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

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

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, The Medieval Comics Project, 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

Saturday, July 6, 2019

CFP Saving the Day: Accessing Comics in the Twentieth-First Century (A Roundtable) (9/30/2019; NeMLA Boston 3/5-8/2020)

I'm pleased to announce our first call for papers related to our general efforts in comics outreach. Details follow.



Call for Papers for Saving the Day: Accessing Comics in the Twentieth-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

Paper abstracts are due by 30 September 2019

Session organized by Michael A. Torregrossa, The Medieval Comics Project, and Carl P. Sell, Indiana University of Pennsylvania


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.



Sunday, April 28, 2019

New Blog Name

The blog has a new name, Saving the Day: Accessing Comics in the Twentieth-First Century, effective today. 

It is, I think, much catchier than the old name.

Michael Torregrossa 

Thursday, April 11, 2019

IJoCA Fall-Winter 2018

The latest number of the International Journal of Comic Art arrived recently. Full contents list for Volume 20, No. 2 follows from their blog at http://ijoca.blogspot.com/2019/03/international-journal-of-comic-art-20-2.html. (Do also see their site to subscribe.)



A 20-Year Harvest of Comic Art Scholarship: International Journal of Comic Art-1999-2018
John A. Lent
l
A Symposium on Political Cartoons
Edited by John A. Lent
Six in a Row? That Has to Be Some Kind of Record!
Rob Rogers
44
The Editorial Cartoon's Fading Impact - The State of Play in Australia at the Federal Election of 2016 and Beyond
Haydon Manning and Robert Phiddian
57
The New Wave of Investigative Cartooning in South Korea
John A. Lent
90
Drawing Chinese Political Cartoons in Japan: Blessing in Disguise or Trade-off?
Benjamin Wai-ming Ng
110
The Politics of Underground Comix and the Environmental Crisis
Leonard Rifas
128
Mark Knight vs Serena Williams - Crossing the Line: Offensive and Controversial Cartoons in the 21st Century - "The View from Australia" - Part Two
Richard Scully
151
Morgan Chua (1949-2018) and Political Cartooning in Singapore
Lim Cheng Tju
177
Cartooning Poverty: Are Cartoonists Helping Sustainable Development in Egypt?
Sara S. Elmaghraby
181
"Hippies" and Pacifism in Igor Kolgarev's Militariisk Comics
Jose Alaniz
192
Discovering Tom Browne and His Postcards
Milind Ranade
207
Beyond the Printed Page: Dementia, Graphic Medicine, and Digital Comics
Jeffrey SJ Kirchoff
222
Reading Between the Lines: Drawing on the Horrors of Disappearance in "Un asesino anda suelto"
Janis Breckenridge and Maia Watkins
235
A Chat with Izar Lunacek of Slovenia
Mike Rhode
256
A Brief History of Slovenian Comics
Izar Lunacek
261
Currier & Ives's Darktown Series: Recovering White Social Capital through Violent Satire
Melanie Hernandez
268
Superhero Sentimentalism. Analyzing the Social Media Nostalgia for the First Wave of American Comics in Poland
Tomasz Zaglewski
290
Navigating Jimmy Corrigan: Time, Space, and Puzzles, Including Pagination
Jean Braithwaite
312
A Cartoonist Chronicler of Cartoonists' Confabs
Marlene Pohle
342
March Graphic Novel: "American History Lives Again"
William H. Foster III
360
Malice, Metaphysics, and Mengele - Holocaust Motifs and the Renunciation of Evil in EC Horror Comics
Steve Danziger
373
Bishie Man or Woman, It Matters Not: Grotesque Resistance to Heteronormative Love
in Yu Wo's 1/2 Prince
Robyn Johnson
399
Liminality and Meta-fiction in Comics: The Ayotzinapa Case by Augusto Mora
Citlaly Aguilar Campos
443
The V Mask in Translation: From Commercial to Subversive Systems
Joilo Batista Freitas Cardoso and Caio Mattos Moreira Cardoso
464
Intersections of Sex and Violence in Preacher
Ken Junior Lipenga
478
Crime News: Blaming Comic Books for Crimes Committed During the "Golden Age"
Ignacio Fernandez Sarasola
493
Behind the Scenes of the "War in Comics" Exhibit: An Interview with Canada's Andrew Loman and Irene Velentzas
J.T.H. Connor
518
Art Toy as Anatomical Sketch
Paola Moreno Izaguirre
525
Legendary Hollywood Designer Syd Mead's Important Contributions to Landmark Anime
Northrop Davis
536
Charles M. Schulz: Cartoons Without Peanuts
Barry Pearl
542

