| Vol.1, No.1 |
Spring/Summer 1999 |
218 pages / 18 articles |
x |
| Vol.1, No.2 |
Fall 1999 |
250 pages / 21 articles |
x |
| Vol.2, No.1 |
Spring 2000 |
213 pages / 19 articles |
x |
| Vol.2, No.2 |
Fall 2000 |
331 pages / 19 articles |
Portfolio: 1o pieces |
| Vol.3, No.1 |
Spring 2001 |
302 pages / 24 articles |
Portfolio: 14 pieces |
| Vol.3, No.2 |
Fall 2001 |
344 pages / 24 articles |
Portfolio: 7 pieces |
| Vol.4, No.1 |
Spring 2002 |
322 pages / 27 articles |
Portfolio: 12 pieces |
| Vol.4, No.2 |
Fall 2002 |
375 pages / 22 articles |
Portfolio: 12 pieces |
| Vol.5, No.1 |
Spring 2003 |
426 pages / 29 articles |
Portfolio: 13 piecesOleg Dergachov's Special: 8 pieces |
| Vol.5, No.2 |
Fall 2003 |
526 pages / 34 articles |
1 special Index/Portfolio: 11 pieces |
| Vol.6, No.1 |
Spring 2004 |
386 pages / 22 articles |
Portfolio: 10 pieces |
| Vol.6, No.2 |
Fall 2004 |
26 articles |
Portfolio: 11 pieces |
| Vol.7, No.1 |
Spring 2005 |
35 articles |
Portfolio: 16 pieces |
| Vol.7, No.2 |
Fall 2005 |
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| Vol.8, No.1 |
Spring 2006 |
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| Vol.8, No.2 |
Fall 2006 |
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| Vol.9, No.1 |
Spring 2007 |
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| Vol.9, No.2 |
Fall 2007 |
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| Vol.10, No.1 |
Spring 2008 |
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| Vol.10, No.2 |
Fall 2008 |
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| Vol.11, No.1 |
Spring 2009 |
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| Vol.11, No.2 |
Fall 2009 |
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| Vol. 1, No. 1, Spring/Summer 1999 |
| John A. Lent |
1-3 |
Editor's Note: Finally, an International Journal for Comic Art |
| Joseph Witek |
4-16 |
Comics Criticism in the United States; A Brief Historical Survey |
Matthew Lombard,
John A. Lent,
Linda Greenwood,
Asli Tunc |
17-32 |
A Framework for Studying Comic Art |
| Allen Ellis |
33-41 |
Comic Art in Scholarly Writing: A Citation Guide |
| Peter Duus |
42-56 |
The Marumaru Chinbun and the Origins of the Japanese Political Cartoon |
| Gene Kannenberg, Jr. |
57-75 |
Proving "Silas" an Artist: Winsor McCay's Formal Experiments in Comics and Animation |
| Mike Kidson |
76-89 |
William Hogarth: Printing Techniques and Comics |
| David A. Berona |
90-103 |
Breaking Taboos: Sexuality in the Work of Will Eisner and the Early Wordless Novels |
| Leif Packalen |
104-121 |
Comics in the Development of Africa |
| Bart Beaty |
122-139 |
Featuring Stories by the World's Greatest Authors: Classics Illustrated and the "Middlebrow Problem" in the Postwar Era |
| Pascal Lefevre |
140-149 |
Recovering Sensuality in Comic Theory |
| John A. Lent |
150-156 |
The Horrors of Cartooning in Slim's Algeria |
| David E. Goldweber |
157-170 |
Mr. Punch, Dangerous Savior |
| Waldomiro C. S. Vergueiro |
171-186 |
Children's Comics in Brazil: From Chiquinho to Monica, A Difficult Journey |
| Nadilson Manoel da Silva |
187-204 |
Brazilian Adult Comics: The Age of Market |
| Spiros Tsaousis |
205-218 |
Postmodern Spatiality and the Narrative Structure of Comics |
| Vol. 1, No. 1, Spring/Summer 1999 |
| John A. Lent |
1-3 |
Editor's Note: Finally, an International Journal for Comic Art |
| Joseph Witek |
4-16 |
Comics Criticism in the United States; A Brief Historical Survey |
| Matthew Lombard,John A. Lent,Linda Greenwood, Asli Tunc |
17-32 |
A Framework for Studying Comic Art |
| Allen Ellis |
33-41 |
Comic Art in Scholarly Writing: A Citation Guide |
| Peter Duus |
42-56 |
The Marumaru Chinbun and the Origins of the Japanese Political Cartoon |
| Gene Kannenberg, Jr. |
57-75 |
Proving "Silas" an Artist: Winsor McCay's Formal Experiments in Comics and Animation |
| Mike Kidson |
76-89 |
William Hogarth: Printing Techniques and Comics |
| David A. Berona |
90-103 |
Breaking Taboos: Sexuality in the Work of Will Eisner and the Early Wordless Novels |
| Leif Packalen |
104-121 |
Comics in the Development of Africa |
| Bart Beaty |
122-139 |
Featuring Stories by the World's Greatest Authors: Classics Illustrated and the "Middlebrow Problem" in the Postwar Era |
| Pascal Lefevre |
140-149 |
Recovering Sensuality in Comic Theory |
| John A. Lent |
150-156 |
The Horrors of Cartooning in Slim's Algeria |
| David E. Goldweber |
157-170 |
Mr. Punch, Dangerous Savior |
| Waldomiro C. S. Vergueiro |
171-186 |
Children's Comics in Brazil: From Chiquinho to Monica, A Difficult Journey |
| Nadilson Manoel da Silva |
187-204 |
Brazilian Adult Comics: The Age of Market |
| Spiros Tsaousis |
205-218 |
Postmodern Spatiality and the Narrative Structure of Comics |
| Vol. 2, No. 1, Spring 2000 |
| John A. Lent |
1-2 |
Editor's Note |
| Leonard Rifas |
3-32 |
Cold War Comics |
| Annette Matton |
33-43 |
Reader Responses to Doug Murray's The 'Nam |
| Wai-ming Ng |
44-56 |
A Comparative Study of Japanese Comics in Southeast Asia and East Asia |
| Andrew Matzner |
57-75 |
Not a Pretty Picture: Images of Married Life in Thai Comic Books |
| Old Frahm |
76-84 |
Weird Signs: Aesthetics of Comics as a Parody |
| Maurice Horn |
85-89 |
American Comic Strips And Silent Seriable: A Prarallel |
| Zdravko Zupan |
90-101 |
The Golden Age of Serbian Comics Belgrade Comic Art 1935-1941 |
| John A. Lent |
102-108 |
East European Cartooning: Differences over Time and Space |
| Oleg Dergatchov |
109-116 |
Leonid Tishkov's Dabloids: Russian Myth in Comics |
| Michael Hill |
117-132 |
Outside Influence / Local Color: The Australian Small Press |
| Anne N. Thalheimer |
133-143 |
Terrorists, Bitches, and Dykes: Late 20th Century Lesbian Comix |
| Barbara Jo Lewis |
144-158 |
Cyborg Might: Conceptions of Power in Comic Book Art |
| Libbie McQuillan |
159-177 |
Between the Sheets at Pilote: 1968-1973 |
| Caridad Blanco |
178-189 |
Always the Other One: Salomon |
| Ana Merino |
190-197 |
Inodoro Pereyra, A "Gaucho" in the Pampa of Paper and Ink: Folkloric and Literary Intertextuality and Its Reformulations in Argentinean Comics |
| Oyin Medubi |
198-206 |
Leadership Stereotypes and Lexical Choices: An Example of Nigerian Cartoons |
| John A. Lent |
207-208 |
The Printed Word |
| Mike KidsonMichael G. Rhode |
209-213 |
Reviews |
| Vol. 2, No. 2, Fall 2000 |
| David R. Spencer |
1-32 |
Double Vision: The Victorian Bi-cultural World of Henri Julien |
| Wendy Siuyi WongLisa M. Cuklanz |
33-53 |
The Emerging Image of the Modern Woman in Hong Kong Comics of the 1960s &1970s |
| Francis Nyamnjoh |
54-76 |
Zapiro and South African Political Cartooning |
| Jordan J. Titus |
77-99 |
Gnashing of Teeth: The Vagina Dentata Motif in "Bad Girl" Comics |
| Chris York |
100-110 |
All in the Family: Homophobia and Batman Comics in the 1950s |
| Thierry Groensteen |
111-120 |
Gustave Dore's Comics |
| Kalman Rubovszky |
121-134 |
The Hungarian Comic Strip at the Turn of the Millennium |
| Mel Gibson |
135-151 |
Reading as Rebellion: The Case of the Girls' Comic in Britain |
| Ruth Boyask |
152-163 |
Reading Community in Funtime Comics: A New Zealand Narrative |
| Waldomiro C. S. Vergueiro |
164-177 |
Brazilian Superheroes in Search of Their Own Identities |
| Jeff Williams |
178-190 |
The Evolving Novel: the Comic-Book Medium as the Next Stage |
| Paul P. Somers, Jr. |
191-205 |
Krauts Hinaus: Graphic Stereotypes of German-Americans Before and During World War I |
| Eric Weitzel |
206-232 |
Of Pop Culture Pleasures and Radical Aesthetics: The Influence of Popular Comic Strips on Picasso's Political Art |
| Jongmin ParkSung Wook Shim |
233-247 |
The Presidential Candidates in Political Cartoons: A Reflection of Cultural Differencs between the United States and Korea |
| Michael L. MaynardEdward Lordan |
248-264 |
Laughing at the Glass Ceiling in The Wall Street Journal Cartoons |
| Michael RhodeTom FurtwanglerDavid Wybenga |
265-306 |
Stories Without Words: A Bibliography with Annotations |
| John A. Lent |
307-309 |
The Printed Word |
|
