Abstract
The author highlights that the power of comics is that they allow both creators and readers to visualise the fracturing power of violence and oppression – at the level of the individual, domestic, communal, national and international – in powerful and creative ways. Comics do not stand outside of literature, cinema, or any of the other arts, but rather enliven the reciprocal relationship between the verbal and the visual language that informs all of these media. As such, the discussion demonstrates how fields such as graphic medicine, graphic justice, and comics journalism contribute to existing theoretical and analytics debates, including critical visual theory, trauma and memory studies, by offering a broad ranging, yet cohesive, analysis of cultural memory and its representation in print and digital comics.
| Original language | English |
|---|---|
| Place of Publication | London |
| Publisher | Routledge |
| Number of pages | 208 |
| Edition | 1 |
| ISBN (Electronic) | 9781315605418 |
| ISBN (Print) | 9781472481566 |
| DOIs | |
| Publication status | Published - 16 Apr 2019 |
Publication series
| Name | Memory Studies: Global Constellations |
|---|---|
| Publisher | Routledge |
Fingerprint
Keywords
- Memory
- Comics Studies
- Trauma
- Cultural memory
- Graphic Novel
Cite this
}
Representation and Memory in Graphic Novels. / Nabizadeh, Golnar (Lead / Corresponding author).
1 ed. London : Routledge, 2019. 208 p. (Memory Studies: Global Constellations).Research output: Book/Report › Book
TY - BOOK
T1 - Representation and Memory in Graphic Novels
AU - Nabizadeh, Golnar
PY - 2019/4/16
Y1 - 2019/4/16
N2 - This book analyses the relationship between comics and cultural memory. By focussing on a range of landmark comics from the twentieth and twenty-first centuries, the discussion draws attention to the ongoing role of visual culture in framing testimony, particularly in relation to underprivileged subjects such as migrants and refugees, individuals dealing with war and oppressive regimes and individuals living with particular health conditions. The discussion is influenced by literary and cultural debates on the intersections between ethics, testimony, trauma, and human rights, reflected in its three overarching questions: ‘How do comics usually complicate the production of cultural memory in local contents and global mediascapes?’, ‘How do comics engage with, and generate, new forms of testimonial address?’, and ‘How do the comics function as mnemonic structures?’The author highlights that the power of comics is that they allow both creators and readers to visualise the fracturing power of violence and oppression – at the level of the individual, domestic, communal, national and international – in powerful and creative ways. Comics do not stand outside of literature, cinema, or any of the other arts, but rather enliven the reciprocal relationship between the verbal and the visual language that informs all of these media. As such, the discussion demonstrates how fields such as graphic medicine, graphic justice, and comics journalism contribute to existing theoretical and analytics debates, including critical visual theory, trauma and memory studies, by offering a broad ranging, yet cohesive, analysis of cultural memory and its representation in print and digital comics.
AB - This book analyses the relationship between comics and cultural memory. By focussing on a range of landmark comics from the twentieth and twenty-first centuries, the discussion draws attention to the ongoing role of visual culture in framing testimony, particularly in relation to underprivileged subjects such as migrants and refugees, individuals dealing with war and oppressive regimes and individuals living with particular health conditions. The discussion is influenced by literary and cultural debates on the intersections between ethics, testimony, trauma, and human rights, reflected in its three overarching questions: ‘How do comics usually complicate the production of cultural memory in local contents and global mediascapes?’, ‘How do comics engage with, and generate, new forms of testimonial address?’, and ‘How do the comics function as mnemonic structures?’The author highlights that the power of comics is that they allow both creators and readers to visualise the fracturing power of violence and oppression – at the level of the individual, domestic, communal, national and international – in powerful and creative ways. Comics do not stand outside of literature, cinema, or any of the other arts, but rather enliven the reciprocal relationship between the verbal and the visual language that informs all of these media. As such, the discussion demonstrates how fields such as graphic medicine, graphic justice, and comics journalism contribute to existing theoretical and analytics debates, including critical visual theory, trauma and memory studies, by offering a broad ranging, yet cohesive, analysis of cultural memory and its representation in print and digital comics.
KW - Memory
KW - Comics Studies
KW - Trauma
KW - Cultural memory
KW - Graphic Novel
UR - http://www.scopus.com/inward/record.url?scp=85067128742&partnerID=8YFLogxK
U2 - 10.4324/9781315605418
DO - 10.4324/9781315605418
M3 - Book
SN - 9781472481566
T3 - Memory Studies: Global Constellations
BT - Representation and Memory in Graphic Novels
PB - Routledge
CY - London
ER -