Reminiscences
John A. Lent
561
The Printed Word
John A. Lent
571
A Review Essay
David Kunzie
574


Book Reviews
Kirsten Mollegaard
Dominick Grace
Mike Rhode
Varsha Singh
Jose Alaniz
590


Exhibition and Media Reviews
Edited by Mike Rhode
Mike Rhode
Dana Jeri Maier
Carli Spinn
Emily Lauer
613

Saturday, November 17, 2018

CFP ImageText in Motion: Animation and Comics - UF GCO Conference (12/15/2018; U of Florida 4/12-14/2019)


ImageText in Motion: Animation and Comics - UF GCO Conference
http://call-for-papers.sas.upenn.edu/cfp/2018/10/25/imagetext-in-motion-animation-and-comics-uf-gco-conference

deadline for submissions: December 15, 2018

full name / name of organization: The Graduate Comics Organization at the University of Florida

contact email: gco@english.ufl.edu



ImageText in Motion: Animation and Comics

The Graduate Comics Organization at the University of Florida invites applicants from all stages of their careers, including independent scholars and imagetext creators, to submit proposals to their 16th annual conference, “ImageText in Motion: Animation and Comics.” The conference will be held from Friday, April 12 through Sunday, April 14, 2019.

Animation and comics are two tangled pictorial mediums that stem from the same modernist concerns with the possibilities of the image. Animation and the cartooned bodies it brings into being are omnipresent on the screens that surround us, the advertisements that beg our attention, and the popcorn fare that draws out our inner escapists. But what are the politics of these images that simultaneously claim to be real, but constantly telegraph their artificiality? What do we gain by analyzing this medium that spans from the trashiest of visual gags to the trippiest of experimental visuals?

This conference hopes to begin answering these questions, and it aims to color those answers with concern for the politics of race, gender, ability, sexuality, and other matrices of power. Like any popular medium, animation has become an important site of conflict in cultural warfare, generating controversy as fans, critics, creators, and trolls clash over the politics of the polymorphous image as it appears on our pocket-sized slates and cinematic screens. And yet, the conflict goes beyond narrative content. As a crucial site of education and conditioning for children, a dramatization of performativity, and a method for visualizing the absent and the impossible, animation is a diverse tool that envisions (for better or worse) mediated imaginaries ripe for political intervention.



Possible topics include, but are not limited to:
  • Women in animation (representations; creators, etc.)
  • Queer representation and performance in animation (Steven Universe, Adventure Time, Voltron, Legend of Korra, OK K.O.! Let’s Be Heroes, Yuri! on Ice)
  • Race in animation (racial caricature in animation; minstrelsy in animation; positive racial representation - We Bare Bears, Craig of the Creek, Coco, Moana)
  • The medium-specific advantages of animation and the rhetorical and narrative possibilities that they enable
  • Circumstances of producing animation (economic/ Marxist concerns; women/people of color/queer people in the writer’s room)
  • Animating inanimate bodies/the toyetic (Toy Story; The Lego Movie franchise; children “animating” their toys; stop-motion; animation and the uncanny, etc.)
  • Animation and the child (adult vs. child viewership; animation in education; animation as a denigrated genre, etc.)
  • Fan/creator relationships (creators’ resistance to queered/racebent readings of characters; role of social media/accessibility to creators “positive”/”negative” dialogue between creators and fans; fans-becoming-creators, etc.)
  • Animation and toxic fandom (harassment of creators by fans; sexism and fandom; racism and fandom; Rick and Morty; My Little Pony, etc.)
  • Sexual harassment/the #metoo movement in the animation industry (Lasseter’s firing from Pixar, etc.)
  • Intersections of animation and comics (motion comics; comics attempts to perform animation; movement in comics)
  • Comics adaptations of animated features (Avatar The Last Airbender and Gene Luen Yang, etc.) and animated adaptations of comics
  • Nostalgic reboots, recreations, and revivals of animated materials and the controversy and excitement they inspire (Star Wars: The Clone Wars, My Little Pony: Friendship is Magic!, Samurai Jack, She-Ra and the Princesses of Power, Thundercats!)
  • Transnational relationships between animated productions, animation studios, and animation audiences.
  • Animation’s influence on politics (cartoonish insults of the American president and that president’s cartoonish insults, etc.)
  • Intrusion of the animated reality (VR animation; the “Szechuan sauce” controversy; the anime mascots of the 2020 Tokyo Olympics)
  • Unorthodox forms of animation (zoetropes; praxinoscopes; shadow puppetry; .gif files; crack videos)
  • Parody and postmodernism in animation (The Venture Bros., Robot Chicken, Teen Titans Go!)
  • Animation in video games, light novels, and other interactive media