310-321 |
Reviews |
| Gene Kannenberg, Jr. |
322-324 |
Critical Closure |
|
325-331 |
Portfolio |
| Vol. 3, No. 1, Spring 2001 |
| John A. Lent |
1-2 |
Editor's Note |
| John A. Lent |
3-8 |
Comic Art: Some Global Issues |
| Joost Pollman |
9-21 |
Shaping Sounds in Comics |
| Jeremy Allen |
22-37 |
A Virtual Revolution: Australian Comic Creators and the Web |
| Tim Blackmore |
38-58 |
What a Picnic!: Swamp Ecology in Walt Kelly's Pogo |
| Lim Cheng Tju |
59-76 |
"Sister Art" - A Short History of Chinese Cartoons and Woodcuts in Singapore |
| David E. Goldweber |
77-85 |
The Function of Dreams and Stories in The Sandman |
| Pierre L. Horn |
86-92 |
American Graffiti - French Style: Three Comic Strip Artists Look at Pre-War America |
| Mark C. Rogers |
93-108 |
Ideology in Four Colours: British Cultural Studies Do Comics |
| Jean-Marie Bertin |
109-119 |
Thoughts and Views on Raymond Peynet, French Artist and Universal Poet |
| Sheng-mei Ma |
120-148 |
The Nine Lives of Blackhawk's Oriental: Chop Chop, Wu Cheng, and Weng Chan |
| Sue RalphBeth HallerTim Lees |
149-169 |
"Off Me Head": Cartoons from English Newspapers Concerning the Glenn Hoddle Affair |
| Peter Nieuwendijk |
170-190 |
Several Ways of Making a Cartoon (with 26 Examples) |
| Andy Mason |
191-197 |
Africa Ink: Cartoonists Working Group, Towards an Association of African Cartoonists: Report of an International Workshop on Cartoon Journalism and Democratisation in Southern Africa |
| John A. Lent |
198-202 |
How To Withstand War, the Rastko Ciric Way |
| Chris Gage |
203-209 |
Can You Dig It? The World of Fast Willie Jackson |
| William Foster, III |
210-216 |
Interview with Bertram Fitzgerald: The Life and Times of Fast Willie Jackson (1976-1977) |
| M. Thomas Inge |
217-250 |
Comic Strips: A Bibliographic Essay |
| Lucy Shelton Caswell |
251-262 |
Resources for Scholars at The Ohio State University Cartoon Research Library |
| Michael Rhode Ray Bottorff, Jr. |
263-274 |
The Grand Comics Database (GCD): An Evolving Research Tool |
| John A. Lent |
275-277 |
The Printed Word |
| Peter CooganMichael Rhode |
278-282 |
Book Reviews |
| Michael Rhode |
283-288 |
Exhibition Reviews |
| Gene Kannenberg, Jr. |
289-291 |
Critical Closure |
|
292-302 |
Portfolio |
| Vol. 3, No. 2, Fall 2001 |
| [Latin American Comic Art: A Symposim] |
| John A. Lent |
1-22 |
An Historical and Contemporary Overview |
| Andres Accorsi |
23-43 |
Argentine Comics |
| Jeff Williams |
44-55 |
Argentine Comics Today: A Foreigner's Perspective |
| Ana Merino |
56-69 |
Oesterheld, the Literary Voice of Argentine Comics |
| Waldomiro C. S. Vergueiro |
70-78 |
Brazilian Pornographic Comics: A View on the Eroticism of a Latin American Culture in the Work of Artist Carlos Zefiro |
| Perucho Mejia G. |
79-82 |
Comic Art in Colombia: a Short Historical Journey |
| Dario Mogno |
83-105 |
Parallel Lives: Comics and Animated Cartoons in Cuba From Beginning to Present |
| Caridad Blanco de la Cruz |
106-115 |
Ares: An Undomesticated Humorist |
| Daniel Puch |
116-126 |
Cartooning in Uruguay: Not Yet the White Flag |
| Gisel Gil-Egui |
127-137 |
Venezuela's Alonso and the Art of leaving It All to Art |
|
|
|
| Beatrice Marechal |
138-150 |
"The Singular Stories of the Terashima Neighborhood": A Japanese Autobiographical Comic |
| Fusami Ogi |
151-161 |
Beyond Shoujo, Blending Gender:Subverting the Homogendered World in Shoujo Manga (Japanese Comics for Girls) |
| Nhu-Hoa Nguyen |
162-174 |
The Rhetoric of Parody in Claire Bretecher's Le Destin de Monique |
| Philippe Sohet |
175-188 |
Figures and Representation of the Fantastic in Andreas's Work |
| Kerry Soper |
189-201 |
Gentrifying the Alternatives or Alternifying the Mainstream? Consolidation, Incorporation, and the State of Comic Strip Satire in Alternative Weeklies, 1985-2000 |
| Bart Beaty |
202-221 |
Fredric Wertham Faces His Critics: Contextualizing the Postwar Comics Debate |
| Patricia Watson ShariffHilary Janks |
222-238 |
Changing Stories: The Making and Analysis of a Critical Literacy Romance Comic |
| Mel Gibson |
239-249 |
"Wham! Bam! The X-Men Are Here":The British Broadsheet Press and the X-Men Film and Comic |
| Mark David Nevins |
250-294 |
"New Voices in Comics III" (ICAF 2000) |
| M. Thomas Inge |
295-328 |
Comic Books, A Bibliographic Essay |
| John A. Lent |
329-331 |
The Printed Word |
| David Berona |
332-334 |
Book Review |
| Michael Rhode |
335 |
Exhibition Review |
| Gene Kannenberg, Jr. |
336-337 |
Critical Closure |
|
338-343 |
Portfolio |
| Vol. 4, No. 1, Spring 2002 |
| John A. Lent |
1-4 |
Editor's Note |
| [There at the Beginning: Early Days of Comics Scholarship] |
| John A. Lent |
5 |
Introduction |
| Maurice Horn |
6-22 |
How It All Began, or Present at the Creation |
| Alvaro de Moya |
23-25 |
Pioneering in Brazilian Quadrinhos, as a Cartoonist and Researcher |
| Giulio C. Cuccolini |
26-39 |
In Search of Lost Time or Time Regained |
| Arthur Asa Berger |
40-47 |
Is This the Kind of Thing That Serious Academics Do? |
| Wolfgang J. Fuchs |
48-59 |
The Story of an "Anatomy" That Gave Recognition to Comics as a Mass Medium |
| Will Eisner |
60-63 |
Comics and Electronics |
| Martin Barker |
64-77 |
Kicked into the Gutters: or, "My Dad Doesn't Read Comics, He Studies Them." |
| Trina Robbins |
78-83 |
How I Became a Herstorian |
| John A. Lent |
84-96 |
Almost Left at the Gate: An Arrhythmic Career in Comics Scholarship |
|
|
|
| David Ehrlich |
97-133 |
Growing up with Dinosaurs: An Interview with Steve Bissette |
| Randy Duncan |
134-142 |
The Weaver's Art: An Examination of Comic Book "Writing" |
| Jeffrey A. Miller |
143-150 |
Comics Narrative as Striptease |
| Trina Robbins |
151-162 |
No Man Is My Master: American Romance Comics of the 1970s and the Women's Liberation Movement |
| K. A. Laity |
163-169 |
Construction of a "Female Hero": Iconography in Les aventures extraordinaires d'Adele Blanc-Sed |
| John A. Lent |
170-204 |
New Zealand -- Exporter of Mainstream Cartoonists, Haven for Alternative Comics |
| Fabrice Leroy |
205-217 |
Absent-Mindness, Mustaches, and the Cold War: The Image of Science in Herge's Professor Calculus and Franquin's Count of Champignac |
| Oleg Dergachov |
218-227 |
Rosta Windows: As a Phenomenon of Russian Revolutionary Comic Strips |
| Stanford W. Carpenter |
228-238 |
Alex Simmons and the African-American Soldier of Fortune Known as Blackjack: A Case Study in Independent Comic Book Publishing |
| Brian Cremins |
239-247 |
"Why have you allowed me to see you without your mask?": Captain America #133 and the Great American (Protest) Novel |
| Nadilson Manoel da Silva |
248-268 |
Viz Comic: Carnival and Commercialization |
| A. David Lewis |
269-300 |
Kingdom Code |
| John A. Lent |
301-304 |
The Printed Word |
| David BeronaRocco Versaci |
305-309 |
Book Reviews |
| Micheal Rhode |
310 |
Exhibition Reviews |
| Gene Kannenberg, Jr. |
311-312 |
Critical Closure |
|
313-322 |
Portfolio |
| Vol. 4, No. 2, Fall 2002 |
| Mark David Nevins |
1-52 |
"Drawing from Life": An Interview with Joe Sacco |
| Micheline Maupoint |
53-69 |
Plantu: The Editorial in Caricatures: An Analysis of the Role and the Impact of Plantu's Political Cartoons in the French Daily Newspaper, Le Monde |
| Hector D. Fernandez L'Hoeste |
70-83 |
Resurrecting the Nation Through the Eyes of a Native: The Case of Turey el Taino |
| John A. Lent |
84-123 |
Fear [of] and Loafing [with] Ralph Steadman in Turkey |
| Natsu Onoda |
124-138 |
Drag Prince in Spotlight: Theatrical Cross-Dressing in Osamu Tezuka's Early Shojo Manga |
| Rik Sanders |
139-156 |
The Changing of Dutch Comics: Some Pluses and Minuses |
| Waldomiro VergueiroLucimar Ribeiro Mutarelli |
157-167 |
Forging a Sustainable Comics Industry: A Case Study on Graphic Novels as a Viable Format for Developing Countries, Based on the Work of a Brazilian Artist |
| William H. Foster III |
168-185 |
The Image of Blacks (African Americans) in Underground Comix: New Liberal Agenda or Same Racist Stereotypes? |
| Christopher Murray |
186-208 |
