, and Visas: Comics and the Perils of Diasporic Imagined Communities


Anu Sugathan 

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)

Crossing Borders: Graphic Novels Quoting Art


Kent Worcester

That Chameleon Quality: An Interview with R. Sikoryak


Sara Dallavalle 

Popular Format and Auteur Format in Italian Comics. The Case of Magnus


Sam Cannon and Hugo Hinojosa Lobos 

Chile’s Military Dictatorship and Comics as Alternative Methods of Memorialization: Critical Approaches from Contemporary Chilean Graphic Novels


Leila Sadegh Beigi 

Marjane Satrapi’s Persepolis and Embroideries: A Graphic Novelization of Sexual Revolution across Three Generations of Iranian Women


Mathieu Li-Goyette 

A Sublime in Tension Around Alexandre Fontaine Rousseau and Francis Desharnais’ Les Premiers Aviateurs


Michelle Ann Abate 

“They’re Quite Strange in the Larval Stage”: Children and Childhood in Gary Larson’s “The Far Side”


Magnus Nilsson 

Marxism Across Media: Characterization and Montage in Variety Artwork’s Capital in Manga


Debarghya Sanyal 

The Desi Archie: Selling India’s America to America’s India


Sina Shamsavari

Gay Male Porno Comics: Genre, Conventions, and Challenges


Anno Moyoco Yasuko Akiyama 

Ambitious Women in Male Manga Magazines: Sakuran and Hataraki-Man


Aimee Vincent 

“Hey Kids, Patriarchy!”: Satire and Audience on the Back Covers of Bitch Planet


Chad A. Barbour

The Fine Art of Genocide: Underground Comix and U.S. History as Horror Story


John Darowski

Superman’s Remediation of Mid-20th Century American Identity


Héctor Fernández L’Hoeste 

A Matter of Affect: Illustrated Responses to the Immigration Debacle


Bi Keguan (Edited by Bi Weimin) (Translated by Xu Ying)

Random Notes of the Editorial Office of China’s Manhua Magazine


Chu Der-Chung (Zola Zu) with John A. Lent (Translation by Xu Ying)85

The Chus: A Family Teeming with Cartoonists


Alvaro Alemán and Eduardo Villacís 

TFaith in Comics: Ex-voto Religious Offerings and Comic Art


Barbara Zocal Da Silva 

Translated Hispano-American Comics in Brazil


Conversation with Jan Ziolkowski and Ariana Chaivaranon 

An Afternoon with R. O. Blechman


John Gardner 

Kennedy Conspiracy Comics: ¡en Español!


Michela Canepari 

The Myth of Frankensteinfrom Mary Shelley to Gris Grimly: Some Intersemiotic and Ideological Issues


The Best We Could Do: A Mini-Symposium

Isabelle Martin 

The Role of Water in the Construction of Refugee Subjectivity in Thi Bui’s The Best We Could Do


Debarghya Sanyal 

A Burden of Tales: Memories, Trauma, and Narratorial Legacies in The Best We Could Do and Munnu


Francesca Lyn 

The Fragmentary Body: Traumatic Configurations in Autobiographical Comics by Women of Color


A. David Lewis 

A Graphic Medicine Prescription


Pioneers in Comics Scholarship

Kosei Ono 

My Life with American Comics: How It Started


Shefali Elizabeth Mathew 

Nature of Reality in the Graphic: “Calvin and Hobbes”


Introduced by Jochen Garcke 

The Mindset of a Professional Exhibition Curator


Remembrances

Licia Citti 

One Life, Many Loves: Dario Mogno’s Passion for Cinematography, Publishing, Comics, and Cuba


John A. Lent 

The Printed Word


Shawn Gilmore; David Kunzle 

Review Essays


Jean-Paul Gabilliet 

Exhibition Review Essay


Rachel Kunert-Graf; Stephen Connor; Kirsten Møllegaard; John A. Lent; Maite Urcaregui

Book Reviews


Carli Spina 

Exhibition and Media Reviews (edited by Mike Rhode)


Correction


Tuesday, March 3, 2020

NeMLA Update

Here are the full details of the Saving the Day roundtable for NeMLA later this week. 