Presentations should be 15-20 minutes in length and must be delivered in English. “ImageText in Motion” also invites creative projects related to the conference theme. Discussion panels from multiple presenters coordinated around a central topic or theme are welcome. Proposals of 200-300 words, plus a short bio and A/V requirements, should be submitted to gco@english.ufl.edu by December 15, 2018.

Last updated November 15, 2018

CFP Volume on Feminism and Comics and Graphic Novels (2/1/2019)


Volume on Feminism and Comics and Graphic Novels Seeks Chapter Proposals
http://call-for-papers.sas.upenn.edu/cfp/2018/10/25/volume-on-feminism-and-comics-and-graphic-novels-seeks-chapter-proposals

deadline for submissions: February 1, 2019

full name / name of organization: Missy Nieveen-Phegley, Sandra Cox, Susan Kendrick, Department of English at Southeast Missouri State University

contact email: scox@semo.edu



CALL FOR BOOK CHAPTER PROPOSALS

We’re seeking chapter-length contributions to an edited volume on feminism and comics and graphic novels. Though all proposals relevant to either theme are welcome, we’re especially interested in contributions that:
  • amplify the voices/stories of female, femme and non-binary cartoonists
  • provide a more balanced critical reception of underrepresented voices and perspectives in comics and graphic novel studies
  • broaden the established canon of “literary” comics and graphic novels to be more inclusive of diverse perspectives
  • using comics and graphic novels as a means to teach, explain or enact intersectional feminism
  • apply conceptual and theoretical insights from feminist criticism to the medium of comics
  • participate in discourse about feminist narratology of graphic novels
  • extend theories of feminist interpretation from art, design, literature, historiography, or other relevant disciplines to an interdisciplinary analysis of comics and graphic novels

Routledge has expressed some interest publishing the volume, so we intend this project to speak to a variety of scholarly audiences: researchers across a range of disciplines (including faculty and graduate students), feminist critics, and a well-educated general reader. We particularly prize those contributions that are highly original and accessible, while remaining intellectually rigorous.

Such contributions may:
  • posit feminist criticism of “mainstream” comics (e.g. the “big two,” feminist readings of superheroes/heroines)
  • provide original critical readings of work by women, femme and nonbinary cartoonists, particularly cartoonists from historically underrepresented groups
  • propose critical interventions in reading comics that represent gender, sex and sexuality
  • suggest theories of interpretation specific to representations gender, sex and sexuality in comics and illustration
  • consider how visual media determine/dictate rhetorical choices in comics and graphic novels

Some questions contributors might consider as they frame their chapters could include:
  • How do graphic novels and comics imagine gender with regard to agency, authority, and power?
  • In what specific ways might feminist cartoonists either enact a corrective or revisionist approach to androcentric messaging in mainstream comics or provide a counternarrative in their own indie, underground, and community-specific comics?
  • In what ways do cartoonists’ imaginings of the present, past and future work to intervene in dominant constructions of the ways gender determines the reception or meaning of visual narratives?

Contributors are asked to send chapter title, abstract (+/- 250 words), and CV by February 1, 2019 to Dr. Sandra Cox at scox@semo.edu. Questions may be directed to the same address.

Last updated October 29, 2018

Saturday, October 27, 2018

IJoCA for Fall/Winter 2017

One more issue to catch up on:

Here are rhe contents for the Fall/Winter 2017 number of IJoCA. Again, the listing is reproduced from the journal's blog at http://ijoca.blogspot.com/2018/03/international-journal-of-comic-art-vol.html.

