Titlebook: Documenting Trauma in Comics; Traumatic Pasts, Emb Dominic Davies,Candida Rifkind Book 2020 The Editor(s) (if applicable) and The Author(s)

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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

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Mosaic

Documenting Trauma in Comics978-3-030-37998-8Series ISSN 2634-6370 Series E-ISSN 2634-6389

Asparagus

招募

978-3-030-38000-7The Editor(s) (if applicable) and The Author(s) 2020

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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

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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

爭(zhēng)議的蘋果

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

北極熊

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

Assemble

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