Northeast Modern Language Association 51st Annual Convention, 5-8 March 2020
Marriott Copley Place, Boston, Massachusetts

Saturday, Mar 7, Track 18, 04:45-06:00        
Location: HYANNIS (Media Equipped)



18.17 Saving the Day: Accessing Comics in the 21st Century (Roundtable)
Organized by Michael A. Torregrossa, Independent Scholar, and Carl B. Sell, Oklahoma Panhandle State University. 

Chair: Michael Torregrossa, Independent Scholar
Cultural Studies and Media Studies & Pedagogy & Professional

"Krazy in the Klassroom: Teaching Early Newspaper Comics" Jonathan Najarian, Boston University
Teaching early twentieth-century newspaper comics presents a unique challenge: not only is there an incredible wealth of content to sift through, many of the most famous cartoon characters of the period—Krazy Kat, the Yellow Kid, the Katzenjammer Kids—were products of a material print culture that is quickly disappearing. This talk will sample some of the excellent online resources available for instructors wishing to introduce newspaper comics into their classroom, including the Billy Ireland Cartoon Library and Museum website, digitalcomicmuseum.com, and the excellent Yellow Kid website hosted by the University of Virginia. I also plan to contrast online resources with traditional print resources such as those published by Sunday Press and Taschen, with an eye towards understanding how the internet has at once facilitated and complicated how we introduce early comics to our students. For while the internet has democratized access to many comics that would be otherwise forgotten, it has also further removed us from the print and material context in which this work was originally received.

Jon Najarian received his PhD from Boston University in 2019. He is currently at work on a book manuscript titled The Intermedial Era: Literary and Pictorial Narrative from Modernism to Comics, which proposes a new context for understanding the rise of the graphic novel by linking the development of comics as a form to the multimedia experiments of modernist writing. He has published articles on Thomas Pynchon, the philosophy of Stanly Cavell, and the current state of comics studies.


"Finding Frankensteins (and Other Illustrated Classics): Resources for Research and Teaching" Michael Torregrossa, Independent Scholar
In 2012, I took a graduate-level seminar at Rhode Island College devoted to Mary Shelley’s Frankenstein and its afterlife in popular culture. We were assigned to do a short research paper, and, being a life-long, reader of comics I eventually settled on a paper looking at how the text has been adapted onto the comics page. Eight years, four conference papers, and one on-campus address later, I am still fascinated by the vitality of Shelley’s characters in the comics medium and the variety of forms her story has taken in comics over the course of the twentieth and early twenty-first centuries. The focus of this presentation will be on the various online tools (such as The Grand Comics Database, Comics Vine, the catalog of Lone Star Comics, and fan-made comics resources) available for locating and cataloging representations of Frankenstein in the comics as well new ways (like comiXology, Marvel Unlimited, and DC Universe) to access these texts. I’ll also comment on some of the ways I’ve used these material in my research and teaching and additional resources for tracking discussions of these works. All of these approaches can be applied to any literary text that has been adapted into the comics medium.

Michael A. Torregrossa is a graduate of the Medieval Studies program at the University of Connecticut (Storrs) and works as an adjunct instructor in English in both Rhode Island and Massachusetts. His research interests include adaptation, comics and comic art, Frankensteiniana, monsters, and science fiction. Michael has presented papers on these topics at regional, national, and international conferences. He is also active in the Northeast Popular Culture/American Culture Association and is currently its Monsters and the Monstrous Area Chair, but he previously served as its Fantastic (Fantasy, Science Fiction, and Horror) Area Chair, a position he held from 2009-2018.


"Pirate Booty: Scholars and Scanned Comics" Charles Henebry, Boston University
In the late 1990s and early 2000s, fan culture embraced digitization, with the result that a wealth of rare comics became widely available, from Action Comics 1 to the full run of Alan Moore's Miracleman in Eclipse. This has been a boon to scholarship, since the original issues were generally scanned complete with letters pages, editor's notes and vintage advertisements for plastic soldiers, all elements of the historical original that tend to be left out from reprints—as well as from official Marvel and DC online editions. This leaves scholars in a quandary, dependent on pirated intellectual property. 