International Journal of Comic Art Vol. 19, No. 2 Fall/Winter 2017
Editor's Notes
John A. Lent
1

Applying the Lasso of Truth to The Secret History of Wonder Woman by Jill Lepore
Nicky Wheeler-Nicholson
8

Of Politics and Presidents in William Moulton Marston's Wonder Woman
Trina Robbins
46

Saudi Arabia's Role in Advancing Comics
Afra S. Alshiban
51

Re-imagining the Ku Klux Klan in Chinese Media through the 1950s
Patrick Nash
78

The Film Noir's Aesthetics in a Graphic Novel: The Case of Angelus Hostis (2012)
Wladimir Chavez Vaca
97

In the Past the Devil Has Won: Analysis of Seishi Kishimoto's Satan and Savior in 0-Parts Hunter
Robyn Johnson
124

Comics in an Unexpected Place: Mongolia
Dan Erdenebal
148

The History of Gay Male Comics in the United States from Before Stonewall to the 21st Century
Sina Shamsavari
163

Drawing Memories. The "Comics for Identity" Project in Argentina as an Ethical and Aesthetical Challenge
Pablo Turnes
202

Scalpels and Pens:
Tools of Brazilian Surgeon/Cartoonist Ronaldo Cunha Dias
John A. Lent
213

Women in Cartoons -- Liang Baibo and the Visual Representations of Women in Modern Sketch
Martina Caschera
224

By the Power of Lailies: History and Evolution of Women Characters in Bangladeshi Comics
Tahseen Salman Choudhury
253

A Tribute to Trizophrenia: Sport in Jef Mallett's Comic Strip "Frazz"
Jeffrey 0. Segrave
John A. Cosgrove
269

Wang Zimei and Sun Zhijun: Cartoonists Hidden in Chinese History
John A. Lent and Xu Ying
286

Peak TV and Anime: Why It Matters
Northrop Davis
311

Modular, Proportional, Patterning: Representation of Zhang Guangyu's Ornamental Style in His Comics
Hongyan Sun
341

History and Popular Memory. Alternative Chronicle of Mexico City in the Comics of Gabriel Vargas
Laura Nallely Hernandez Nieto
Ivan Facundo Rubinstein
357

Art and Avarice: Tracing Careers in the Indian Comics World
Jeremy Stoll
372

A Turkish Comic Strip: "Abdtilcanbaz"
Tolga Erkan
381

Pang Bangben: "This Old Man Can Do All Kinds of Art"
John A. Lent and Xu Ying
403

Major Lazer: Animation in Electronic Music as a Transmedia Resource
Citlaly Aguilar Campos
415

First Lesson of the Sea, Always Bring a Spare Pencil: Analyzing Navy Culture through Cold War Cartoons
Patrick Shank
428

Sequence Side of Cergam: A Case Study of "Kraman" by Teguh Santosa
Toni Masdiono and lwan Zahar
466

The Printed Word
John A. Lent
475

Book Reviews
John A. Lent
Janis Breckenridge
Mel Gibson
Michael Rhode
483

Exhibition and Media Reviews
Edited by Michael Rhode
493

IJoA Spring/Summer 2017

Catching up...

Here are the contents of the Spring/Summer 2017 issue of IJoCA. Listing reproduced from the IJoCA blog at http://ijoca.blogspot.com/2017/09/international-journal-of-comic-art-19-1.html.

International Journal of Comic Art
Vol. 19, No. 1 Spring/Summer 2017


Freedom To Cartoon: An Endangered Concept
A Symposium
Edited by John A. Lent
1

Global Infringements on the "Right to Cartoon": A Research Guide
John A. Lent
4

From Socialism to Dictatorship: Editorial Ideologies in Chilean Science Fiction and Adventure Comics
Camila Gutierrez Fuentes
71

La Figura del Presidente Salvador Allende.Caricatura Politica e Imagenes Fatldicas
Jorge Montealegre I.
87

Control over Comic Books in Spain during the Franco Dictatorship (1939-1975)
Ignacio Fernandez Sarasola
95

Early Censorship of Comics in Brazil and Spain and Their Use as an Educational Resource as an Escape
Cristiana de Almeida Fernandes, Vera Lucia dos Santos Nojima, Ana Cristina dos Santos Malfacini, and Maria da Conceicao Vinciprova Fonseca
130