Superman vs Imago: Superheroes, Lacan, and Mediated Identity |
| Reiko Tomii |
209-223 |
Akasegawa Genpei's The Sakura Illustrated: When the Good Old Man Makes a Dead Tree Flower and the Bad Old Man Throws a Fire Bomb |
| Maurice Horn |
224-228 |
The Lady, or the Dragon? |
| Richard Ostrom |
229-240 |
Bali's Transition from a Traditional to a Modern Society: Some Op-Art Warnings about the Trade-offs |
| Michael L. Maynard |
241-260 |
Friendly Fantasies in Japanese Advertising: Persuading Japanese Teens through Cartoonish Art |
| A. David Lewis |
261-275 |
The Secret, Untold Relationship of Biblical Midrash and Comic Book Retcon |
| Jae-Woong Kwon |
276-286 |
Korean Cartoonists' Reactions to Bush's "Axis of Evil" |
| John A. Lent |
287-291 |
Larry Alcala and the Depiction of Filipinos As They Are |
| Wendy Kail |
292-314 |
Clifford K. Berryman: Drawing The Line |
| Hong-Chi Shiau |
315-326 |
American Imported Animation in Taiwan: A Case Study of South Park |
| John A. Lent |
327-329 |
The Printed Word |
| Marc Singer Charles Hatfield Rocco Versaci Mark Rogers Jeff Williams Michael Rhode A. David Lewis |
330-352 |
Book Reviews |
| Michael Rhode |
353-354 |
Exhibition Review |
| Gene Kannenberg, Jr. Michael Rhode |
355-358 |
Critical Closure |
|
359-368 |
Portfolio |
| Vol. 5, No. 1, Spring 2003 |
| John A. Lent |
1-2 |
Editor's Note |
| [Pioneers of Comic Art Scholarship Series] |
| David Kunzle |
3-7 |
Kunzle and the Comic Strip |
| Sture Hegerfors |
8-20 |
Sture Hegerfors and Swedish Comics Scholarship |
| M. Thomas Inge |
21-30 |
Portrait of the Professor as a Failed Cartoonist |
| Ana Merino |
31-73 |
Gary Groth and Kim Thompson: Interviews with the Heart of the Alternative Comics Industry |
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| Fredrik Stromberg |
74-94 |
Swedish Comics and Comics in Sweden |
| Jigal Beez |
95-114 |
They Are Crazy These Swahili: Komredi Kipepe in the Footsteps of Asterix; Globalization in East African Comics |
| Nhu-Hoa NguyenPhilippe Sohet |
115-133 |
Social Criticism in a Singular Mode of Expression: The Art of New Realist Cartoonist Chantal Montellier |
| Allen DouglasFedwa Malti-Douglas |
134-146 |
Tardi and Daeninckx: Comic Strips, Detective Novels, and World War I |
| Deborah Shamoon |
147-160 |
Focalization and Narrative Voice in the Novels and Comics of Uchida Shungiku |
| Natsu Onoda |
161-194 |
Tezuka Osamu and the Star System |
| Brad Prager |
195-213 |
Modernism in the Contemporary Graphic Novel: Chris Ware and the Age of Mechanical Reproduction |
| M. Thomas Inge |
214-219 |
William Faulkner and the Graphic Novel |
| Hector D. Fernandez L'Hoeste |
220-230 |
The Mystery of Kaliman, el Hombre Increible: Race and Identity in Mexican Comics |
| Richard Ostrom |
231-243 |
The changed Function of Political Cartoonists in Indonesia: From Challenging a Repressive Regime to Promoting Democratic Reforms |
| Kenneth D. Nordin |
244-255 |
The Editorial Comic Art of Clay Bennett |
| John A. Lent |
256-289 |
Cartooning in malaysia and Singapore: The Same, but Different |
| Ron Provencher |
290-291 |
Remembering "The Chief," Rejab Had: Cartoonist, Story Teller, Teacher, and Philosopher |
| Muliyadi Mahamood |
292-304 |
An Overview of malaysian Contemporary Cartoons |
| Mel Gibson |
305-324 |
"You Can't Read Them, They're for Boys!" British Girls, American Superhero Comics and Identity |
| Chetan Desai |
325-333 |
The Krishna Conspiracy |
| Craig Fischer |
334-354 |
Fantastic Fascism? Jack Kirby, Nazi Aesthetics, and Klaus Theweleit's Male Fantasies |
| Live Action Cartoonists |
355-365 |
Have Markers, Will Travel: Live-Action Cartoonists in the Age of Multimedia Performances and Online Comics |
| Martha H. Kennedy |
366-373 |
Early Creative Responses to 9-11 by Comic Artists: Panelists Share Personal Experiences |
| John A. Lent |
374-376 |
The Printed Word |
| David Kunzle |
377-384 |
Review Essay |
| David Kunzle Leonard Rifas Marc Singer |
385-393 |
Book Reviews |
| Bart Beaty Maurice Horn Jennifer Wood Michael Hill Michael Rhode |
394-405 |
Exhibition / Festival Reviews and Report |
| Gene Kannenberg, Jr. |
406-407 |
Critical Closure |
|
408-426 |
Portfolio |
| Vol. 5, No. 2, Fall 2003 |
| John A. Lent |
i |
Editor's Note |
| [Spanish Comics: A Symposim] |
| Ana Merino |
3-4 |
Introduction |
| Viviane Alary |
5-27 |
Briefness in Spanish Comics: A Few Landmarks |
| Manuel Barrero |
28-49 |
The Evolution of Children's Comics in Spain |
| Jesus Jimenez Varea |
50-65 |
You Can Never Win: An Analysis of Comic Strips by the Spanish Cartoonist Penarroya |
| Anne Magnussen |
66-84 |
Spanish Comics and Family |
| Pedro Perez del Solar |
85-101 |
Old Fashions for New Times: El Desencanto in Spanish Comics |
| Juan Garcia Cerrada |
102-109 |
The Graphic Humor Program of the General Foundation of the University of Alcala |
| Miguel Alejo |
110-118 |
Chumy Chumez: The Work of Jose Maria Gonzalez Castrillo |
| Ernesto J. and Gabriel E. Abad |
119-137 |
Cels Pinol: The Comics Fan and The Author |
| Alvaro Pons |
138-153 |
Between Avant-garde and Commerciality: The Dichotomy of New Alternative Publishing Companies in Spain |
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| Kenneth D. Nordin |
154-167 |
Cartoonist Dick Locher in Retrospect: His Life and Work |
| Bart Beaty |
168-183 |
The Contemporary Field of European Comics: The Example of Lewis Trondheim |
| Wai-ming Ng |
184-193 |
Japanese Elements in Hong Kong Comics: History, Art, and Industry |
| Muliyadi Mahamood |
194-204 |
Japanese Style in Malaysian Comics and Cartoons |
| [Pioneers of Comic Art Scholarship Series] |
| Bill Blackbeard |
205-215 |
The Four Color Paper Trail: A Look Back |
| Fusami Ogi |
216-232 |
Shimizu Isao: A Pioneer in Japanese Comics (Manga) Scholarship |
| Sol M. Davidson |
233-240 |
Culture &the Comic Strips |
| Donald Ault |
241-260 |
In the Trenches, Taking the Heat: Confessions of a Comics Professor |
|
|
|
| Benjamin F. Towle |
261-280 |
An Examination of Historiography in the Comics Medium |
| Joseph Witek |
281-295 |
Long Form/Short Form: Narrative Strategies of Some 9/11 Comics |
| A. David Lewis |
296-311 |
One for the Ages: Barbara Gordon and the (Il-)Logic of Comic Book Age-Dating |
| Tomas Prokupek |
312-338 |
Czech Comics |
| Brian Cremins |
339-350 |
"I Asked for Water (She Gave Me Gasoline)": Tim Truman's Scout and Social Satire in the Independent Comics of the 1980s |
| John A. Lent and Xu Ying |
351-366 |
Chinese Women Cartoonists: Historical and Contemporary Perspectives |
| Christopher Murray,Joyce A. Walker, andDouglas Webster |
367-391 |
My Mouth Is Quiet, but My Mind Is Noisy: The Work of John Watson |
| Jason Tondro |
392-424 |
Angel Passage: An Edition Lyris by Alan Moore |
| Kinko Ito |
425-436 |
Japanese Ladies' Comics as Agents of Socialization: The Lessons They Teach |
| John A. Lent |
437-440 |
The Printed Word |
| David Kunzle |
441-449 |
Review Essay |
| David Berona |
450-452 |
Book Review |
| Mark David Nevins,Christian Hill,Susannah Mandel,Marc SingerMartha H. Kennedy |
453-467 |
Exhibitions Reviews |
| Gene Kannenberg, Jr. |
468-469 |
Critical Closure |
| John A. Lent |
470-483 |
Tootin' Our Own Horn |
| Jae-Woong Kwon, John A. Lent |
484-519 |
International Journal of Comic Art Index, Volumes 1-5 (1999-2003) |
|
520-526 |
Portfolio |
| Vol. 6, No. 1, Spring 2004 |
| Christian Hill |
1-17 |
Narrative Aesthetics of Time and Space in the Comics Series, Broussaille, by Frank and Bom |
| Clare Tufts |
18-36 |
Vincent Krassousky - Nazi Collaborator or Naive Cartoonist? |
| Adam Cathcart |
37-55 |
Cruel Resurrection: Chinese Comics and the Korean War |
| John A. Lent |
56-76 |
India's Amar Chitra Katha: "Fictionalized" History or the Real Story? |
| Jigal Beez |
77-95 |
Katuni Za Miujuza: Fantastic Comics from East Africa |
| Levi Obonyo |
96-116 |
Cartoonists in Kenya: Past, Present, and Future |
| Bert Hansen |
117-147 |
True-Adventure Comic Books and American Popular Culture in the 1940s: An Annotated Research Bibliography of the Medical Heroes |
| Hector D. Fernandez L'Hoeste |