Charles W. Henebry received his doctorate in English literature from New York University in 2003. Originally a student of emblems — Elizabethan comic-books, roughly speaking — he has for the past ten years focused his scholarship on the four-color world of superheroes, from the genesis of Superman’s costume change to the impact of the 1960s antiwar movement on Iron Man. He is the author of seven articles in Greenwood Publishing Group’s 2014 Comics Through Time encyclopedia and long-form essays in The Ages of Iron Man, The Ages of the Justice League, and The Ages of the Flash—as well as the forthcoming Ages of the Black Panther.


"Affordability, Access, & Flexibility in Teaching Comics in the 21st Century" Lance Eaton, University of Massachusetts Boston
This contribution will explore and discuss a different approach to considering access and pedagogy when teaching courses on comics and other similar courses where costs to learning materials can easily skyrocket.  The approach recenters the focus of what is being taught about comics while offering up a playlist of readings that students can choose from to read in preparation for any given class along with clear identification of what materials are attainable through the library.  Leveraging such communal resources means that students come to class having to demonstrate how they take course concepts and learnings and apply them to individual readings. While initially, it has the potential to look a bit chaotic, it also gives students lots of opportunities to provide something unique and distinct about their learning pathway and what they get to read and analyze, thereby increasing their interest and development throughout the course.  

Lance Eaton is an Instructional Designer and Faculty Development Specialist at Brandeis University.  He teaches literature, popular culture, comics, and other interdisciplinary courses at North Shore Community College and Southern New Hampshire University.  He also is the Executive Secretary for the Northeast Popular Culture Association.  He has presented at local, regional, and national conferences on teaching and learning in online environments, hybrid flexible pedagogy, universal design for learning, OER, and open pedagogy.  He writes for several magazines and websites.  He is currently working on his PhD in Higher Education with a focus on academic piracy of research literature.


"Graphic Medicine Online" A. David Lewis, MCPHS University
Publications, lectures, classes, and conferences on Graphic Medicine (i.e. the study and use of comics in terms of medical, health, or patient experience) are amassing monthly, but less known are the number of digital resources also growing in frequency and accessibility. First, there is the Graphic Medicine site itself, largely the origin point for the Anglophone contingent of these scholars, followed by the Annals of Graphic Medicine, original health-related comics hosted by the Annals of Internal Medicine and the American College of Physicians. Independent online magazine The Nib produces award-winning non-fiction comics on the state of healthcare in America, and numerous Graphic Medicine creators (e.g. Rachel Lindsay, Dr. Mike Natter, etc.) work in digital-first channels.
Beyond the scholarship, reportage, and new art, software utilizing Graphic Medicine is now on the rise, with apps like Jumo Health AR (and Medikidz), ‘Flo, and the numerous print comics repurposed (and sometimes augmented) for smartphone and computer monitors. Gatekeepers and barriers are becoming all the more reduced with these digital and online options; moreover, perhaps unlike other moments in Comics Studies, the field of Graphic Medicine appears particularly welcoming of such tech among its discourse and implementation.

A. David Lewis is an Instructor and Program Coordinator in the School of Healthcare Business at MCPHS University. In addition to being an established comics writer, editor, and comics studies scholar, he is also the founder of the Graphic Medicine library collection at his university and a national lecturer on the topic of comics and healthcare, medical education, and patient narratives. His 2014 book on the superhero genre and audience negotiation of personal of identity & selfhood was nominated for that year's Eisner Awards in "Best Scholarly/Academic Work," and his co-edited book Digital Death with Christopher M. Moreman received the 2015 Ray and Pat Browne Award for Best Edited Collection in Popular and American Culture.


