爆米花
发表于 2025-3-28 15:45:07
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
奖牌
发表于 2025-3-28 20:59:01
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
Palpable
发表于 2025-3-28 23:33:18
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.
prediabetes
发表于 2025-3-29 03:52:06
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.
逢迎白雪
发表于 2025-3-29 08:27:47
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Digitalis
发表于 2025-3-29 13:35:07
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