Two Life Times and 15 Years: A Cuban Prisoner's Coping Through Cartoons
John A. Lent
159

American Infection: The Swedish Debate over Comic Books, 1952-1957
Ulf Jonas Bjork
177

Seduced Innocence: The Dutch Debate about Comics in the 1940s and 1950s
Rik Sanders (Translated by Melchior Deekman)
190

Pioneers in Comic Art Scholarship
"Acquire the Widest Possible Comics Culture": Au Interview with Thierry Groensteen
John A. Lent
205

Pioneers in Comic Art Scholarship
The Multi-Varied, 50-Year Career of a Fan-Researcher of Comic Art
Fred Patten
219

Gutter Ghosts and Panel Phantasms: Horror, Haunting, and Metacomics
Lin Young
243

World War II in French Collective Memory: The Relevance of Alternate History Comics.
An Analysis of the Wunderwaffen Saga
Simon Desplanque
270

Genre Hybridity as the Scheme of the Comics Industry
Jaehyeon Jeong
290

On the Pastoral Imaginary of a Latin American Social Democracy: Costa Rica's El Sabanero
Hector Fernandez L'Hoeste
309

Between Fine and Comic Art. On the Arab Page: Much Connects Art and Comics in Egypt and the Wider Middle East
Jonathan Guyer
334

"Art Is My Blood": A Short Interview with Nora Abdullah, Pioneer Female Malay Comic Artist
Lim Cheng Tju
345

Comics Theory for the Ages: Text and Image Relations in Medieval Manuscripts
Jesse D. Hurlbut
353

Examining Film Engagement Through the Visual Language of Comics
R. Brad Yarhouse
384

Hemispheric Latinx Identities and Transmedial Imaginaries: A Conversation with Frederick Luis Aldama
Janis Breckenridge
405

In Search of the Missing Puzzle Pieces: A Study of Jimmy Liao's Public Art Installations in Taiwan
Hong-Chi Shiau and Hsiang-wen Hsiao
413

Far from the Maddening Crowd: Guy Delisle as Cultural Reporter
Kenan Kocak
428

Portrayal of Massacre: A Comparative Study between Works of Joe Sacco, Art Spiegelman, and Fumiyo Kono
Sara Owj
479

Toriko's Database World
Bryan Hikari Hartzheim
499

Beyond Images and Gags: Comic Rhetoric in "Luann"
Veronica Anzaldua
525

Happy Ike, The Pink Kid and the American Presence in Early British Comics
Michael Connerty
538

The Swedish Phantom: Sweden's Domestication of an American Comic Book Hero
Ulf Jonas Bjork
547

Start Spreading the News: Marvel and New York City
Barry Pearl
562

Honore Daumier: Caricature and the Conception/Reception of "Fine Art"
Jasmin Cyril
575

China's Cartooning in the War of Resistance against the Japanese Invasion
Zola Zu
586

Belgian bande dessinee and the American West
Annabelle Cone
595

The Printed Word
John A. Lent
620

Book Reviews
M. Thomas Inge
David Lewis
John A. Lent
Lim Cheng Tju
Janis Breckenridge
Benoit Crucifix
Christopher Lee Proctor II
Michael J. Dittman
Leslie Gailloud
627

Exhibition and Media Reviews
Edited by Michael Rhode
Maite Urcaregui
Pascal Lefevre
Keith Friedlander
647

Portfolio
655

Wednesday, September 26, 2018

CFP The Stage and the Comics Page: Graphic Adaptations of Plays, Theatrical Adaptations of Comics (9/30/18; NeMLA 3/21-24/2019)


The Stage and the Comics Page: Graphic Adaptations of Plays, Theatrical Adaptations of Comics
https://call-for-papers.sas.upenn.edu/cfp/2018/07/04/the-stage-and-the-comics-page-graphic-adaptations-of-plays-theatrical-adaptations-of

deadline for submissions:
September 30, 2019


full name / name of organization:
Northeast MLA 2019, March 21-24


contact email:
lauere@sunysuffolk.edu




This panel seeks papers that explore adaptations from comics into theater, or from theater into comics. Whether comics adaptations of classic plays, or celebrated graphic narratives that get adapted for the musical stage, the interplay between the stage and the comics page is rich and multi-directional, as both are visual narratives, with very different points of access and methods of meaning-making. The ill-fated Broadway musical Spider-Man: Turn Off the Dark may not have much in common with a graphic novelization of Oscar Wilde’s Salome, for instance, but they share an attempt to grapple with the intersection of the two media.