"Educating the Total Nerd: Resources for Using the Products of Fandom in the Classroom" Michael Dittman, Butler County Community College
While the popularity of comic book movies has largely reinforced the dichotomy of the creator/reader passive relationship, educators can enrich their classrooms by examining and integrating the active role fans take in producing material which runs parallel in canon but sometimes surpasses in quality.  With the expansion of the comic fan base beyond the traditional white male coded perception and the latency of the comic corporations in diversifying their products and characters, fans have taken it upon themselves to create representation.  This idea of finding and situating one’s identity into the larger culture through its products is a useful one to explore, especially in the composition classroom.  Educators who familiarize themselves with the word of fan product can use these tools to help to move their classrooms beyond the more passive classroom reading and discussion of comics to a higher level of cognition including synthesis and creation. 
This brief, informal presentation focuses on both finding and identifying repositories of fan product to be used in the classroom and the resources available to incorporate the creation of fandom texts into the classroom.  Among other resources, gathering models from repositories such as CBR’s “Comic Book Idol” and Comic Art Network, the vast collection of fanfilms on both YouTube and Vimeo, and the collections of fanfic on Movellas and wattpad will be highlighted.  The use of how-to guides like “FanFiction for Literacy” and “Popculture Classroom” as well as others in curriculum planning will be presented. 

Michael Dittman is an associate professor of English at Butler County Community College.  His comic book and comic art reviews have appeared in CBR, International Journal of Comic Art, and others.  His comic fandom scholarship has appeared in Works and Days and other journals.  His books include Jack Kerouac, The Beat Generation, Three Days in Pittsburgh, and the novel Small Brutal Incidents. 





Sunday, October 20, 2019

Saving the Day at NeMLA

I am pleased to announce the presenters for our NeMLA 2020 session:

Saving the Day: Accessing Comics in the 21st Century (Roundtable)
Organized by Michael A. Torregrossa, Independent Scholar, and Carl B. Sell, Oklahoma Panhandle State University

Krazy in the Klassroom: Teaching Early Newspaper Comics
Jonathan Najarian, Boston University

Finding Frankensteins (and Other Illustrated Classics): Resources for Research and Teaching
Michael A. Torregrossa, Independent Scholar

Pirate Booty: Scholars and Scanned Comics
Charles Henebry, Boston University

Affordability, Access, & Flexibility in Teaching Comics in the 21st Century
Lance Eaton, University of Massachusetts Boston

Graphic Medicine Online
A. David Lewis, MCPHS University

Educating the Total Nerd: Resources for Using the Products of Fandom in the Classroom
Michael Dittman, Butler County Community College

Thursday, October 3, 2019

Saving the Day Update 10/3

My thanks for the submissions received so far for the Saving the Day: Accessing Comics in the 21st Century round table.

We do now have a viable session, but one or two more presenters would help make the panel really great.


Wednesday, October 2, 2019

EXTENDED DEADLINE CFP Saving the Day: Accessing Comics in the Twenty-first Century (A Roundtable) (10/7/19; NeMLA Boston 3/5-8/2020)


Call for Papers for Saving the Day: Accessing Comics in the Twenty-first Century (A Roundtable)

51st Annual Convention of the Northeast Modern Language Association
Boston Marriott Copley Place, in Boston, Massachusetts, from 5-8 March 2020
DEADLINE EXTENDED: Paper abstracts are due by 7 October 2019
Session organized by Michael A. Torregrossa, The Medieval Comics Project, and Carl B. Sell, Oklahoma Panhandle State University

Although the presence of physical comics has declined, the plethora of comics-based movies and television shows available to contemporary audiences has made it almost impossible for an individual not to have acquired a familiarity with the comics medium and some of its most recognizable characters. Even more so than past generations, our students are especially responsive to superheroes and related tropes of comics, but what are the best ways to bring this material into the classroom to illustrate both where the comics are today and where they’ve come from?

