標(biāo)題: Titlebook: Documenting Trauma in Comics; Traumatic Pasts, Emb Dominic Davies,Candida Rifkind Book 2020 The Editor(s) (if applicable) and The Author(s) [打印本頁] 作者: Kennedy 時(shí)間: 2025-3-21 16:50
書目名稱Documenting Trauma in Comics影響因子(影響力)
書目名稱Documenting Trauma in Comics影響因子(影響力)學(xué)科排名
書目名稱Documenting Trauma in Comics網(wǎng)絡(luò)公開度
書目名稱Documenting Trauma in Comics網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Documenting Trauma in Comics被引頻次
書目名稱Documenting Trauma in Comics被引頻次學(xué)科排名
書目名稱Documenting Trauma in Comics年度引用
書目名稱Documenting Trauma in Comics年度引用學(xué)科排名
書目名稱Documenting Trauma in Comics讀者反饋
書目名稱Documenting Trauma in Comics讀者反饋學(xué)科排名
作者: 指數(shù) 時(shí)間: 2025-3-22 00:09 作者: Mosaic 時(shí)間: 2025-3-22 04:11
Documenting Trauma in Comics978-3-030-37998-8Series ISSN 2634-6370 Series E-ISSN 2634-6389 作者: Asparagus 時(shí)間: 2025-3-22 07:11 作者: 招募 時(shí)間: 2025-3-22 10:18
978-3-030-38000-7The Editor(s) (if applicable) and The Author(s) 2020作者: rectum 時(shí)間: 2025-3-22 13:42
Nonoperative Correction of Foot Deformitiesky’ concept that troubles disciplinary boundaries, before suggesting that comics such as Art Spiegelman’s . (1980–1991) have played a significant role in the active .—rather than simply reflection or reification—of cultural and academic conceptions of trauma. It then turns to a critical overview of 作者: rectum 時(shí)間: 2025-3-22 18:43
Yuichiro Onishi,Fumiko Sakashitacalled a trauma aesthetic, a set of recognizable tropes in widespread use in trauma narratives. This chapter examines the adoption of this aesthetic in graphic narratives, focusing on the special capacities of the form. Familiar tropes, such as dissociation and the somatic trace, are presented in co作者: 爭議的蘋果 時(shí)間: 2025-3-22 22:50
Yuichiro Onishi,Fumiko Sakashitatory. Recently, several German-language graphic novels and comics have been published which explore the Third Reich and the Second World War from the perspective of those who experienced it first-hand: ordinary citizens, war children, Hitler Youth members, soldiers, and civilians. Such works, which 作者: 北極熊 時(shí)間: 2025-3-23 01:34
Yuichiro Onishi,Fumiko Sakashita back to slavery, with a clear flashpoint around the Haitian Revolution (1791–1804) when the island and its people won their independence from the French. This marks the zombie as a traumatic, racialized body. Haiti again played a prominent part in the American cultural consciousness following its m作者: Assemble 時(shí)間: 2025-3-23 07:47
https://doi.org/10.1007/978-3-030-55773-7rical senses. For Gordon, social ghosts are ‘haunting reminders of lingering trouble’ that notify us that ‘what’s been concealed is very much alive and present’ (.. Minnesota: University of Minnesota Press, 1997: xvi). This chapter draws on findings from two projects informed by the notion of social作者: laparoscopy 時(shí)間: 2025-3-23 13:22 作者: Thyroiditis 時(shí)間: 2025-3-23 14:25
Finland: Maintaining the Fragile Consensusured the violence accompanying the partition of the Indian subcontinent. We argue how these narratives, in their collaborative authoring and through their textual and aesthetic strategies, defy artificial borders to create a new collective memory culture, one that seeks to confront and thus to heal 作者: Thrombolysis 時(shí)間: 2025-3-23 20:05 作者: LATER 時(shí)間: 2025-3-23 23:43 作者: overrule 時(shí)間: 2025-3-24 04:43
Multimodal Imaging with NIR Lightthree key paintings within the cycle, and in particular their representations of open windows, this chapter argues that . is a complex, kaleidoscopic rendering of multiple graphic life stories, which can be opened up and better understood through the vocabulary of comics criticism. By focusing on th作者: 不規(guī)則的跳動 時(shí)間: 2025-3-24 09:53
Transparency in Insurance Contract Lawo late 1970s. The chapter considers Una’s formal and graphic strategies to work through her personal experience of sexual trauma alongside her exploration of the ‘Ripper’ murders, which she witnessed first-hand when growing up in Leeds. . critiques the regimes of visuality that have framed the victi作者: 商談 時(shí)間: 2025-3-24 12:00 作者: Orchiectomy 時(shí)間: 2025-3-24 17:05
‘To Create Her World Anew’: Charlotte Salomon’s Graphic Life Narrativee spaces between pages—the gutter—this chapter exposes how these are vital, generative gaps charged with meaning. In so doing it challenges reductive, biographical readings of Salomon’s life and work, insisting that . is a visual and textual representation of many life narratives, taking on the shapeshifting form of an epic, reiterative cycle.作者: Systemic 時(shí)間: 2025-3-24 22:23 作者: 頭腦冷靜 時(shí)間: 2025-3-25 02:10
https://doi.org/10.1007/978-3-030-55773-7y deindustrialisation and the second a group of migrant women who have come to the UK from Bangladesh. While the experiences of these groups differ in many ways, both projects used aspects of comics creation to produce graphic narratives that in some way represent traumatic or unsettling events that have had an impact on participants’ lives.作者: 同義聯(lián)想法 時(shí)間: 2025-3-25 06:06
