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Some of these have been reviewed by IJOCA and we'd be glad to hear from interested reviewers about others. Mike Rhode mrhode@ gmail. com Comic Books, Graphic Novels and the Holocaust Beyond Maus Chapter 8 Not seeing Auschwitz
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<h2><font size="2"><span style="font-weight:normal">Some of these have been reviewed by IJOCA and we'd be glad to hear from interested reviewers about others.<br></span></font></h2><div>Mike Rhode</div><div><a href="mailto:mrhode@gmail.com" target="_blank">mrhode@gmail.com</a></div><div><br></div><div>
<div class="gmail-page-header gmail-first-page-header">
<h2>
</h2><h2>Comic Books, Graphic Novels and the Holocaust</h2>
<p class="gmail-lead"></p>
<p>Beyond Maus</p>
<h2>Chapter 8 Not seeing Auschwitz</h2>
<p class="gmail-lead"></p>
<p>Memory, generation and representations of the Holocaust in twenty-first century French comics<br>
</p>
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<div class="gmail-row">
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<img alt="Thumbnail" class="gmail-img-thumbnail" src="https://library.oapen.org/bitstream/handle/20.500.12657/29554/9781138598645_oachapter8.pdf.jpg?sequence=3&isAllowed=y"></div>
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</div></div></div></div></div></div><div class="gmail-col-sm-4"><div class="gmail-row">
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<div class="gmail-simple-item-view-authors gmail-item-page-field-wrapper gmail-table">
<h5>Author(s)</h5>
<div class="gmail-ds-dc_contributor_author-authority">Gorrara, Claire</div>
</div>
<div class="gmail-item-page-field-wrapper">
<h5>Language</h5>English</div>
<div class="gmail-simple-item-view-show-full gmail-item-page-field-wrapper gmail-table">
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/29554?show=full__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJ77hlCl0$">Show full item record</a>
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<div class="gmail-simple-item-view-description gmail-item-page-field-wrapper gmail-table">
<div>We are reaching a point in history when the generation who
experienced the Holocaust as survivors, witnesses or exiles will
soon disappear. What happens to our relationship to such a
momentous event in global history when our living connection
with such a past is broken? To answer this question, this article
will explore recent French representations of the Holocaust
through the comic book. It will approach such representations
from the perspective of the grandchildren of those who were
affected by the Holocaust, perhaps the last generation to have
personal ties to this wartime past. It will focus specifically on
Jérémie Dres’s Nous n’irons pas voir Auschwitz (2011), translated as
We Won’t Go and See Auschwitz. As a “third generation” narrative,
Dres’s work is attentive to stories of Jewish exile and loss to be
found on the margins of Holocaust histories. This perspective
translates into an openness towards transnational histories of the
Holocaust; a recognition of place as a substitute for living memory
and an awareness of comics’ potential to innovate in the
transmission of Holocaust memories. Ultimately, this article will
argue that the contemporary comic book acts as a privileged
vehicle of remembrance, indicative of the reordering of Holocaust
representations in an age of cultural memory.</div>
</div>
<div class="gmail-item-page-field-wrapper">
<h5>Book</h5>
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/29555__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJuZ5ynbQ$">Comic Books, Graphic Novels and the Holocaust</a>
</div>
<div class="gmail-simple-item-view-uri gmail-item-page-field-wrapper gmail-table">
<h5>URI</h5>
<span><a href="https://urldefense.com/v3/__http://library.oapen.org/handle/20.500.12657/29554__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJc11dX_8$">http://library.oapen.org/handle/20.500.12657/29554</a></span>
</div>
<div class="gmail-item-page-field-wrapper">
<h5>Keywords</h5>Holocaust; twenty-first century; french comics;
Auschwitz concentration camp; Comic book; France; Graphic novel;
Jérémie; Jews; Poland; The Holocaust; Warsaw</div>
<div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<h5>ISBN</h5>9781138598645</div>
<div class="gmail-item-page-field-wrapper">
<h5>OCN</h5>1051778721</div>
<div class="gmail-item-page-field-wrapper">
<h5>Publisher</h5>
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/22274__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJxkece1g$">Taylor & Francis</a>
</div>
<div class="gmail-item-page-field-wrapper">
<h5>Publisher website</h5>
<a href="https://urldefense.com/v3/__https://taylorandfrancis.com/__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJ4zffkl8$">https://taylorandfrancis.com/</a>
</div>
<div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<h5>Publication date and place</h5>2018</div>
<div class="gmail-item-page-field-wrapper">
<h5>Imprint</h5>Routledge</div></div>
<div class="gmail-col-sm-8"><div class="gmail-item-page-field-wrapper">-------------------------</div><div class="gmail-item-page-field-wrapper"><br></div><div class="gmail-item-page-field-wrapper">
<div class="gmail-page-header gmail-first-page-header">
<h2>The Narratology of Comic Art</h2>
<p class="gmail-lead"></p>
<p></p>
</div>
<div class="gmail-row">
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<img alt="Thumbnail" class="gmail-img-thumbnail" src="https://library.oapen.org/bitstream/handle/20.500.12657/39883/9781138221550_text.pdf.jpg?sequence=4&isAllowed=y"></div>
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<h5>Author(s)</h5>
<div class="gmail-ds-dc_contributor_author-authority">Mikkonen, Kai</div>
</div>
<div class="gmail-item-page-field-wrapper">
<h5>Language</h5>English</div>
<div class="gmail-simple-item-view-show-full gmail-item-page-field-wrapper gmail-table">
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/39883?show=full__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJRnaDULg$">Show full item record</a>
</div>
</div>
<div class="gmail-col-sm-8">
<div class="gmail-simple-item-view-description gmail-item-page-field-wrapper gmail-table">
<div>By placing comics in a lively dialogue with contemporary narrative
theory, The Narratology of Comic Art builds a systematic theory of
narrative comics, going beyond the typical focus on the Anglophone
tradition. This involves not just the exploration of those properties in
comics that can be meaningfully investigated with existing narrative
theory, but an interpretive study of the potential in narratological
concepts and analytical procedures that has hitherto been overlooked.