In response to these questions, this session will introduce and instruct participants in the use of various online tools (such as comics companies’ websites, comics sellers’ store sites, databases of comics, fan wikias, and repositories) to successfully find and access comics and information about them of value to our teaching and research. This objective is especially vital, as resources like the Grand Comics Database and its various search options, can be invaluable when looking for resources (particularly when paired with repositories of comics, like Comic Book +, comiXology, DC Universe, and Marvel Unlimited). Furthermore, instruction on the various forms of the comiXology, DC Universe, and Marvel Unlimited platforms are of great importance as they stand to revolutionize access to and distribution of comics in the twenty-first century by providing affordable digital editions of books from all eras of the medium’s history. Additionally, fans of the comics have produced important resources essential in any quest to track and understand the larger contexts involved in how comics have developed and their characters evolved; these include various wikis devoted to specific publishers (like the DC Database and the Marvel Database) and sites like The Appendix to the Official Handbook of the Marvel Universe. Finally, Comics Studies is a thriving field of scholarship with many print and online resources available. Unfortunately, all of these new resources appear foreign to most educators. We hope that this session will change that and promote a greater awareness of the resources available to successfully integrate comics into our academic lives.

This session is a roundtable, in which 3-10 participants give brief, informal presentations (5-10 minutes) and the session is open to conversation and debate between participants and the audience. The direct link for this session is https://www.cfplist.com/nemla/Home/S/18042. Please contact the organizers at SavingtheDay2020@gmail.com with any questions or concerns.

Abstract submissions must be made through NeMLA’s official site. Applicants will need to login or create an account at https://www.cfplist.com/nemla/Home/login. Submissions must begin with a paper title of not more than 100 characters (including spaces) and adhering to the following: capitalize titles by MLA formatting rules unless the title is in a language other than English; do not use quotation marks in the session title or abstract title itself but please use only single quotation marks around titles of short stories, poems, and similar short works; italicize the titles of long works mentioned in the paper title; and do not place a period at the end of the title. Submissions should also include an academic biography (usually transferred from your NeMLA profile) and a paper abstract of not more than 300 words; be sure to italicize or use quotation marks around titles according to MLA guidelines. Please be aware that NeMLA membership is not required to submit abstracts, but it is required to present at the convention. In addition, note that it is permissible to present on (1) a panel (or seminar) and (2) a roundtable or a creative session, but it is not permissible to present on a panel and a seminar (because both are paper-based), on two panels or two roundtables (because both would be the same type). Further information on these and other policies can be accessed at http://www.buffalo.edu/nemla/convention/callforpapers/submit.html. Chairs will confirm the acceptance of abstracts before 15 October 2019. At that time, applicants must confirm the panel on which they wish to participate. Convention registration/membership for 2019-2020 must be paid by 1 December 2019.

Monday, August 19, 2019

News of CFP Saving the Day for Medievalists: Accessing Medieval-Themed Comics in the Twenty-first Century (Roundtable) (9/15/19; Kalamazoo 5/7-10/2020)

In related news, the Medieval Comics Project is sponsoring a session for next year's International Congress on Medieval Studies. The full details on the call for paper can be found on the Making Medievalisms Matter site at https://medievalinpopularculture.blogspot.com/2019/08/cfpsaving-day-for-medievalists.html.

Paper proposals are due by 15 September 2019.

Thanks for your support of our endeavors.

Saturday, July 13, 2019

CFP Journal of Anime and Manga Studies Inaugural Issue (8/31/19)

Journal of Anime and Manga Studies Inaugural Issue
https://call-for-papers.sas.upenn.edu/cfp/2019/06/25/journal-of-anime-and-manga-studies-inaugural-issue

deadline for submissions: August 31, 2019
full name / name of organization: The Journal of Anime and Manga Studies (JAMS)
contact email: animestudiesjournal@gmail.com


Inaugural Issue to be Published in Early 2020

The Journal of Anime and Manga Studies (JAMS) is excited to announce a CFP for its inaugural issue! JAMS is an open-access journal dedicated to providing an ethical, peer-reviewed, interdisciplinary space for academics, students, and independent researchers examining the field of anime, manga, cosplay, and fandom studies to share their research with others. JAMS is peer reviewed by scholars with experience in anime and manga studies.

