標(biāo)題: Titlebook: Comics Memory; Archives and Styles Maaheen Ahmed,Beno?t Crucifix Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Memory and [打印本頁] 作者: Flexibility 時(shí)間: 2025-3-21 16:48
書目名稱Comics Memory影響因子(影響力)
書目名稱Comics Memory影響因子(影響力)學(xué)科排名
書目名稱Comics Memory網(wǎng)絡(luò)公開度
書目名稱Comics Memory網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Comics Memory被引頻次
書目名稱Comics Memory被引頻次學(xué)科排名
書目名稱Comics Memory年度引用
書目名稱Comics Memory年度引用學(xué)科排名
書目名稱Comics Memory讀者反饋
書目名稱Comics Memory讀者反饋學(xué)科排名
作者: ABOUT 時(shí)間: 2025-3-21 22:34
“It’s All Come Flooding Back”: Memories of Childhood Comicsnships related to reading. It also offers some initial thoughts on gender and nostalgia and on the way some dominant discourses around childhood are disrupted by accounts of comic reading, making forgotten aspects of childhood experience visible.作者: 確保 時(shí)間: 2025-3-22 02:18
Archives and Oral History in Emmanuel Guibert’s y interviews with photographic remains. By making visible the various inclusion and exclusion mechanisms which preside over its creation, . questions the relations between the archive and personal memory. The chapter shows how this reflexion draws heavily on the confrontation between two different media of memory, photography, and drawing.作者: 漂泊 時(shí)間: 2025-3-22 05:18
The Ever-Shifting Wall: Edmond Baudoin and the “Continuous Poem” of Autobiographyrs. Taking in account comics-making as a potentially archival art, and by focusing on a number of textual and representational strategies of the author, we will engage with how Baudoin thematizes that which Carolyn Steedman called the difficulties of retrieving past traces.作者: 復(fù)習(xí) 時(shí)間: 2025-3-22 10:39
Keep Out, or Else: Diary as Body in , and both fictional and real. Considering the diaristic conventions of the “keep out or else” notices included in each text, as well as the fantasies of self-harm each protagonist engages, this chapter excavates the possibilities and boundaries of such a performative, textual surrogacy.作者: 胰島素 時(shí)間: 2025-3-22 14:25
The Un-Erotic Dancer: Sylvie Rancourt’s struction of Melody as an innocent girl who falls haphazardly into exotic dancing to survive. The reconstruction of her episodic memory promotes greater sympathy and understanding for a sex worker, for her tawdry life, leading ultimately to Rancourt’s self-empowerment and self-understanding.作者: 胰島素 時(shí)間: 2025-3-22 18:27
: Bridging Personal and Collective Memories of L’Association and Comics Historyyears of the 2005–2010 “crisis-panic” of L’Association with, on the one side, the old-fashioned world of classic Franco-Belgian comics and on the other, the not-so-new-anymore world of L’Association. Hence, Trondheim illustrates with humor how an adventure of Spirou can be read as a bridge between comics and memory.作者: 單純 時(shí)間: 2025-3-22 23:44 作者: 破布 時(shí)間: 2025-3-23 05:25 作者: 倔強(qiáng)一點(diǎn) 時(shí)間: 2025-3-23 05:54 作者: 可商量 時(shí)間: 2025-3-23 11:44 作者: orthodox 時(shí)間: 2025-3-23 14:20 作者: 噱頭 時(shí)間: 2025-3-23 21:34
Zsuzsa Széman,Elena Golubeva,László Patyánnships related to reading. It also offers some initial thoughts on gender and nostalgia and on the way some dominant discourses around childhood are disrupted by accounts of comic reading, making forgotten aspects of childhood experience visible.作者: 積習(xí)難改 時(shí)間: 2025-3-24 01:42 作者: 鉤針織物 時(shí)間: 2025-3-24 03:44
COVID-19 and Its Impact on Women and Genderrs. Taking in account comics-making as a potentially archival art, and by focusing on a number of textual and representational strategies of the author, we will engage with how Baudoin thematizes that which Carolyn Steedman called the difficulties of retrieving past traces.作者: filial 時(shí)間: 2025-3-24 09:53 作者: 舞蹈編排 時(shí)間: 2025-3-24 13:10
Hikari Ishido,Jiro Mizushima,Xiaofang Zhangstruction of Melody as an innocent girl who falls haphazardly into exotic dancing to survive. The reconstruction of her episodic memory promotes greater sympathy and understanding for a sex worker, for her tawdry life, leading ultimately to Rancourt’s self-empowerment and self-understanding.作者: 破裂 時(shí)間: 2025-3-24 14:52 作者: 向下 時(shí)間: 2025-3-24 22:22 作者: Vertical 時(shí)間: 2025-3-25 00:11
Economic Dimensions of the RMA, and malleable (since?memory can be modified to accommodate commercial and creative developments). Such a corporate narrative memory requires specific editorial practices for its preservation and its mediation to readers and for its adaptation to their current needs.作者: VEST 時(shí)間: 2025-3-25 06:17 作者: penance 時(shí)間: 2025-3-25 09:37 作者: 常到 時(shí)間: 2025-3-25 13:59 作者: FICE 時(shí)間: 2025-3-25 18:56 作者: 花束 時(shí)間: 2025-3-25 22:53 作者: 徹底明白 時(shí)間: 2025-3-26 00:58 作者: Contort 時(shí)間: 2025-3-26 07:48 作者: Decibel 時(shí)間: 2025-3-26 08:27