148-162 |
Vladdo, Aleida, and the Politics of Gender in War-Torn Colombia |
| Jeffrey F. Taffet |
163-190 |
Selling the Alliance: US Propaganda vs. Chilean Editorial Cartons during the 1960s |
| David R. Spencer |
191-220 |
The Trojan Horse: Free Trade, the Americans, and Canadian Political Cartoonists, 1849-1879 |
| Marco Tulio Vilela / Waldomiro Vergueiro |
221-235 |
The Brazilian X-Men: How Brazilian Artists Have Created Stories That Stan Lee Does Not Know About |
| Marc Singer |
236-249 |
Unwrapping The Birth Caul: Word, Performance, and Image in the Comics Text |
| Masao Yokota |
250-265 |
Satoshi Kon's Transition from Comics to Animation |
| Jeffrey Miller |
266-280 |
A Response to Kobayashi Yoshinori's On Taiwan |
| Sueen Noh |
281-298 |
The Gendered Comics Market in Korea: An Overview of Korean Girls' Comics, Soonjung Manhwa |
| David A. Berona |
299-315 |
Pumping Iron: Male Stereotypes in Delisle's Albert et les Autres |
| Kent Worcester (Transcribed) |
316-328 |
Words and Pictures in the Classroom: A Symposium |
| Daiwon Hyun |
329-339 |
Promoting the Digital Content Industry in Korea, Focusing on Exporting Animation |
| John A. Lent |
340-343 |
The Printed Word |
| Craig Fisher / Mark C. Rogers / Charles Hatfield / Michael Rhode |
344-357 |
Book Reviews |
| David A. Berona / Ron Stewart / Michael Rhode / Trina Robbins / Michel Kempeneers |
358-367 |
Exhibition Reviews |
| Gene Kannenberg, Jr |
368-372 |
Critical Closure |
|
373-379 |
Portfolio |
| Vol. 6, No. 2, Fall 2004 |
| Patch Adams, MD |
1-29 |
My Life as a Cartoon Character |
| Fabio Gadducci |
30-77 |
Notes on the Early Decades of Italian Comic Art |
| Maurice Horn |
78-89 |
Guido Crepax: A Memorial Tribute |
| Harlen Makemson |
90-117 |
Private Vice and Public Virture: Political Cartoons as "Opprobrious Discourse" Against Grover Cleveland During the 1884 Presidential Campaign |
| Karon Reinboth Speckman |
118-137 |
The Bush-Blair Duo Before 2003 Iraqi War: Cartoons from London Newspapers |
| Leonard Rifas |
138-171 |
Globalizing Comic Books from Below: How Manga Came to America |
| Matthias Schneider(trans. Annette Gentz) |
172-181 |
Der Fuehrer's Animation -- Animation and Propaganda in the German Reich |
| Kathrin Bower |
182-194 |
Holocaust Avengers: From "The Master Race" to Magneto |
| Pascal Lefevre |
195-204 |
The Cold War and Belgian Comics (1945-1991) |
| Joel E. Vessels |
205-221 |
What Your Children Are Reading |
| Fabrice Leroy / Livio Belloi |
222-237 |
The Cartoonist as Iconoclast: Flaubertian Irony and Media Parody in Pierre La Police's Comics |
| Dominique Le Duc |
238-253 |
XX1st Century Graphic Novels: A Voyage with Edmond Baudoin |
| Marc Weidenbaum |
254-265 |
The Maestro of Belleville: Benoit Charest |
| Barbara Postema |
266-272 |
Memories That Don't Weaken: Seth and Walter Benjamin |
| David Ehrlich |
273-284 |
An Interview with Dan Mitsui, Dartmouth College's Graphic Novelist |
| Edward Portnoy |
285-303 |
Follow My Nose: Self-Caricature in Cartoons of the Yiddish Press |
| Jose Alaniz |
304-324 |
Supercrip: Disability and the Marvel Silver Age Superhero |
| Tim Blackmore |
325-349 |
300 AND TWO: Frank Miller and Daniel Ford Interpret Herodotus's Thermopylae Myth |
| Stephen Rauch |
350-363 |
"We Have All Been Sentenced": Language as Means of Control in Grant Morrison's Invisibles |
| James Bucky Carter |
364-375 |
"There'll Be Others Converging": Fighting American, The Other, and "Governing" Bodies |
| Masao Yokota |
376-391 |
A Master Animator: Yasuji Mori's Works for Children |
| Kinko Ito |
392-403 |
Growing Up Japanese Reading Manga |
| Vivian Zenari |
404-414 |
Sluts for a Story: Narrative and Comics in Patricia Seaman's New Motor Queen City |
| Lim Cheng Tju |
415-430 |
Chop Suey -- Cartoons about the Japanese Occupation and National Education in Singapore |
| Carmen Moran |
431-444 |
Allies Cartoon Humor in World War II: A Comparison of "Willie and Joe" and "Bluey and Curley" |
| Mark T. Rusch |
445-455 |
The Deranged Episode: Ironic Dissimulation in the Domestic Scenes of Edward Gorey's Short Stories |
| John A. Lent |
456-457 |
The Printed Word |
| A. David Lewis / Ana Merino |
458-463 |
Book Reviews |
| Ivy Garlitz / Roger Sabin / Michael Rhode / Stephen Rauch |
464-471 |
Exhibition Reviews |
| Gene Kannenberg, Jr. |
472-476 |
Critical Closure |
|
477-483 |
Portfolio |
| Vol. 7, No. 1, Spring 2005 |
| John A. Lent |
1 |
Will Eisner (1917-2005), a Friend of Comics Scholarship |
| [Late/Post-Soviet Russian Komiks: A Symposium]edited by Jose Alaniz |
| Jose Alaniz |
5-21 |
Introduction or, Why I Call Them Komiks |
| Vitor Erofeyev (Jose Alaniz) |
22-38 |
Comics and the Comics Disease |
| Denis Chekalov (Jose Alaniz) |
39-55 |
Comics: The World, If You Blink Slowly |
| Oleg Semenyuk (Jose Alaniz) |
56-63 |
Comics Art in the USSR: A Short Overview (1917-1985) |
| Philippe Morin |
64-66 |
Komiks and Russian Youth Culture |
| Ivan Mitrevski |
67-74 |
Russian Komiks and the Internet "Underground" |
| (Seth Graham) |
75-94 |
Comics in Education: Are They Useful? A Roundtable prepared by Svetlana Masimova |
|
95-102 |
Interview: Andrei Snegirov |
|
103-109 |
Interview: The Tema Studio |
| Jose Alaniz |
110-125 |
The "Quintessentially Russian" Komiks of Zhora Litichevsky |
| Margo Bistis |
126-148 |
Bad Art: The Decline of Academic Art in the Caricatural Salon |
| Brandon W. Bollom &Shawn N. Mckinney |
149-179 |
Alphonse Marie Mucha: Posters, Panels...and Comics Books? |
| Eric A. Holmes |
180-187 |
Horror, Crime, and Red Dupes: The Agitative Rhetoric of Entertaining Comics |
| Monica Fontana |
188-205 |
From a Figure on the Left to a Caricature of the Right: Changes in the Public Image of Lula |
| Hector D. Fernandez L'Hoeste |
206-229 |
Flopi Bach: A Benevolent Misogyny? |
| Richard De Angelis |
230-249 |
Of Mice and Vermin: Animals as Absent Referent in Art Spiegelman's Maus |
| Lyombe Eko |
250-269 |
Beasts of No Nation: African Satirical Press "Re-Presentations" of Political Leaders in the Post-Cold War Era |
| Matthew T. Jones |
270-286 |
Reflexivity in Comic Art |
| Rob Lendrum |
287-303 |
Queering Super-Manhood: Superhero Masculinity, Camp and Public Relations as a Textual Framework |
| Hector D. Fernandez L'Hoeste |
304-316 |
How To Face Neoliberalism and Make It as a Mexican Cartoonist: Oscar Gonzalez Loyo and the ka-Boom! Experience |
| [Asian Animation, Online Cartooning, and Gaming: A Symposium] edited by John A. Lent |
| John A. Lent |
319 |
Introduction |
| Jae-Woong Kwon |
320-350 |
New Type of Popular Culture in the Internet Age: An Analysis of the Korean Essay Cartoon |
| Seungmin Song |
351-259 |
Korean Independent Animation: Its Origin and Meaning |
| Jia Jia |
360-388 |
Female Subject Animated: A Case Study of Digital Online Animation in Contemporary China |
| Hu Tze Yue |
389-403 |
Japanese Independent Animation: Fuyu no hi and its Exclusivity |
| Qi Wang |
404-421 |
Troubled Identities at Borderland -- Fantasy about the Past and the Future in Anime |
| Juhanita Jiman |
422-431 |
Malaysian Animation Industry: The History, Development, and Collective Efforts To Set Up a Global and Recognizable Animation Standard |
| Anthony Fung |
432-448 |
Hong Kong as the Asian and Chinese Distributor of Pokemon |
| Wan-Wen Day |
449-461 |
Being Part of Digital Hollywood: Taiwan's Online Gaming &3D Animation Industry Under the New International Division of Cultural Labor |
| John A. Lent |
462-472 |
Cartooning in Reunion, with Special Reference to the Work of Serge and Appollo |
| Anita K. McDaniel |
473-484 |
Dave Sim on Guys |
| Francisco Tadeo Juan (Dere Petrey) |
485-503 |
The Valencia School: Pioneer of Spanish Comic Strips |
| Myra Partridge |
504-512 |
Webtoonists: Making a Living Online |
| Sol M. Davidson |
513-529 |
Games People Play in the Comic Strips |
| Annalisa Di Liddo |
530-545 |
Transcending Comics: Crossing the Boundaries of the Medium in Alan Moore and Eddie Campbell's Snakes and Ladders |
| Jake Black |
546-552 |
Flop of Steel: Why "It's a Bird, It's a Plane, It's Superman" Did Not Fly Over Broadway |