This is an exciting time for anime and manga studies as a discipline, with courses on the subject appearing at universities like Yale and the University of California, Berkeley. The Journal of Anime and Manga Studies hopes the works submitted to and published within our first issue can spark further conversations about the deeper meanings, understandings, and/or cultural significance of anime, manga, cosplay, related media, and their fandoms, what anime and manga studies can be as an area of study, and the types of interdisciplinary work that can come out of analyzing anime, manga, cosplay, related media, and their fandoms from a variety of scholarly perspectives.

Because of this goal, JAMS aims to publish scholarly analysis of anime through any number of theoretical lenses. From the sociocultural/historical context of anti-war arguments in the films of Hayao Miyazaki, to the representation of queer characters in anime like Yuri!!! on Ice and Classmates, to the implications of communal identity and character performance in the cosplay world; JAMS is interested in diverse viewpoints and ideas on what can be explored in this area of study. Included in this interest specifically are works involving qualitative and quantitative, data-driven research surrounding anime, manga, cosplay, and their fandoms. Pieces published in JAMS will reach an interdisciplinary audience and should be written free of jargon. Scholarly book reviews of texts concerning anime, manga, cosplay, related media, and fandom culture surrounding these areas will also be considered.

All papers published in JAMS are published with a Creative Commons license, Attribution-NonCommercial 4.0 International (CC BY-NC 4.0).

Ideal submissions to JAMS are between 4,500 and 7,500 words. Please contact the editor if you wish to discuss longer or shorter submissions.

Please visit our site: https://iopn.library.illinois.edu/journals/jams/about, for information about the journal and our policies. We welcome inquiries and are glad to discuss ideas for potential submissions. Scholars interested in supporting anime and manga studies as a discipline as peer reviewers should also reach out to JAMS. Inquiries can be directed to animestudiesjournal@gmail.com.

Submissions will be accepted until August 31st, 2019.


Last updated June 26, 2019


CFP The Impact of American Superheroes around the World (9/30/19; NeMLA 2020)

The Impact of American Superheroes around the World (NeMLA 2020)
https://call-for-papers.sas.upenn.edu/cfp/2019/06/05/the-impact-of-american-superheroes-around-the-world-nemla-2020

deadline for submissions: September 30, 2019
full name / name of organization: Northeast Modern Language Association
contact email: rponcecordero@keene.edu

No one escapes Marvel’s Endgame: the economic and cultural impact of the past few decades’ boom in superhero movies, and more broadly superhero narratives, is evident well beyond the boundaries of the United States. In fact, the presence and influence of American comic-book superheroes abroad started shortly after the debut of DC's Superman in 1938, and has been growing ever since.

This session welcomes abstracts considering, among other objects of study,


  • international emulations of the genre (such as Canada’s Nelvana of the Northern Lights, Britain’s Marvelman, the Philippines’ Durna, Israel’s Sabraman, Kuwait’s The 99, Chile’s Mirageman, Nigeria’s Guardian Prime, Pakistan’s Burka Avenger, France’s Ladybug, or South Africa’s Kwezi),
  • looser adaptations (Mexico’s Santo and the lucha libre filmography in general, Japan’s Ultraman, China’s The Heroic Trio, Argentina’s Cybersix, India’s Krrish, Russia’s Black Lightning), 
  • critical parodies (France’s Astérix, Mexico’s Chapulín Colorado, Spain’s Superlópez, Finland’s Peräsmies, Japan’s Zebraman, Malaysia’s Cicak Man), 
  • unofficial appropriations (Italy’s Three Fantastic Supermen, Turkey’s 3 Dev Adam, India’s Superman, the Philippines’ Alyas Batman en Robin), 
  • as well as influences on art style and narrative structure (Japan’s One-Punch Man and My Hero Academia) in both comics and audiovisual media.



Please submit a 300-word abstract and brief biographical statement by September 30, 2019 directly through NeMLA's system: https://www.cfplist.com/nemla/Home/S/18069

The 51st Annual NeMLA Convention will take place in Boston, MA on March 5-8, 2020.