Book 2018tion of traumatic and autobiographical memories in comics. With a focus on the roles played by styles and archives—in their physical and metaphorical manifestations—this edited volume offers an original intervention, highlighting several novel ways of thinking about comics and memory as comics memor作者: 身心疲憊 時(shí)間: 2025-3-26 13:05 作者: oblique 時(shí)間: 2025-3-26 19:28
Introduction: Untaming Comics Memory,concepts of polygraphy (Thierry Smolderen), graphiation (Philippe Marion), and rogue archives (Abigail De Kosnik) to better understand comics memory on multiple levels, ranging from the drawn line to physical and symbolic archives.作者: Inoperable 時(shí)間: 2025-3-26 21:27
Maaheen Ahmed,Beno?t CrucifixExemplifies new possibilities for understanding the complex entanglements of different kinds of memory in comics.Offers a practical guide for further analyses of memories in comics along the dimension作者: Pillory 時(shí)間: 2025-3-27 01:12 作者: 含糊 時(shí)間: 2025-3-27 07:37
https://doi.org/10.1007/978-3-319-91746-7Memory and Comics; Comics Style; Archive and Comics; Archival Practice; Heritage and Comics作者: GROUP 時(shí)間: 2025-3-27 12:35 作者: Dungeon 時(shí)間: 2025-3-27 15:47
Introduction: Framing Economic Exclusionseparately as comics . memory or memory . comics since the chapters in this volume reflect on the multiple relationships between comics as a medium for memory and the memory of comics as a medium. To better understand the complexity of comics memory, which transcends categories such as individual an作者: 我的巨大 時(shí)間: 2025-3-27 20:29
Introduction: Framing Economic Exclusionhowever, often remain undefined: What do we mean, exactly, when we say a graphic novel is nostalgic? By performing a close reading of Seth’s . (1996), my contribution aims to build a critical framework that explores different levels (structure, motifs, and style), allowing a better understanding of 作者: Ballad 時(shí)間: 2025-3-27 22:09
Zsuzsa Széman,Elena Golubeva,László Patyán both comics and childhood. It draws on over 200 interviews with male and female readers who were children from the early 1950s to the late 1990s. The chapter consequently looks at cultural practices around comics such as collecting, buying and exchanging titles; the comic as object; and how relatio作者: 替代品 時(shí)間: 2025-3-28 03:03
Social Factors and Community Well-Being his trilogy .. Drawing on Aleida Assmann’s theories on the archive and Hillary Chute’s discussion of embodiment in comics, the chapter describes the visual strategies used to embody the voice of the photographer. . is seen as staging an archive of representation strategies which combine oral histor作者: 創(chuàng)作 時(shí)間: 2025-3-28 07:02 作者: 發(fā)牢騷 時(shí)間: 2025-3-28 13:46 作者: 珊瑚 時(shí)間: 2025-3-28 17:58
Hikari Ishido,Jiro Mizushima,Xiaofang Zhangnes the visual and narrative techniques employed by Rancourt to tell a compelling story of a sex worker and compares . to Chester Brown’s ., an autobiographical account of Brown’s experience as a john. Ty argues that Rancourt’s simple style and the doll-like faces of her avatar contribute to the con作者: 大笑 時(shí)間: 2025-3-28 22:43 作者: 有害 時(shí)間: 2025-3-29 01:07
Monetary Policy and the Housing Bubble,Ed Brubaker and illustrator Sean Phillips explore these links, evoking memories of comics history to critique normative concepts of innocence and legitimacy. A story of a crime that goes unpunished, . shows how states of legitimacy—including implicitly, the status granted to some comics under the he作者: 圖畫文字 時(shí)間: 2025-3-29 05:55 作者: 鬧劇 時(shí)間: 2025-3-29 07:14
Social Forecasting for Company Planningzation through successive reprints. Special attention is paid to the recent . (2015), a book that aims to contribute to a history of . and amass symbolic capital—as defined by sociologist Pierre Bourdieu—and to the associated exhibition that commemorated the 70. anniversary of the creation of Lucky 作者: 光亮 時(shí)間: 2025-3-29 11:48 作者: Cuisine 時(shí)間: 2025-3-29 17:19
https://doi.org/10.1007/978-1-349-04811-3cartoonist and theater actress Marie Duval (1847–1890). It shows how analysis of the current canon of nineteenth-century comic strips influenced both the purpose and the form of .. Considering the impact of digitization and remote archiving on the canon, this section ends by delineating the specific作者: 稱贊 時(shí)間: 2025-3-29 19:54 作者: 空氣 時(shí)間: 2025-3-30 03:06
Introduction: Untaming Comics Memory,separately as comics . memory or memory . comics since the chapters in this volume reflect on the multiple relationships between comics as a medium for memory and the memory of comics as a medium. To better understand the complexity of comics memory, which transcends categories such as individual an作者: bonnet 時(shí)間: 2025-3-30 06:33
Portrait of the Artist as a Nostalgic: Seth’s however, often remain undefined: What do we mean, exactly, when we say a graphic novel is nostalgic? By performing a close reading of Seth’s . (1996), my contribution aims to build a critical framework that explores different levels (structure, motifs, and style), allowing a better understanding of