The papers might focus on medium specificity in each form; changes in status of high to low culture, or broad to niche appeal; any of the aspects of each “wave” of adaptation studies as posited by Thomas Leitch; performativity, or some other theoretical framework. NeMLA 2019 will be in Washington DC, March 21-24. Learn more about NeMLA here: http://www.buffalo.edu/nemla/convention.html

Submit abstract of 300 words by September 30 here: https://www.cfplist.com/nemla/Home/S/17233

--

Emily Lauer, Ph.D.
Associate Professor of English
Suffolk County Community College
Islip Arts 2K, Ammerman Campus
533 College Road
Selden, NY 11784

lauere@sunysuffolk.edu
 

Sunday, September 23, 2018

CFP Comics Arts Conference WonderCon (12/1/2018; Anaheim 3/29-31/2019)


Comics Arts Conference WonderCon
https://call-for-papers.sas.upenn.edu/cfp/2018/09/18/comics-arts-conference-wondercon

deadline for submissions:
December 1, 2018

full name / name of organization:
Comics Arts Conference

contact email:
comicsartsconference@gmail.com



The Comics Arts Conference is now accepting 100 to 200 word abstracts for papers, presentations, and panels taking a critical or historical perspective on comics (juxtaposed images in sequence) for a meeting of scholars and professionals at WonderCon, March 29-31, 2019, in Anaheim, CA. We seek proposals from a broad range of disciplinary and theoretical perspectives and welcome the participation of academic and independent scholars. We also encourage the involvement of professionals from all areas of the comics industry, including creators, editors, publishers, retailers, distributors, and journalists.

The CAC is designed to bring together comics scholars, professionals, critics, and historians to engage in discussion of the comics medium in a forum that includes the public. Proposals are due December 1, 2018. Please submit proposals to our online form at http://www.surveymonkey.com/s/BZ8XV9N. For more information, please contact Dr. Kathleen McClancy at comicsartsconference@gmail.com, or see our website at http://comicsartsconference.wp.txstate.edu.

CFP (Dis)ability and Comics: Fifth Annual Dartmouth College Conference on Illustration, Comics, and Animation (1/7/2019; 4/26/2019)

(Dis)ability and Comics: Fifth Annual Dartmouth College Conference on Illustration, Comics, and Animation
https://call-for-papers.sas.upenn.edu/cfp/2018/09/11/disability-and-comics-fifth-annual-dartmouth-college-conference-on-illustration

deadline for submissions:
January 7, 2019

full name / name of organization:
Dartmouth College Conference on Illustration, Comics, and Animation

contact email:
michael.chaney@dartmouth.edu



How do comics and related visual media such as illustrated books, comic strips, and animation represent disability differently from other media, and what new possibilities do they propose for thinking about or visualizing ability?

Join us for a one-day conference at Dartmouth College on Friday April 26, 2019.

Of particular interest are papers that consider comics as graphic medicine, comics and ableism, comics and neuro-divergence, autism in graphic novels and comics, disability and graphic memoir, creative titles or series by comics artists and writers who identify with or include ability-challenged perspectives, disability studies/theory approaches to contemporary comics and/or issues in comics studies, race and /or gender and sexuality and disability in comics, and comics and pictorial literacy as tools within developmental education studies.

To participate in the conference, please send a two hundred-word abstract of your talk along with a short professional bio to

Michael A. Chaney

Conference Director

michael.chaney@dartmouth.edu

Please be sure to submit your materials before January 7, 2019.

We hope to see you at Dartmouth College next April!

Saturday, September 22, 2018

IJoCA for Spring/Summer 2018

Another massive issue for the latest number of the International Journal of Comics Art. Contents list from http://ijoca.blogspot.com/2018/08/international-journal-of-comic-art-201.html. The issue includes a section on "Transnational Graphic Narratives" and a selection of open topic pieces, including a tribute to the late Tom Roberts, UConn's long-time resident comics expert.