Last updated June 5, 2019

CFP The Marvel Cinematic Universe: Examining a Post-Endgame World (9/30/19; NeMLA 2020)

The Marvel Cinematic Universe: Examining a Post-Endgame World
https://call-for-papers.sas.upenn.edu/cfp/2019/06/06/the-marvel-cinematic-universe-examining-a-post-endgame-world

deadline for submissions: September 30, 2019
full name / name of organization: Lindsay Bryde / Northeast Modern Language Association
contact email: Lindsay.Bryde@gmail.com


This roundtable will be looking holistically at perspectives on the first 22 films in the MCU. This arc will be brought to completion with Avenger’s Endgame. Now would be a good time to look back and assess which gambles have worked and/or failed now that a narrative arc has been completed. Participants are encouraged to consider the MCU both as a whole as well as specific franchises under the overall banner. 

The conference is through the Northeast Modern Language Association and will take place March 5-8th, 2020 in Boston, MA

Submissions are due: September 30, 2019

NeMLA uses a user-based system to process abstract submissions. Interested scholars should submit 250-word abstracts to Lindsay Bryde through the NeMLA website using the link below: https://www.cfplist.com/nemla/Home/S/17913

For questions about the new submission system, you can contact NeMLA web support here: websupport@nemla.org.

Questions specific to the roundtable can be sent to Lindsay.Bryde@gmail.com



Last updated June 7, 2019

CFP Comics and Education (Spec Issue of Studies in Comics) (11/1/19)

Studies in Comics - Special Issue on Comics and Education
https://call-for-papers.sas.upenn.edu/cfp/2019/06/27/studies-in-comics-special-issue-on-comics-and-education

deadline for submissions: November 1, 2019
full name / name of organization: Studies in Comics
contact email: studiesincomics@googlemail.com


Special Issue 11.1: Comics and Education

Articles are invited for a special issue of Studies in Comics (11.1) on the theme of Comics and Education. Comics have enjoyed a resurgence in the classroom as educators, creators, and scholars have come to recognise the diverse ways in which the medium can be used to support literacy, communication skills, and creativity. Significantly, the use of comics for and as education also promotes cross-medial learning, as readers may use the form as a starting point for further reading, but also to enhance and supplement other pedagogical materials. As Syma and Weiner argue, “it is no longer a question of whether sequential art should be used in educational settings, but rather how to use it and for what purpose” (2013, 1). Comics present an immersive, engaging, and memorable tool for communication because they require the reader to actively participate in the meaning-making process by utilising verbal, visual, spatial, and gestural modes of understanding among others (Bakis 2008). Indeed, comics can help readers of all ages understand complex ideas through these means and allow teachers and learners to explore, stimulate, and enhance educational outcomes.

In recognition of the foregoing, we invite papers that focus on one or more of the following topics, although the list is not exhaustive:


  • Case studies of education comics/comics as education
  • Teaching and learning with published comics
  • Teaching and learning by creating comics
  • Comics and literacy
  • Public information comics
  • Comics as pedagogy
  • Comics and embodied learning
  • Comics and emotional development
  • Comics and learner-based outcomes
  • Comics and adult education
  • The educational mission of networks like Graphic Medicine and Graphic Justice



Submissions

Please send complete articles for consideration, along with any queries to studiesincomics@googlemail.com with SIC 11.1 in the subject heading. When you send the article the words SIC 11.1 ARTICLE in the subject heading. Articles should be 4000 – 6000 words long and must be received by 1st November 2019 along with a biographical note of up to 150 words. All submissions will be peer-reviewed. Papers must be submitted in English. All articles submitted should be original work and must not be under consideration by other publications. This special issue will be published mid-2020.

We also welcome reviews of new publications and exhibits and short pieces of creative work (1-5 pages in length). Creative work should be relevant to the theme of the special issue. Reviews of publications and conferences and exhibitions: please include the words SIC 11.1 REVIEW PUBLICATION or SIC 11.1 REVIEW CONFERENCE or SIC 11.1 REVIEW EXHIBITION in the subject heading. Creative submissions should include the words SIC 11.1 CREATIVE should be in the subject heading.

Guest Editors: Dr Damon Herd, Professor Divya Jindal-Snape and Megan Sinclair (University of Dundee).


Last updated June 28, 2019