Transparency in Insurance Contract Lawo the challenge to represent trauma. Drawing on comics studies, gender theory, and extensive interviews with Una, the chapter explores how . proposes new forms of visualization that are disengaged from the overt visuality of violence and its mythologizing implications for both victims and abusers.作者: 微生物 時(shí)間: 2025-3-25 10:47 作者: NOMAD 時(shí)間: 2025-3-25 15:08 作者: fiscal 時(shí)間: 2025-3-25 17:46
Multimodal Imaging with NIR Lighte spaces between pages—the gutter—this chapter exposes how these are vital, generative gaps charged with meaning. In so doing it challenges reductive, biographical readings of Salomon’s life and work, insisting that . is a visual and textual representation of many life narratives, taking on the shapeshifting form of an epic, reiterative cycle.作者: FLING 時(shí)間: 2025-3-25 23:18 作者: 開玩笑 時(shí)間: 2025-3-26 00:50 作者: Ambulatory 時(shí)間: 2025-3-26 04:35 作者: 芳香一點(diǎn) 時(shí)間: 2025-3-26 11:46
: Restoring Memory, Restorying Partitionely portray displacement and resistance. The resurrection of old memories and the sharing of traumatic testimonies also build empathetic solidarities that counter the habitual and mutual othering that informs antagonistic national histories, thereby inviting the recognition of shared pasts and hope for shared futures.作者: 追逐 時(shí)間: 2025-3-26 16:28 作者: forager 時(shí)間: 2025-3-26 19:30 作者: Conscientious 時(shí)間: 2025-3-27 00:04
Book 2020between the comics form and the documentation and reportage of trauma? How do the interpretive demands made on comics readers shape their relationships with traumatic events? And how does comics’ documentation of traumatic pasts operate across national borders and in different cultural, political, a作者: PAGAN 時(shí)間: 2025-3-27 01:42
Book 2020nd often fraught intersections between trauma studies, comics studies, and theories of documentary practices and processes. The result is a collection that shows how comics is not simply related to trauma, but a generativeforce that has become central to its remembrance, documentation, and study..? ? ? ? ? ? ? ??.作者: accomplishment 時(shí)間: 2025-3-27 05:33 作者: synchronous 時(shí)間: 2025-3-27 10:13 作者: 葡萄糖 時(shí)間: 2025-3-27 15:21 作者: 音樂等 時(shí)間: 2025-3-27 19:03
Yuichiro Onishi,Fumiko Sakashitaoned against the growth of economic, cultural, and ideological empire in the early Cold War. Domestic contexts contribute to racialized readings and the perceived threat of the burgeoning Civil Rights movement to existing racial, social, and economic hierarchies. Lastly, the zombie can be read in te作者: Vulnerary 時(shí)間: 2025-3-28 00:25
https://doi.org/10.1007/978-3-658-17997-7cts of culture and society is especially significant in an Indian context, where traditional, established visual representations of India and ‘Indianness’ have until now been mostly celebratory and uncritical of such issues.作者: heterodox 時(shí)間: 2025-3-28 02:51 作者: 維持 時(shí)間: 2025-3-28 10:07 作者: 污穢 時(shí)間: 2025-3-28 13:49
Hierarchies of Pain: Trauma Tropes Today and Tomorrow, and Emmanuel Lepage’s . (2012) about the aftermath of the Chernobyl nuclear disaster. By contrast, it is absent from Mazen Kerbaj’s . (2007/2017) about the Israel-Hezbollah conflict and Josh Neufeld’s . about Hurricane Katrina (2009). These works’ reliance on formalized and sanctioned trauma trope作者: 爆米花 時(shí)間: 2025-3-28 15:45
Emotional History and Legacies of War in Recent German Comics and Graphic Novels works: Lina Hoven’s . (., 2007), Barbara Yelin’s . (2014), and the crowd-funded . (., 2016). It considers the aesthetic strategies used to depict the past, particularly the adaptation of authentic documents such as diaries, photographs, and letters. Close readings of the primary texts are situated 作者: 獎牌 時(shí)間: 2025-3-28 20:59
The Past That Will Not Die: Trauma, Race, and Zombie Empire in Horror Comics of the 1950soned against the growth of economic, cultural, and ideological empire in the early Cold War. Domestic contexts contribute to racialized readings and the perceived threat of the burgeoning Civil Rights movement to existing racial, social, and economic hierarchies. Lastly, the zombie can be read in te作者: Palpable 時(shí)間: 2025-3-28 23:33
Traumatic Moments: Retrospective ‘Seeing’ of Violation, Rupture, and Injury in Three Post-millennialcts of culture and society is especially significant in an Indian context, where traditional, established visual representations of India and ‘Indianness’ have until now been mostly celebratory and uncritical of such issues.作者: prediabetes 時(shí)間: 2025-3-29 03:52
Visual Detention: Reclaiming Human Rights Through Memory in Leila Abdelrazaq’s ides with the individual and shapes their autonomy as a subject, Abdelrazaq uses the medium to assert a fundamental right to exist and a right to narrate the experience of the lives of the dispossessed—in her case, Palestinian refugees.作者: 逢迎白雪 時(shí)間: 2025-3-29 08:27 作者: Digitalis 時(shí)間: 2025-3-29 13:35
Introduction: Documenting Trauma in Comics,ky’ concept that troubles disciplinary boundaries, before suggesting that comics such as Art Spiegelman’s . (1980–1991) have played a significant role in the active .—rather than simply reflection or reification—of cultural and academic conceptions of trauma. It then turns to a critical overview of