| John A. Lent |
553-556 |
The Printed Word |
| Trina RobbinsPatric RosenkranzDavid A. Berona |
557-562 |
Book Reviews |
| Bart BeatyMichael HillNick ThorelsonMichael Rhode |
563-572 |
Exhibition Reviews |
| Gene Kannenberg, Jr. |
573-577 |
Critical Closure |
|
578 |
Portfolio |
| Vol. 7, No. 2, Fall 2005 |
| [Pioneers of Comic Art Scholarship Series, Part IV]edited by John A. Lent |
| R. C. Harvey |
3-43 |
It's Not My Fault Confessions of a Comics Junkie. Or, How I Became a Crazed Fanatic About Cartooning, Its History and Lore |
| John A. Lent |
44-46 |
Armand Mattelart and How To Read Donald Duck |
| Fusami Ogi |
47-67 |
Katayori Mitsugu: A Pioneer of Manga Studies in Japan Before and After the War |
| Randall W. Scott |
68-77 |
Beginnings and Landmarks: The Comic Art Collection at the Michigan State University Libraries and My Career |
| Richard Langlois (Randall W. Scott) |
78-88 |
Pioneer in the Teaching of Bande Dessinee (Comic Art and Narrative) in Canad |
| John A. Lent and Xu Ying |
89-125 |
Cartooning and China’s “Cultural Revolution” |
| Louise C. Larsen |
126-146 |
The Flight of the Forehead in the Third Reich: The Political Satire of Hans Bendix |
| Janusz Kazmierczak |
147-163 |
Raymond Williams and Cartoons: From Churchill’s Cigar to Cultural History |
| Yamile Regalado Someillan |
164-197 |
Visual Culture and the New Cuban Man: Examining a Core Force of the Cuban Revolution, 1959-1963 |
| Claudia Sanchez and Richard I. Parker |
198-224 |
Cultural Values in Latin American and U.S. Superhero Comics: A Text Analysis |
| Jerry Robinson |
225-235 |
The Ultimate Fantasy |
| Neil Cohn |
236-248 |
Un-Defining “Comics”: Separating the Cultural from the Structural in Comics” |
| Thierry Smolderen |
249-261 |
Thackery and Topffer: The Weimaer Connection |
| Eric A. Holmes |
262-272 |
Solidification, Hidden Guilts and “The Prude”: EC’s Agitative Rhetoric Continued |
| Chunhyo Kim and John A. Lent |
273-282 |
The Inside and Outside Worlds of North Korean Animation |
| Chris Murray |
283-310 |
Noble Enterprises: Strip for Me and the British Small Press |
| Stephen E. Kercher |
311-311 |
Cartoons as “Weapons of Wit”: Bill Mauldin and Herbert Block Take on America’s Postwar Anti-communist Crusade |
| Flavio Mario De Alcantara Calazans (Kenzi Tomoa) |
321-339 |
From the “Cricket” (Grilo) to the “Cockroach” (Barata): Visual Poetics in the Brazilian Comics (European BD + Japanese Manga and USA Underground Comix) |
| Sol M. Davidson |
340-357 |
The Funnies’ Neglected Branch: Special Purpose Comics |
| Julia Round |
358-369 |
Fragmented Identity: The Superhero Condition |
| Thomas Alan Holmes |
370-374 |
Warren Ellis’ “Shoot” and Media Passivity |
| Brian Ruh |
375-398 |
Creating “Amateur” Manga in the US: Pedagogy, Professionalism, and Authenticity |
| John A. Lent |
395-400 |
The Printed Word |
| Craig Fischer |
401-403 |
Book Reviews |
| Steven M. Bergson Marc Weidenbaum Michael Rhode Meisha Rosenberg Ana Merino |
404-412 |
Exhibition Reviews |
|
413 |
Portfolio |
| Vol. 8, No. 1, Spring 2006 |
| Noelle P. Bradley |
1 |
Masks That Reveal: Social Inequality in J.-J. Grandville's Les Metamorphoses du Jour (1828-1829) |
| Leonard Rifas |
17 |
"Especially Dr. Hilde L. Mosse": Wertham's Research Collaborator |
| Carolyn Wong |
45 |
Learning about My Grandfather |
| John A. Lent |
71 |
The Richness of African Cartooning: A Secret Far Too Long |
| Jigal Beez |
114 |
Winners, Cheats, and witches: East African Soccer Cartoons |
| John A. Lent |
137 |
Life of a Cartoonist in one of Kenya's Worst Slums. Drawing by Rough (Rafael Opany) |
| Jose Alaniz |
145 |
Caricature and Incarceration: The Case of Slava Sysoev |
| [Ever-Ending Battle: A Symposuim]edited by A. David Lewis |
| A.David Lewis |
163 |
Ever-Ending Battle |
| Edward Brunner |
174 |
Death and the Maiden: Milton Caniff's Pre-War Anti-Elegiac War Elegy |
| Arnold T. Blumberg |
197 |
"The Night Gwen Stacy Died": The End of Innocence and the "Last Gasp of the Silver Age" |
| Abraham Kawa |
212 |
The Universe She Died In: The Death and Lives of Gwen Stacy |
| Jose Alaniz |
234 |
Death and the Superhero: The Silver Age and Beyond |
| Wilbur Farley |
249 |
"The Disease Resumes Its March to Darkness": The Death of Captain Marvel and the Metastasis of Empire |
| William Duffy |
258 |
Sing Muse, of the Immortal Hero: Using Epic To Understand Comic Books |
| Michael Niederhausen |
271 |
Deconstructing Crisis on Infinite Earths: Grant Morrison's Animal Man, JLA: Earth 2, and Flex Mentallo |
| Nuh-Hoa Nguyen |
283 |
The Rhetoric of Omission in Comic Art |
| Caitlin E. Pantos |
301 |
La Donna Di Carta Guido Crepax's Valentina and the Dream of Italian Female Emancipation |
| Hector D. Fernandez L'Hoeste |
346 |
Beyond Just Gender On The World of Maitena Burundarena |
| Ana Merino Translation by Derek Petrey |
362 |
Variable Identities in the Mexican Comic-Strip: Don Catarino in the Stereotypical Space of the Cannibals |
| Frank Verano |
378 |
Spectacular Consumption: Visuality, Production, and the Consumption of the Comics Page |
| Matthew T. Jones |
388 |
Fiend on Film: Edwin S. Porter's Adaptation of Dreams of the Rarebit Fiend |
| Jeff McLaughlin |
412 |
9-11-01: Truth, Justice and Comic Books |
| Ryan Holmberg |
426 |
For Your Words, I Shall Rip Out Your Tongue: Shirato Sanpei and the Talking Head of Manga |
| Chang-de Liu |
456 |
Negative Impact of Digital Technologies on Artists: A Case Study of Taiwanese Cartoonists and Illustrators |
| Michael van Dyk |
466 |
Turkey's Soprano of Cartooning -- Selma Emiroglu-Aykan |
| Vicki Karaminas |
498 |
"No Capes!" Uber Fashion and How "Luck Favors the Prepared": Constructing Contemporary Superhero Identities in American Popular Culture |
| Mark C. Rogers |
509 |
Understanding Production: The Stylistic Impact of Artisan and Industrial Methods |
| Delphine Carron |
518 |
Paul Auster's City of Glass: From Word to Picture |
| Nancy Hudson-Rodd and Sundar Ramanathaiyer |
532 |
Cartooning the Iraq War: No Laughing Matter |
| Cord Scott |
546 |
The "Good" Comics: Ising Comic Books To Teach History |
| John A. Lent |
562 |
The Printed Word |
| David A.BeronaHarvey PekarMartha H. KennedyJessica Milner DavisMichael RhodeMarc Singer |
567 |
Book Reviews |
| Christian HillRon StewartLotta FjelkegardAaron KashtanMartha H. KennedyBarbara PostemaNick ThorkelsonPhilip Sandjfer |
579 |
Exhibition Reviews |
| John A. Lent |
607 |
The Story Behind the Cartoon |
|
608 |
Portfolio |
| Vol. 8, No. 2, Fall 2006 |
| John A. Lent |
1 |
Ediotr's Note |
| C Hill |
6 |
Marjane Satrapi Interviewed, August 24, 2003 |
| Wood-hung Lee and Yomei Shaw |
34 |
A Textual Comparison of Japanese and Chinese Editions of Manga: Translation as Cultural Hybridization |
| Marco Pellitteri |
56 |
Manga in Italy History of a Powerful Cultural Hybridization |
| Ron Stewart |
77 |
An Australian Cartoonist in 19th Century Japan: Frank A. Nankivell and the Beginnings of Modern Japanese Comic Art |
| Amy Kiste Nyberg |
98 |
Theorizing Comics Journalism |
| Stephan Packard |
113 |
Reflections of the Cartoon |
| Michael Rhode |
126 |
Harvey Pekar at the 2005 Small Press Expo |
| Hector D. Fernandez L'Hoeste |
163 |
On Angels, Drugs, and Trade: Edgar Clement's Operacion Bolivar |
| Ozge Samanc |
181 |
Lynda Barry's Humor: At the Juncture of Private and Public, Invitation and Dissemination, Childish and Professional |
| Sol M. Davidson |
200 |
Love Affair with a Unique Medium: Big Little Books |
| Katrina D. Thompson |
228 |
The Stereotype in Tanzania Comics: Swahili and the Ethnic Other |
| Kristin L. Matthews |
248 |
The ABCs of Mad Magazine: Reading, Citizenship, and Cold War America |
| Marc Singer |
269 |
"A Serious House on Serious Earth": Rehabilitating Arkham Asylum |
| Ed Ross |
283 |
The Representation of Immigrants and Immigration in UK Political Cartoons from 1968 to 2005 |
| Jose Alaniz |
307 |
Speaking the "Truth" of Sex: Moore &Gebbie's Lost Girls |
| Frank Verano |
319 |
