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

Conscientious

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

PAGAN

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..? ? ? ? ? ? ? ??.

accomplishment

synchronous

葡萄糖

音樂等

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

Vulnerary

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.

heterodox

維持

污穢

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