Bücher der Reihe Palgrave Studies in Comics and Graphic Novels

This book is about the Phantom in Sweden, or, more correctly, about Sweden in the Phantom. Ultimately, Aman demonstrates how the Swedish Phantom embodies values and a political point of view that reflect how Sweden sees itself and its role in the world.

This book offers a theoretical framework and numerous cases studies - from early comic books to contemporary graphic novels - to understand the uses of genres in comics.

This book defines a straightforward way to analyse fictional characters through data. It shows how a data-led approach can produce rich analyses of characters, their surrounding storyworlds, and their authors across time and different types of media. It uses the Marvel Comics¿ character, Doctor Doom as its main case study, and demonstrates the advantages of this approach by comparing the results to those taken from a survey of fan attitudes. It also uses the methodology to analyse the differences between the American and British characters who share the name "Dennis The Menace". Finally, it offers a range of further uses for the tool. All datasets and tools are made available to download, so that other researchers can use the methodology and compare their own results to those generated in the book.

In France, comics are commonly referred to as the "ninth art". What does it mean to see comics as art? This book looks at the singular status of comics in the French cultural landscape. Bandes dessinées have long been published in French newspapers and magazines. In the early 1960s, a new standard format emerged: large hardback books, called albums. Albums played a key role in the emergence of the ninth art and its acceptance among other forms of literary narrative. From Barbarella in 1964 to La Ballade de la mer salée in 1975, from Astérix and its million copies to Tintin and its screen versions, within the space of just a few years the comics landscape underwent a deep transformation.The album opened up new ways of creating, distributing, and reading bandes dessinées. This shift upended the market, transformed readership, initiated new transmedia adaptations, generated critical discourse, and gave birth to new kinds of comics fandom. These transformations are analysed through a series of case studies, each focusing on a noteworthy album. By retracing the publishing and critical history of these classic bandes dessinées, this book questions the blind spots of a canon based on the album format and uncovers the legitimisation processes that turned bande dessinée into the ninth art.

This book foregrounds the figure of the perpetrator in a selection of British, American, and Canadian comics and explores questions related to remembrance, justice, and historical debt. Its primary focus is on works that deliberately estrange the figure of the perpetrator¿through fantasy, absurdism, formal ambiguity, or provocative rewriting¿and thus allow readers to engage anew with the history of genocide, mass murder, and sexual violence. This book is particularly interested in the ethical space such an engagement calls into being: in its ability to allow us to ponder the privilege many of us now enjoy, the gross historical injustices that have secured it, and the debt we owe to people long dead.

This book explores what the methodologies of Art History might offer Comics Studies, in terms of addressing overlooked aspects of aesthetics, form, materiality, perception and visual style.

Spanish Graphic Narratives examines the most recent thematic and critical developments in Spanish sequential art, with essays focusing on comics published in Spain since 2007.

This book explores some of the less frequently questioned ideas which underpin comics creation and criticism. If we consider comics to have mise en scene, should not we also ask if the characters in comics act like the characters on film and stage?

This book demonstrates that since the 1970s, British feminist cartoons and comics have played an important part in the Women's Movement in Britain.

This book explores the representation of fatherhood in contemporary North American autobiographical comics that depict paternal conduct from the post-war period up to the present.

Bringing together scholars as well as cultural actors, the contributions combine studies on European and North American comics and offer a representative overview of the main comics genres and forms, including superheroes, Westerns, newspaper comics, diary comics, comics reportage and alternative comics.

This monograph seeks to recover and assess the critically neglected comic strip work produced by the Irish painter Jack B.

Why are so many contemporary comics and graphic narratives written as memoirs or documentaries of traumatic events? The sixteen chapters and three comics included in Documenting Trauma in Comics set out to answer exactly these questions.

Spanish Graphic Narratives examines the most recent thematic and critical developments in Spanish sequential art, with essays focusing on comics published in Spain since 2007.

Women's Manga in Asia and Beyond offers a variety of perspectives on women's manga and the nature, scope, and significance of the relationship between women and comics/manga, both globally as well as locally.

This book investigates the intersection of Indian society, the encoding of post-millennial modernity and 'ways of seeing' through the medium of Indian graphic narratives.

This book offers an original new conception of visual story telling, proposing that drawing, depictive drawing and narrative drawing are produced in an encompassing dialogic system of embodied social behavior.

This book explores Alan Moore's career as a cartoonist, as shaped by his transdisciplinary practice as a poet, illustrator, musician and playwright as well as his involvement in the Northampton Arts Lab and the hippie counterculture in which it took place.

This book examines the concepts of Post/Humanism and Transhumanism as depicted in superhero comics. Recent decades have seen mainstream audiences embrace the comic book Superhuman. Meanwhile there has been increasing concern surrounding human enhancement technologies, with the techno-scientific movement of Transhumanism arguing that it is time humans took active control of their evolution. Utilising Deleuze and Guattari¿s notion of the rhizome as a non-hierarchical system of knowledge to conceptualize the superhero narrative in terms of its political, social and aesthetic relations to the history of human technological enhancement, this book draws upon a diverse range of texts to explore the way in which the posthuman has been represented in superhero comics, while simultaneously highlighting its shared historical development with Post/Humanist critical theory and the material techno-scientific practices of Transhumanism.

Can comics be documentary, and can documentary take the form of, and thus be, comics? Examining comics as documentary, this book challenges the persistent assumption that ties documentary to recording technologies, and instead engages an understanding of the category in terms of narrative, performativity and witnessing.

This anthology explores tensions between the individualistic artistic ideals and the collective industrial realities of contemporary cultural production with eighteen all-new chapters presenting pioneering empirical research on the complexities and controversies of comics work. Art Spiegelman.

Why are so many contemporary comics and graphic narratives written as memoirs or documentaries of traumatic events? The sixteen chapters and three comics included in Documenting Trauma in Comics set out to answer exactly these questions.

Bringing together scholars as well as cultural actors, the contributions combine studies on European and North American comics and offer a representative overview of the main comics genres and forms, including superheroes, Westerns, newspaper comics, diary comics, comics reportage and alternative comics.