Invisible Spectacles, Invisible Limits: Grant Morrison, Situationist Theory, and Real Unrealities |
| Clark Farmer |
330 |
Comic Book Color and the Digital Revolution |
| Fang Cheng |
347 |
What Is Humor? |
| Racial Identity: A Mini Symposium |
| Dale Jacobs |
363 |
Ho Che Anderson Interview |
| Neil Shyminsky |
387 |
Mutant Readers, Reading Mutants: Appropriation, Assimilation, and the X-Men |
| Matthew Diebler |
406 |
"I;m Not One of Them Anymore": Marvel's X-Men and the Loss of Minority (Racial) Identity |
| William H. Foster III |
414 |
Do We Still Have To Be Black? Comic Book Creators Discuss Racial Identity |
|
430 |
Corrections |
| John A. Lent |
432 |
The Printed Word |
| Jose AlanizLeonard Rifas |
436 |
Book Reviews |
| Michael Rhode |
445 |
Exhibition and Media Reviews |
| Jose AlanizFrancesco CasoloCraig FischerMichael RhodeTrina RobbinsRoger SabinRandall W. ScottNick Thorkelson |
447 |
Exhibition Reviews |
| John A. Lent |
497 |
The Story Behind the Cartoon(s) |
|
500 |
Portfolio |
| Vol. 9, No. 1, Spring 2007 |
| [Kibyoshi: The World's First Comicbook?]edited by Adam L. Kern |
| Adam L. Kern |
3 |
The Kibyoshi: Japan's Eighteenth-Century Comicbook for Adults |
| Glynne Walley |
33 |
Kyokutei Bakin's Buy My Candy and I'll Give you a Kite Story |
| Ivan Grail |
61 |
The Truly Un-Canny Samurai: Classical Literature and Parody in the Kibyoshi |
| William Fleming |
79 |
The Tao of Kibyoshi: Santo Kyoden's Zhuang-zi: The Licensed Edition |
| Kristin H. Williams |
119 |
Cerisscrossed Confucianism: Images of Edo as a Virtuous Dystopia |
| William Burton |
135 |
Fantastic Travel as Utopia or Dystopia in Edo Period Illustrated-Fiction |
| Akiko Walley With a Translation by Akiko Walley and Glynne Walley |
157 |
Through the Looking-Glass: Reflections on Kibyoshi Illustrations in Kishida Toho's Comicbook Chronicle |
| Florencia Paula Levin |
198 |
Politics Seen Through the Prism of Humor in the Argentinean Democratic Transition of 1973: Landru and Ian |
| Kyle D. Wegner |
231 |
Lalo Alcaraz's "La Cucaracha" "Normalizes" chicanos |
| David R. Spencer |
262 |
The Press and the Spanish American War: Political Cartoons of the Yellow Journalism Age |
| Jay Casey |
281 |
The Dynamics of Quiet Heroism and Invisible Death In American Soldier Cartoons of the World Wars |
| Pascal Lefevre |
296 |
The Unresolved Past: Repercussions of World War II in Belgian Comics |
| Karna Mustaqim |
311 |
Mumbling Our Comics: An Overview of Indonesial Comic Books' Condition |
| Anne Reef |
332 |
The Art of Darkness: Repression and Its Expression in J. M. Coetzee's Waiting for the Barbarians, Athol Fugard's Tsotsi, and Sue Coe and Holly Metz's How To Commit Suicide in South Africa |
| Maren Dick |
353 |
Sneaky, Sinister, and Scapegoated: Chinese Immigration and Exclusion as Represented in The Wasp, 1877-1889 |
| [Cartooning in Australia: Asymposium]edited by John A. Lent |
| John A. Lent |
378 |
Introduction |
| Vane Lindesay |
380 |
The Rise and Demise of the Australian Comic Strip |
| Michael Hill |
411 |
The Graphic Expression of the Lives, Obsessions, and objections of Small Press Sick Puppies and Scat(ology) Cats: A Short Survey of Some Aspects of Australian Alternative Comics 1990-2000 |
| Vicki Karaminas |
438 |
Australian Gothic: Black Light Angels, Fashion, and Subcultural Style |
| Rolf Heimann |
453 |
Ned Kelly -- Australian Cartoonists' Favorite Idiom |
| Lindsay Foyle |
460 |
An Essay: The Life and Death of the Larrikin Image |
| Roman Rosenbaum |
468 |
Australia and Symbolic Representation in the "Cartoon Controversy" |
| Barbara Postema |
487 |
Draw a Thousand Words: Signification and Narration in Comics Images |
| Dale Jacobs |
502 |
Beyond Visual Rhetoric: Multimodal Rhetoric and Newspaper Comic Strips |
| Massimo REpetti |
515 |
African "Ligne Claire": The Comics of Francophone Africa |
| Jigal Beez |
542 |
The Swahili Titanic: The Tanzanian Appropriation of a Global Tragedy |
| Edward Whatley |
554 |
"In the Crooked Shadows of Wildwood Cemetery": Will Eisner's The Spirit and the Gothic Tradition |
| Robert S. Petersen |
578 |
The Acoustics of Manga: Narrative Erotics and the Visual Presence of Sound |
| Roman Rosenbaum |
591 |
Motomiya Hiroshi's The Conuntry Is Burning |
| Anna Notaro |
610 |
"Innocence Is Life": Searching for the Post-Human Soul in Ghost in the Shell 2 |
| Domingos Isabelinho |
625 |
Matt Marriott: The Western with a Human Face |
| Alfonz Lengyel |
640 |
Liao Bingxiong (1915-2006) |
| Fang Cheng |
644 |
Long Live, Brother Bing! |
| Liao Bingxiong Translated by Xu ying |
647 |
Speaking Out on Going To Make a Will |
| John A. LentXu Ying |
650 |
Liao Bingxiong: "A Chinese Style Man with Universal Values" |
| Vesna Dovnikovic |
668 |
Croatian Animation Today |
| Borivoj Dovnikovic Bordo |
672 |
My Work in Animation |
| Michael J. Lecker |
679 |
"Why Can't I Be Just Like Everyone Else?": A Queer Reading of the X-Men |
| Anita K. Mcdaniel |
688 |
Negotiating Life Spaces: Has Marriage Marginalized Storm? |
| John A. Lent |
703 |
The Printed Word |
| Michael Rhode |
707 |
Book ReviewsJohn A. Lent's Comic Art Bibliographies: An Appreciation |
| K.A. Laity |
710 |
Moomin Book One: The Complete Tove jansson |
| Michael Rhode |
712 |
Exhibition Reviews |
| Michael Rhode |
715 |
Enduring Outrage: Editorial Cartoons by Herblock and Cartoon America: Highlights from the Art Wood Collection of Cartoon and Caricature |
| A. David Lewis |
722 |
Black and White and Read All Over: Comic Art and Artists |
| Pascal Lefevre |
723 |
Le Monde de Franquin |
| Michael Rhode |
726 |
Simplicissimus and the Empire 1896-1914 |
| Trina Robbins |
729 |
The Rejection Collection: Not in the New Yorker Cartoons |
| Craig FischerMichael Rhode |
730 |
Masters of American Cartoons -- Two Reviews |
| Michael Rhode |
738 |
Superheores: Good and Evil in American Comics |
| Jenny Robb |
740 |
Resources: An Updating The ohio State University Cartoon Research Library Turns 30 |
| Randall W.Scott |
743 |
comic Art Collection at Michigan State University Libraries 2006 Report |
| John A. Lent |
745 |
The Story Behind the Cartoon(s) |
| Cartoons byGodfrey Mwampembwafan LintaoWinfried BesslichMohamed HakemEsmail EffatXu PengfeiHabib HaddadMassoud Shojai Tabatabei,Jozef SchekRolf HeimannQi Jianhua |
748 |
Portfolio |
| Vol. 9, No. 2, Fall 2007 |
| John A. Lent |
1 |
Editor's Note |
| [Gallery Comics: A Symposium]edited by C Hill |
| C Hill |
6 |
Gallery Comics: The Beginnings |
| Joanna Roche |
13 |
Gallery Comics: Contemporary Contexts |
| Andrei Molotiu |
24 |
Permanent Ink: Comic Book and Comic Strip Original Art as Aesthetic Object |
| Mark Staff Brandl |
43 |
Panels, Covers, and Viewers: My Mongrels of Painting, Installation, and Comics |
| Maurice Horn |
58 |
Comics and Cinema: The Beginnings (1896-1913) |
| Mark K. McKinney |
68 |
Georges Remi's Legacy: Between Half-Hidden History, Modern Myth, and Mass Marketing |
| Adam Rosenblatt |
81 |
The Making and Remaking of El Eternauta |
| Roberto Elisio dos Santos |
93 |
Humor Comics in Brazil: A Study of the Production of the Circo Editorial |
| Rodrigo Baeza |
118 |
Obituary Roberto Fontanarrosa (1944-2007) |
| Interview with Nicoletta Fagiolo |
121 |
Zapiro's Weapons of Mass Destruction |
| [Egyptian Cartooning: A Symposium]edited by John A. Lent |
| John A. Lent |
140 |
Egyptian Cartooning: An Overview |
| Rania M.R. Saleh |
187 |
Political Cartoons in Egypt |
| Abdelghani Jbara with John A. Lent |
226 |
Using Comics in Development in the Arab World: Prospects and Impediments |
| Mohamed Hamdy Hamed Ahmed |
243 |
Sarcasm in the View of the Ancient Egyptian |
| Jon C. Gordon |
248 |
John Miller Baer: congressman-Cartoonist |
| Ann Miller |
258 |
Postcolonial Identities |
| Woody Woodis |
275 |
Caricature in French Political Cartoons |
| Scott R. Schoner |
288 |
A Survey of Doughboy Humor in World War I |
| Julia Round |
316 |
Visual Perspective and Narrative Voice in Comics: Redegining Literary Terminology |
| Martin de la Iglesia |
330 |
An Essay Geographical Classification in Comics |
| Christophe L. Dony |
340 |