INTERNATIONAL JOURNAL OF COMIC ART
Vol. 20, No. 1 Spring/Summer 2018


Transnational Graphic Narratives
Edited by Daniel Stein, Lukas Etter, and Michael Chaney
1
Transnational Graphic Narrative
A Special Symposium
Daniel Stein, Lukas Etter, Michael A. Chaney
4
Sound Symbolic Words in Translation
Subir Dey and Prasad Bokil
17
Misreading with the President: Re-reading the Covers of John Lewis's March
Michael A. Chaney
25
Transnational Graphic Narratives from Down Under
Astrid Boger
43
The Inventibility of Other Audiences: Thoughts on the Popular Ideology of Fiction in Transnational
Comic Books, on the Occasion of Captain Marvel #1
Stephan Packard
65
Domesticating Manga? Japanese Comics and Transnational Publishing
Casey Brienza
81
Kawaii Snow White and an Umbrella Called "Dornroschen": Manga Adaptations of Grimms' Fairy Tales
Franca Feil

98
Narratives and Identity: A Case Study on Malaysian Autobiographical Comics
Suraya Md Nasir
118
Transnational Banlieue Bande Dessinee in the 21st Century: An Introduction
Jocelyn Wright
139
Cartooning Resistance: Irony and Authentication in Zerocalcare's Kobane Calling
Johannes C. P. Schmid
153
Barbara Stok's Graphic Biography Vincent: A Transnational Campaign
Tobias J, Yu-Kiener
170
Transatlantic Exchanges and Cultural Constructs: Vertigo Comics and the British Invasion
Isabelle Licari-Guillaume
189
Alcatena's Malon: National Identity and Cultural Work in the American Comics Industry
Amadeo Gandolfo and Pablo Turnes
204
From the Post-revolutionary Mexico to the American Way of Life: Analyzing Los Superlocos by Gabriel Vargas
Laura Nallely Hernandez Nieto
229
Supa Strikas: Transnational Afropolitan Superheroes
Pfunzo Sidogi
242
Josy Ajiboye: The Reluctant Cartoonist and Social Commentaries in Postcolonial Nigeria
Ganiyu Akinloye Jimoh
255
Of Maus and Gen: Author Avatars in Nonfiction Comics
Moritz Fink
267
Political Cartoonists and Censorship in Sri Lanka
Annemari de Silva
297
Grendel's Mother in Fascist Italy: Beowulf in a Catholic Youth Publication
Susan Signe Morrison
331
"Games Are More Fun When There's No Real Point": Bizarre Sports in Comic Strips
Jeffrey O. Segrave and John A. Cosgrove
349
The Australian Political Cartoon - An Historiographical Overview
Richard Scully and Robert Phiddian
367
Reimaging South Africa's Colonial History: Jan van Riebeeck as a Vampire in the Rebirth Graphic Novel
Estelle A. Muller
384
Drawing (Dis)ability Panel by Panel: A Literature Review of (Dis)ability, Comics, and Graphic Narratives
Alexandra L. Berglund
401
Oracle of the Invisible: Rape in The Killing Joke
Christopher Maverick
418
The Clothes (Re)Maketh the Woman: Sartorial Empowerment in Contemporary Bolivian Comics
Marcela Murillo Lafuente
430
Curious His Entire Life: Remembering Tom Roberts
Charles Hatfield, Stephen R. Bissette, Brian Cremins, and Gene Kannenberg, Jr.
453
A Forgotten Link in the History of the Chinese Newspaper Political Cartoon: The Cartoon Album of The World of E-king Yen
Kin Wai Chu
470
Sobriety Blows: Whiskey, Trauma, and Coping in Netflix' "Jessica Jones"
Janis Breckenridge
489
The American Sense of Humor
M. Thomas Inge
505
Wrinkles, Furrows, and Laughter Lines: Paco Roca in Conversation at the Lakes International Comic Art Festival
Ryan Prout and Roberto Bartual
510
Visual and Verbal Representations in Mat Som: Lat and Multiculturalism
Thusha Rani Rajendra
524
Veiling and Unveiling in Marjane Satrapi's Persepolis
Julie Kaiser
538
The CRNI as an Antidote to the Perils of Cartooning: An Interview with Robert "Bro" Russell
John A. Lent
554
Ha-Flum and Other Sounds of Enjoyment: How Giongo and Gitaigo Shift from Entertainment
to Lived Experience in Insufficient Direction
Kay K. Clopton
563
"Will the Real Dr. Psycho Please Stand Up?" Finding the Origins of Wonder Woman's Golden Age Characters
Ruth McClelland-Nugent
575
Negotiating Documentation in Comics
Ofer Ashkenazi and Jakob Dittmar
587
Manga's Christian Other in Naoki Urasawa's 20th Century Boys and Suu Minazuki's Judas
Daniel D. Clark
598
The Next Generation of Comics Scholars
The Girl, the Man, and the Maus: Holocaust Narratives in Controversial Media
Lauren Elyse Chivington
615The Printed Word
John A. Lent
649
Book Reviews
Alisia G. Chase
653
Exhibition and Media Reviews
Edited by Michael Rhode
Nick Nguyen
Lim Cheng Tju
Canan Marasligil
656
Reminiscences [Mort Walker]
680

