Titlebook: Comics Memory; Archives and Styles Maaheen Ahmed,Benoît Crucifix Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Memory and

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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

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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

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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

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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

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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

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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