Trauma, Identity and Memory: The Individual/Collective Dialectic in 9/11-related Comics |
| Matthew T. Jones |
373 |
Construction of Social Memory through Strategies of Reflexivity: A Case Study in Three Texts by Art Spiegelman |
| Meisha Rosenberg |
396 |
Multimodality in Phoebe Gloeckner's Diary of a Teenage Girl |
| Randall W. Scott |
413 |
European Western Comics: A Kind of Round-Up |
| Marco Pellitteri |
425 |
Pornography and Sinaesthesia in Manga: Multi-sensorial Reception of Eros in Japanese Comics |
| Herbeth L. Fondevilla |
441 |
Contemplating the Identity of Manga in the Philippines |
| Sueen Noh |
454 |
"To Be or Not to Be, That Is the Question": What Is Happening with Korean Comics, (Manhwa), Today? |
| Fang Cheng |
478 |
Fang Cheng's Theories on Humor and Cartooning |
| David Beard with Katelyn Hoa Vo Thi-Beard |
511 |
Silver Age in Hidden Places: The Other Orgin of Brainiac |
| John A. Lent |
518 |
The Printed Word |
| Sol M. DavidsonPascal LefevrePhillip TroutmanDavid A. BeronaMatthew J. SmithJohn A. LentGert Meesters |
525 |
Book Reviews |
| Vanessa Rane |
551 |
Review Essay |
| Michael RhodeK.A. LaityRichard GrahamClare PitkethlyPhillip TroutmanDavid RobertsonMartha H. KennedyMichael HillMeisha RosenbergJose AlanizMatthias WivelVanessa RaneyRon Stewart |
561 |
Exhibition and Media Reviews |
|
632 |
Letters |
|
635 |
Resources |
|
637 |
Correction |
|
638 |
Portfolio |
| Vol. 10, No. 1, Spring 2008 |
| [Biff! Bam!! Crikey!!!]A Comics Conference In Scotland, 2007Compiled and edited by Christopher Murrary |
| Christopher Murray |
3 |
Introduction |
| Section 1: Gazooks! Comics in Scotland |
| Matthew Jarron |
9 |
1.1 Before The Beano -- The Prehistory of Dundee Comics |
| John ChalmersSandra Marrs |
18 |
1.2 Meeting with metaphrog |
| Section 2: Wizard! Moore, Morrison, and Superhero Comics |
| Julia Round |
24 |
2.1 London's Calling: Alternate Worlds and the city as Superhero in Contemporary British-American Comics |
| Shaum Manning |
32 |
2.2 Language and Fiction in the Creation of Reality in The Invisibles |
| Section 3: Zoinks! Comics, Politics and Identity |
| Peter Hughes Jachimiak |
39 |
3.1 " D'You Wanna be In My Gang?": Boys' Comics, Club Membership, and a "Tribal Britain" |
| Nicole Devarenne |
48 |
3.1 "A Language Heroically Commensurate with His Body": nationalism, Fascism, and the Language of the Superhero Comic |
| Section 4: Zap! Comics and Other Media |
| Anna Zanfei |
55 |
4.1 Defining Webcomics and Graphic Novels |
| Brian Hoyle |
62 |
4.2 Irresponsible Pictures: Questions of Adaptation and Morality in the comic and Film Versions of Road to Perdition |
| Kevin Corstorphine |
68 |
4.3 Killer7 and Comic Book Aesthetics in Contemporary Video Games |
|
74 |
Contributors |
| John A. LentXu Ying |
76 |
Cartooning and Wartime China: Part One -- 1931-1945 |
| Adam Cathcart |
140 |
Atrocities, Insults, and "Jeep Girls": Depictions of the U.S. Military in China, 1945-1949 |
| Todd S. Munson |
155 |
Dangerous! China and Xenophobic Comics in Contemporary Japan |
| Helen Yu-Rivera |
174 |
Drawing the Line Between Racism and Political Correctness: Filipino Editorial Cartoonists Reconsider the Japanese |
| Ryan Holmberg |
200 |
Let We Go: An Interview with Hiroki Otsuka |
| Joseph Witek |
218 |
American Comics Criticism and the Problem of Dual Address |
| Robert S. Petersen |
226 |
Metamorphosis of the Phylactery: changes in Emanata from the Medieval Times through the 18th Century |
| orion ussner Kidder |
248 |
Show and Tell: Notes Towards a Theory of Metacomics |
| Benjamin Woo |
268 |
EssayAn Age- Old Problem: problematics of Comic Book Historiography |
| Pedro Perez del Solar |
280 |
"A Fuhrer's Day": Comics and Politics of Memory in 1980s Spain |
| Hector Fernandez L'Hoeste |
298 |
Amid nation and Empire: Puerto Rico's El Antillano and Its Interactive Cuadernos |
| Mike Kelly |
313 |
Ary Spiegelman and His Circle: new York City Comix and the Downtown Scene |
| Luc D. Guglielmi |
340 |
The Fantastic in the Work of jean-Claude Servais |
| John A. Lent |
352 |
Cartooning, Public Crises, and Conscientization: Aglobal Perspective |
| Matthew Blake |
387 |
Political and Promotional Conceptions in Woody Guthrie's People's World Cartoons |
| Jose Alaniz |
407 |
"Rutting in Free-Fall": Moore and Bissette/Zulli's "Act of Faith" |
| Janis :. Edward |
120 |
Visualizing the Face of Domestic Terrorism in Editorial Cartoons: Transforming a Stereotype |
| Lindsay Foyle |
433 |
Essay Australian Politics and "Cartoon Bias" |
| Hamish Ironside |
438 |
Alan Guppy and "Stone de Croze" |
| Louis Gordon |
452 |
EssayJewish Graphic Gangster |
| Joseph J. Darowski |
461 |
It's A bid, It's a Plane, it's ... Synthesis: Superman, Clark Kent, and Hegel's Dialectic |
| R. J. Gregov |
471 |
The Re-illustration of Comic Book Heroes |
| Muhammed Shahriar Haque |
482 |
"Kee's World": Reflections of Evolving Identity |
| Luiu Hong YingTang Min |
513 |
Finance Cartoons: A Way of Reviving Chinese Press Cartoons |
| Peter Walton |
522 |
The "Archaic Mother" in Charles Burns' Black Hole: A Psychoanalytic Reading |
| Eileen Akin |
535 |
Resource My Beloved Cartoonists: original Cartoon Art from Fred Waring's America |
| Zheng Huagai |
543 |
He Was Such a Kind Person -- Eulogistic Comments on Chinese Cartoonist Wang Fuyang, 1935-2008 |
| John A LentXu Ying |
553 |
Editors' Remembrances of Wang Fuyang |
| John A. Lent |
554 |
The Printed Word |
| David A. BeronaJohn A. LentMarc SingerJeff GeersMatthew J. SmithSteven M. Bergson |
559 |
Book Reviews |
| Michael RhodeTrina RobbinsJose AlanizBobby Kuechenmeister |
580 |
Exhibition Reviews |
|
592 |
Letters |
|
593 |
Portfolio |
| Vol. 10, No. 2, Spring 2008 |
| John A. Lent |
1 |
Celebrating 10 Years of Continuous Publication: Taking Stock |
| [Women and Cartooning: A Global Symposium] edited by John A. Lent |
| John A. Lent |
6 |
Introduction |
| Marlene Pohle |
10 |
17 Women Cartoonists + One |
| Vicki Karaminas |
33 |
"There's a Bug in My Ink Bottle":The Graphic Art of Australian Women -- Greenberg, Graber, and Ord |
| Martha H. Kennedy |
45 |
A Self-Selected Sisterhood: Women Cartoonists Represented in the Library of Congress Collections |
| Ana Merino |
70 |
Feminine Territoriality: Reflections on the Impact of the Underground and Post-Underground |
| Trina Robbins |
89 |
Wonder Woman: Queer Appeal |
| Trina Robbins |
95 |
Here Are the Great Women Comics Artists of the United States! |
| Jill S. Katz |
101 |
Women and Mainstream Comic Books |
| Fusami Ogi |
148 |
Shojo Manga(Japanese Comics for Girls) in the 1970s' Japan as a Message to Women's Bodies: Interviewing Keiko Takemiya -- A Leading Artist of the Year 24 Flower Group |
| Fusami Ogi |
170 |
Hana yori dango(Boys over Flowers) as a Trans-National Comics for Girls beyond Japan |
| Kinko Ito |
186 |
The Touching and the Sensual in Japanese Ladies' Comics: An Interview with Asako Shiomi |
| Kinko Ito |
199 |
Masako Watanabe: 50 Years of Making Girls’ and Ladies’ Comics in Japan |
| Sueen Noh |
209 |
Science, Technology, and Women Represented in Korean Sci-Fi Girls' Comics |
| Raquel Orzuj |
235 |
Female Cartoonists in Uruguay |
| Nicky Heron Brown |
242 |
Major Malcolm Wheeler-Nicholson, Cartoon Character or Real Life Hero? Correcting Hajdu's The Ten Cent Plague |
| Lisa Brooten |
254 |
Burmese Political Cartoons and the Transnational Public Sphere in Times of Crisis |
| Allen Douglas andFedwa Malti-Douglas |
282 |
From the Algerian War to the Armenian Massacres: Memory, Trauma, and Medicine in Petit Polioof Farid Fedwa Malti-Douglas Boudjellal |
| Asai Motofumi |
308 |
Barefoot Gen, Japan, and I: The Hiroshima Legacy: An Interview with Nakazawa Keiji |
| Timothy Perper andMartha Cornog |
328 |
" Never Said I Was a Boy": Utena, Arita Forland, and the (Non) Phallic Woman |
| Roman Rosenbaum |
354 |
Mizuki Shigeru's Pacific War |
| Luke Arnott |
380 |
BLAM!The Literal Architecture of Sin City |
| Matthias Schneider |
402 |
un regard moderne |
| Seetha Srinivasan |
416 |
Publishing on Comics and Comics Culture at University Press of Mississippi |