Monday, July 2, 2018

CFP Essays on the Punisher (expired)

A final expired call for the night. This is also on a much-needed topic. I wish them luck in finalizing the project.

Essays on the Punisher
https://call-for-papers.sas.upenn.edu/cfp/2017/11/06/essays-on-the-punisher

deadline for submissions:
January 31, 2018

full name / name of organization:
Texas Tech University

contact email:
rob.weiner@ttu.edu



The Punisher: Judge, Jury, and Executioner

Edited by Matthew McEinry, Alicia Goodman, Ryan Cassidy, and Robert G. Weiner


With Netflix’s The Punisher being released in November 2017, it is apparent that a character like the Punisher has a certain kind of widespread appeal. The Punisher was played with great acclaim in Netflix’s Daredevil Season 2 by Jon Bernthal. There were, however, three previous Punisher movies of varying quality dating back to 1989. None of the previous Punisher films did blockbuster business, although 2004’s The Punisher and The Punisher War Zone (2008) were successful on home video.

Created by Gerry Conway, John Romita, and Ross Andru (with help from Stan Lee) in 1974, The Punisher appeared at a time when the idea of vengeance was permeating our popular culture with films like Death Wish and the Dirty Harry series. The character first appeared in Amazing Spider-Man #129, but quickly grew to be a favorite among fans and eventually earned his own series, which continues to the present day. The Punisher is judge, jury, and executioner and is considered by many of the heroes in the Marvel Universe to be morally questionable if not outright villainous.

The editors of this volume seek original essays on the character of the Punisher in his various iterations in popular culture, including the Netflix series, films, video games, animated series, and, of course, the comics. We seek tight essays of around 3,000-4,500 that explain why the Punisher continues to be a popular character.


Possible topics include:
  • The Punisher in Vietnam
  • Why the three previous Punisher Films failed to garner blockbuster status, but did well on video?
  • What is the morality of the Punisher? Is the Punisher justified in his crusade against criminals?
  • Punisher fan films like Dirty Laundry and what do they tell us about the character?
  • Netflix’s version of the Punisher
  • The Punisher in kid-friendly shows like Super Hero Squad.
  • The modern Punisher in the comics
  • How has the character evolved over the years?
  • How did the different writers (Garth Ennis, Chuck Dixon, Steven Grant, Greg Rucka, Archie Goodwin, and Mike Baron) envision the character?
  • The Punisher in Marvel’s Civil War.
  • The Punisher’s relationship to the rest of the Marvel Universe and specific characters e.g., Daredevil, Spider-Man, Captain America, Wolverine, and Nick Fury.
  • Is the Punisher a villain or a hero?
  • The Punisher in the Ultimate Universe
  • The Punisher in video games
  • What is the Punisher’s relationship to police, the military, S.H.E.I.L.D., etc.?
  • Analysis of the Black Widow/Punisher animated film.
  • 1980s Punisher stories that avoided the Comics Code
  • What does the continued popularity of the character say about humanity?
  • The Punisher and feminism (female characters in the series)

These are only a few of the topics related to the Punisher. Please send a 200-300 word abstract to alicia.goodman@ttu.edu and matthew.mceniry@ttu.edu by January 31, 2018.


Please note: We plan to shop this volume around for peer review after it is completed. Acceptance of abstract does not necessarily [sic]