This research monograph is, then, not an application of narratology in
the medium and art of comics, but a revision of narratological concepts
and approaches through the study of narrative comics. Thus, while
narratology is brought to bear on comics, equally comics are brought to
bear on narratology.</div>
</div>
<div class="gmail-simple-item-view-uri gmail-item-page-field-wrapper gmail-table">
<h5>URI</h5>
<span><a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/39883__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJ8GopELQ$">https://library.oapen.org/handle/20.500.12657/39883</a></span>
</div>
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<h5>Keywords</h5>comics; graphic novels; media studies</div>
<div class="gmail-item-page-field-wrapper">
<h5>DOI</h5>10.4324/9781315410135</div>
<div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<h5>ISBN</h5>9780367884949, 9781138221550, 9781315410128</div>
<div class="gmail-item-page-field-wrapper">
<h5>Publisher</h5>
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/22274__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJxkece1g$">Taylor & Francis</a>
</div>
<div class="gmail-item-page-field-wrapper">
<h5>Publisher website</h5>
<a href="https://urldefense.com/v3/__https://taylorandfrancis.com/__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJ4zffkl8$">https://taylorandfrancis.com/</a>
</div>
<div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<h5>Publication date and place</h5>2017</div>
<div class="gmail-item-page-field-wrapper">
<h5>Imprint</h5>Routledge</div><div class="gmail-item-page-field-wrapper">-----------------------------------</div><div class="gmail-item-page-field-wrapper"><br></div><div class="gmail-item-page-field-wrapper">
<div class="gmail-page-header gmail-first-page-header">
<h2>Good White Queers? Racism and Whiteness in Queer U.S. Comics<br>
</h2>
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<img alt="Thumbnail" class="gmail-img-thumbnail" src="https://library.oapen.org/bitstream/handle/20.500.12657/48339/9783839449172.pdf.jpg?sequence=3&isAllowed=y"></div>
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<h5>Author(s)</h5>
<div class="gmail-ds-dc_contributor_author-authority">Linke, Kai</div>
</div>
<div class="gmail-item-page-field-wrapper">
<h5>Language</h5>English</div>
<div class="gmail-simple-item-view-show-full gmail-item-page-field-wrapper gmail-table">
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/48339?show=full__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJgowNWA8$">Show full item record</a>
</div>
</div>
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<div class="gmail-simple-item-view-description gmail-item-page-field-wrapper gmail-table">
<div>How do white queer people portray our own whiteness? Can we, in the
stories we tell about ourselves, face the uncomfortable fact that,
while queer, we might still be racist? If we cannot, what does that say
about us as potential allies in intersectional struggles? A careful
analysis of Dykes To Watch Out For and Stuck Rubber Baby by queer comic
icons Alison Bechdel and Howard Cruse traces the intersections of
queerness and racism in the neglected medium of queer comics, while a
close reading of Jaime Cortez's striking graphic novel Sexile/Sexilio
offers glimpses of the complexities and difficult truths that lie beyond
the limits of the white queer imaginary.</div>
</div>
<div class="gmail-simple-item-view-uri gmail-item-page-field-wrapper gmail-table">
<h5>URI</h5>
<span><a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/48339__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJcf6L9dE$">https://library.oapen.org/handle/20.500.12657/48339</a></span>
</div>
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<h5>Keywords</h5>Comics; Racism; Whiteness; Queer Theory; Sexuality; Gender; Media; Comic; Gender Studies; Cultural Studies</div>
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<h5>DOI</h5>10.14361/9783839449172</div>
<div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<h5>ISBN</h5>9783839449172, 9783837649178, 9783839449172</div>
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<h5>Publisher</h5>
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/22403__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJNUfqq4I$">transcript Verlag</a>
</div>
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<h5>Publisher website</h5>
<a href="https://urldefense.com/v3/__https://www.transcript-verlag.de/__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJZRMadBI$">https://www.transcript-verlag.de/</a>
</div>
<div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<h5>Publication date and place</h5>Bielefeld, 2021</div>
<div class="gmail-item-page-field-wrapper">
<h5>Imprint</h5>transcript Verlag</div>
<div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<h5>Series</h5>Queer Studies, 23</div><div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">---------------------------------</div><div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<div class="gmail-page-header gmail-first-page-header">
<h2>Reading Autobiographical Comics: A Framework for Educational Settings</h2>