| Bi Keguan |
421 |
Why I Research Chinese Cartoon History |
| Susan Honeyman |
437 |
Transforming Segar's Progressive Everyman into Fleischer's Depression-Era Supersalesman: The Hidden Powers of Popeye's Spinach |
| Joel T. Terranova |
451 |
Art of Killing -- The Literary Merits of Johnny the Homicidal Maniac |
| Arcadio Esquivel Mayorga |
468 |
Graphic Humor in Costa Rica: A Cartoonist's Experience |
| Jorge L. Catala Carrasco |
495 |
Costumbrismoand Cubanity in Rafael Fornes |
| Sol M. Davidson |
519 |
Educational Comics: A Family Tree |
| Jorge Salgueiro |
581 |
Synesthesia and Onomatopoeia in Graphic Literature |
| Juan Meneses |
598 |
A Bakhtinian Approach to Two Graphic Novels: The Individual in Art Spiegelman's Mausand Chester Brown's Louis Riel |
| Gorg Mallia |
607 |
Satirical Cartoons in Malta |
| Alan Fern |
621 |
An Evening with Jules Feiffer |
| Frank Hoffmann |
627 |
Some Thoughts on Germany and the Art of the Cartoon |
| Brian Swafford |
632 |
The Death of Captain America: An Open-ended Allegorical Reading of Marvel Comics' Civil WarStoryline |
| Cord Scott |
649 |
The Return of the War Comic: A Revival of Military Themes and Characters in Comic Books |
| Nadilson Manoel da Silva |
660 |
Mauricio de Souza and the Development of the Market For Children in Brazilian Comics: A Turma da Monica (Monica's Gang) |
| Carolyn Wong |
669 |
Huang Yao and His Cartoon, "Niu Bizi," in China, 1934-1947 |
| Lingling Pan |
694 |
Post-Liberation History of China's Lianhuanhua(Pictorial Books) |
| John A. Lent andHong-Chi Shiau |
718 |
Seeking Inwards, Looking Outwards: Taiwanese Cartoonists' Quest To Transcend Japanese Influences |
| Christophe Cassiau-Haurie |
737 |
Comic Books in the Indian Ocean: Between Openness and Isolation |
| Rania M.R. Saleh |
746 |
What Inflamed the Iraq War? The Perspectives of American Cartoonists |
| John A. Lent |
788 |
The Printed Word |
| Louis GorgonMichael Rhode |
794 |
Book Reviews / Review Essay: Isaac Cates |
Matt Wuerker
David A. Berona
Michael Rhode
Trina Robbins
Leonard Rifas
Cord Scott
Sean P. Connors
Benjamin Woo
David Robertson
Ofer Berenstein
Jose Alaniz |
806 |
Exhibition Reviews |
| John A. Lent |
862 |
The Story Behind the Cartoon |
| Jenny E. Robb |
866 |
International Museum of Cartoon Art To Move to Ohio State Cartoon Research Library |
| Leonard Rifas |
868 |
Letters |
| Vol. 11, No.1, Spring 2009 |
Czech Comics: A Symposium |
José Alaniz |
7 |
Introduction: A Czech Patchwork |
Tomáš Prokůk and Renáta Skřebská |
21 |
Ladislav Vlodek and The Globe |
Tomáš Prokůk |
34 |
Pérák and Spring Heeled Jack: From Prague Avenger to London Ghost and Back Again |
Tomáš Pospiszyl |
45 |
Bohumil Konečný: An Unwilling Comics Artist |
Helena Diesning |
51 |
Kája Saudek: The King of Czech Comics |
Martha Kuhlman |
63 |
Time Machine: Rudiš/Jaromír 99’s Wilson Main Train Station |
Lisa Mangum |
74 |
František Skála, or Deep Into the Enchanted Bohemian Woods |
|
|
|
Prtricia Breccia |
80 |
Remembrances of My Father, Alberto Breccia |
Mark David Nevins |
90 |
High Art at the Drive-In: An Interview with Robert Williams |
Valérie Agosta-Ives |
113 |
Salomon Assus (1950-1919). Humoristic Postcards as a Powerful Visual Medium Transcending Ethnic and Gender Issues in Early 1900s’ French Algeria |
David Kunzle |
135 |
Gary Larson and the World Upside Down |
David Robertson |
158 |
Scotland’s Comics Master, Ian Kennedy: An Interview |
Ben Little |
182 |
Constructing the Reader’s Perspective in V for Vendetta |
David R. Spencer |
203 |
No Laughing Matter: 19th Century Editorial Cartoons and the Business of Race |
Héctor Fernández L’Hoeste |
229 |
From Mexifornia to Newyorktitlan: East vs. West Meets the Mexican Tradition |
Waldomiro Vergueiro and Roberto Elísio dos Santos |
247 |
Crás! Comic Book: Brazilian Comics and the Publishing Industry |
Derek Parker Royal |
262 |
To Be Continued…: Serialization and Its Discontent in the Recent Comics of Gilbert Hernandez |
Jigal Beez |
281 |
Cartoons as Pop Idols: The “Sani Star Search” Contest in Tanzania |
William H. Foster III |
294 |
Langston Hughes’s “Jesse B. Simple” and Ollie Harrington’s “Bootsie”: Cartoons and Stories That Preserve the Voice of the African American Everyman |
John A. Lent |
307 |
Cartooning in Cyprus: Small Is Beautiful |
Jason Tondro |
320 |
Spenser and the Comics Critic |
Roy Bearden-White |
347 |
Closing the Gap: Examining the Invisible Sign in Graphic Narratives |
Pauline Uchmanowicz |
363 |
Graphic Novel Decoded: Towards a Poetics of Comics |
Marco Pellitteri |
386 |
Three Italian Authors Who Know the Formulas of Success: Gnone, Canepa, and Barbucci: From W.I.T.C.H. to Sky Doll, to the Fantasy Novel, and Again to the Monster Allergy Comics |
José Alaniz |
396 |
Masculinity and the Superhero in Post-Soviet Russian Comics |
Travis Langley |
426 |
Freedom versus Security: The Basic Human Dilemma from 9/11 to Marvel’s Civil War |
Richard A. Becker |
436 |
The Crisis of Confidence in Comics Adaptations: Why Comics Are So Rarely Faithfully Adapted to the Big Screen |
Robert G. Weiner |
457 |
Sequential Art and Reality: Yes, Virginia, There is a Spider-Man |
John A. Lent |
478 |
The Printed Word |
|
484 |
Book Reviews |
|
551 |
Exhibition Reviews |
|
568 |
International Journal of Comic Art Index, Volumes 1-10 (1999-2008) |
|
662 |
Portfolio |
| Vol. 11, No.2, Fall 2009 |
Indian Cartooning Symposium Edited by John A. Lent |
John A. Lent |
3 |
An Illustrated History of Indian Political Cartooning |
Karline McLain |
26 |
Vivalok Comics: Celebrating All That Is Small in India |
Gokul T. G. |
44 |
G. Aravindan’s “Small Men and the Big World”: Re-Defining the “Comic” in the Strip |
Shevlin Sebastian |
53 |
Making People Laugh: Toms and K. J. Yesudasan, Premier Cartoonists in Kerala, India |
|
|
|
Rodosław Bolałek |
59 |
The Most Popular Polish Comics (1957-1989) |
Paul Cheng |
88 |
The Smartest Comic on Earth: Metafiction in Chris Ware’s Acme Novelty Library #16 |
Clodualdo del Mundo, Jr. |
103 |
Lessons My Father Taught Me about Komiks |
Marla Harris |
119 |
“Sex and the City”: The Graphic Novel Series Aya as West African Comedy of Manners |
Bram Draper |
136 |
Sandino and Other Superheroes: The Function of Comic Books in Revolutionary Nicaragua |
Julie A. Davis |
176 |
Both Everyman and Other: “Dilbert” as an Exemplar of Newspaper Comics’ Simultaneous Identification and Distance |
John A. Lent and Xu Ying |
195 |
Chronicler of Most of a Century: Cartoonist Ding Cong (1916-2009) |
Gregory N. Daugherty |
208 |
“The Greatest Story Every Drawn!” Cleopatra in American Comics |
Jean-Marie Bertin |
231 |
Press Cartoons in France: A Short History |
Joel Vessels |
272 |
Vive la France, Now Who Are We? Bande Dessinée, the 16 July 1949 Law, and the Political Re-imagining of Post-World War II France |
Kim Munson |
283 |
Beyond High and Low: How Comics and Museums Learned to Co-exist |
Patti Luedecke |
299 |
Affect and the Body in Melville’s “Bartleby” and Jillian Tamakin and Mariko Tamaki’s Skim |
|
322 |
Working Around Words: Rauf talishinsky’s Azerbaijani Web Cartoons |
Benjamin Stevens |
336 |
Drawn to Distraction: Comics Reading in Kevin Huizenga’s “Lost and Found” |
Gêisa Fernandes D’Oliveira |
350 |
From Bumpkin to Belssed – Comics and National Identity: A Brazilian Case Study |
Jeff McLaughlin |
364 |
Comic Book Artists and Writers and Philosophers |
Charles Natoli |
372 |
The Spirit Passes: The Second Coming of the Comic Strip’s Golden Age |
Isaac Cates |
380 |
“How to Draw Thinking” Panel, Small Press Expo, Rockville, MD, Oct. 14, 2006 |
Murray Lee Eiland |
396 |
From Cartoon Art to Child Pornography |
Connie Lam |
410 |
Hong Kong Manhua after the Millennium |
Maaheen Ahmed |
421 |
Moebius, Gir, Giraud, Gérard: Self-Visualizations |
Jamie Egolf |
432 |
Political Commentary and Dissent in the Tapestry and the Cartoon Strip |
John A. Lent |
447 |
The Printed Word |
|
455 |
Book Reviews |
|
472 |
Exhibition and Media Reviews |
|
515 |
Portfolio |
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