Volume 1. Comics and the historical imagination in the United States -- volume 2. Comics and the historical imagination in the world. Volume 1. Acknowledgments -- Introduction / Dorian L. Alexander, Michael Goodrum, and Philip Smith -- Coming home to "legacy": Marvel's problem with history / Martin Flanagan -- Diana in no man's land: Wonder Woman and the history of the World War / Bridget Keown and Maryanne Rhett -- Flags of our fathers: imperial decline, national identity, and allohistory in Marvel Comics / Lawrence Abrams and Kaleb Knoblauch -- The Buckaroo of the Badlands: Carl Barks, Don Rosa, and (Re)Envisioning the West / Peter Cullen Bryan -- Victor Charles and Marvin the ARVN: Vietnamese as enemy and ally in American war comic books / Stephen Connor -- Magneto the Survivor: redemption, Cold War fears, and the "Americanization of the Holocaust" in Chris Claremont's Uncanny X-Men (1975-1991) / Martin Lund -- "How would you like to go back through the ages -- in search of yourself?": time travel comics, internationalism, and the American Century / Jordan Newton -- Federal Bureau of Illustration: comics depictions of J. Edgar Hoover / Max Bledstein -- When Hawkman met Tailgunner Joe: how the Justice Society of America constructs the Fifties as a usable past / Matthew J. Costello -- AfterShock's Rough Riders and reification of race reimagined / Christina M. Knopf -- "Out there hunting monsters": Manifest Destiny, the monstrosity of the American West, and the gothic character of American history / Michael Fuchs and Stefan Rabitsch -- Contributors -- Index. Volume 2. Acknowledgments -- Introduction -- Beyond paper walls / Adam Fotos -- A tarnished Bronze Age? Divergent comic book receptions of Homeric Greece / Chris Bishop -- "The gutters of history": geopolitical pasts and imperial presents in recent graphic nonfiction / Dominic Davies -- Back to the (socialist) future: history, time travel, and East German education in Mosaik von Hannes Hegen, 1958-74 / Sean Eedy -- Why hair matters: cultural impact and appreciation in Viking and modern societies / Lillian Céspedes González -- Re-presenting the past, reinventing comics: the reader/viewer as witness in Joe Sacco's The Great War / Małgorzata Olsza -- "Monstrez-vous en Tutu": obsessional Identity and interpersonal histories in the post-traumatic bandes dessinées of Nawel Louerrad / Edward Still -- Zikai Feng's Chinese cartoons during the War of Resistance against Japan / Jing Zhang -- "At the Going Down of the Sun": vampires, comics, and the world wars / David Budgen -- "Rogues, devilry, and strange wonders": re-presenting early modernity in Neil Gaiman's Marvel 1602 / David Hitchcock -- The world as it was/could have been? The depiction and (re)Interpretation of Medieval history in Jour J / Iain A. MacInnes -- Perverse Victoriana in The League of Extraordinary Gentlemen / Robert Hutton -- Japan's Joan of Arc: deterritorializing the Maid of Orleans through manga / Simon Gough -- "An All-Purpose Symbol": V for Vendetta and the History of a Floating Signifier Called Guy / Lewis Call -- Contributors -- Index.
Summary:
"Contributions by Dorian L. Alexander, Lawrence Abrams, Max Bledstein, Peter Cullen Bryan, Stephen Connor, Matthew J. Costello, Martin Flanagan, Michael Fuchs, Michael Goodrum, Bridget Keown, Kaleb Knoblach, Christina M. Knopf, Martin Lund, Jordan Newton, Stefan Rabitsch, Maryanne Rhett, and Philip Smith "This enjoyable collection of essays illustrates America as a fluid construction politically, historically, and culturally. The essays perform a tricky tightrope walk between knowledge of comics and their production, comics form, and history." -Joan Ormrod, author of Wonder Woman: The Female Body and Popular Culture and editor of the Journal of Graphic Novels and Comics Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States, the first book in a two-volume series, provides a map of current approaches to comics and their engagement with historical representation. The first section of the book on history and form explores the existence, shape, and influence of comics as a medium. The second section concerns the question of trauma, understood both as individual traumas that can shape the relationship between the narrator and object, and historical traumas that invite a reassessment of existing social, economic, and cultural assumptions. The final section on mythic histories delves into ways in which comics add to the mythology of the US"-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.