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Why are so many contemporary comics and graphic narratives written as memoirs or documentaries of traumatic events? Is there a specific relationship between 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…
Why are so many contemporary comics and graphic narratives written as memoirs or documentaries of traumatic events? Is there a specific relationship between 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…
This book foregrounds the figure of the perpetrator in a selection of British, American, and Canadian comics and explores questions related to remembrance, justice, and historical debt. Its primary focus is on works that deliberately estrange the figure of the perpetrator–through fantasy, absurdism, formal ambiguity, or provocative rewriting–and thus allow readers to engage anew with…
This book foregrounds the figure of the perpetrator in a selection of British, American, and Canadian comics and explores questions related to remembrance, justice, and historical debt. Its primary focus is on works that deliberately estrange the figure of the perpetrator–through fantasy, absurdism, formal ambiguity, or provocative rewriting–and thus allow readers to engage anew with…
Die Ausgangsfrage dieser Untersuchung ist, wie sich eine Gesellschaft an den 1. Weltkrieg erinnert und inwiefern sich diese Erinnerung mit der Zeit wandelt. Das Phänomen eines solchen “kollektiven Gedächtnisses” und die verschiedenen Konzepte von Halbwachs, Nora (“lieux de mémoire”), Jan Assmann (“kulturelles Gedächtnis”) und Aleida Assmann (“Funktions- und Speichergedächtnis” des kulturellen Gedächtnisses) bilden den theoretischen…