<p class="gmail-lead"></p>
<p></p>
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<img alt="Thumbnail" class="gmail-img-thumbnail" src="https://library.oapen.org/bitstream/handle/20.500.12657/42379/9783631823385.pdf.jpg?sequence=3&isAllowed=y"></div>
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<h5>Author(s)</h5>
<div class="gmail-ds-dc_contributor_author-authority">Oppolzer, Markus</div>
</div>
<div class="gmail-item-page-field-wrapper">
<h5>Language</h5>English</div>
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<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/42379?show=full__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJLWuNQKI$">Show full item record</a>
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<div>This book updates reader-response criticism as the foundation of
aesthetic reading in the classroom by bringing it in line with cognitive
theories in literary studies and linguistics. With the help of Gilles
Fauconnier and Mark Turner‘s conceptual integration theory, which shares
a surprising number of correspondences with Wolfgang Iser‘s The Act of
Reading, it is possible to flesh out the latter‘s model of narrative
meaning-making. In turn, this allows for a consistent reader-response
approach to the medium of comics and auto/biography as one of its
dominant genres. The fragmentation of comics narratives, but also of
human lives and identities, requires such a theory that can explain how
different perspectives and experiences can be blended into an
experiential whole.</div>
</div>
<div class="gmail-simple-item-view-uri gmail-item-page-field-wrapper gmail-table">
<h5>URI</h5>
<span><a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/42379__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJLpBQ29k$">https://library.oapen.org/handle/20.500.12657/42379</a></span>
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<h5>Keywords</h5>Literature: history and criticism; Education; Teaching
skills and techniques; Teaching of a specific subject; Philosophy and
theory of education</div>
<div class="gmail-item-page-field-wrapper">
<h5>DOI</h5>10.3726/b17018</div>
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<h5>Publisher</h5>
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/22446__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJDTXsOZw$">Peter Lang International Academic Publishers</a>
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<h5>Publisher website</h5>
<a href="https://urldefense.com/v3/__https://www.peterlang.com/__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJanOrgwo$">https://www.peterlang.com/</a>
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<h5>Publication date and place</h5>Bern, 2020</div><div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table"><br></div><div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">------------------------------</div><div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table"><br></div><div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
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<h2>Typical Girls: The Rhetoric of Womanhood in Comic Strips<br>
</h2>
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<h5>Author(s)</h5>
<div class="gmail-ds-dc_contributor_author-authority">Kirtley, Susan E.</div>
</div>
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<h5>Collection</h5>Knowledge Unlatched (KU)</div>
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<h5>Language</h5>English</div>
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<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/48520?show=full__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJNMgqOwQ$">Show full item record</a>
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<div class="gmail-simple-item-view-description gmail-item-page-field-wrapper gmail-table">
<div>In the years following 1975, a group of female-created comic strips
came to national attention in a traditionally male-dominated medium.
Typical Girls: The Rhetoric of Womanhood in Comic Strips uncovers the
understudied and developing history of these strips, defining and
exploring the ramifications of this expression of women’s roles at a
time of great change in history and in comic art. This impressive,
engaging, and timely study illustrates how these comics express the
complexities of women’s experiences, especially as such experiences were
shaped by shifting and often competing notions of womanhood and
feminism. Including the comics of Lynn Johnston (For Better or For
Worse), Cathy Guisewite (Cathy), Nicole Hollander (Sylvia), Lynda Barry
(Ernie Pook’s Comeek), Barbara Brandon-Croft (Where I’m Coming From),
Alison Bechdel (Dykes to Watch Out For), and Jan Eliot (Stone Soup),
Typical Girls is an important history of the representation of womanhood
and women’s rights in popular comic strips.</div>
</div>
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<h5>URI</h5>
<span><a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/48520__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJNBIMxNs$">https://library.oapen.org/handle/20.500.12657/48520</a></span>
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<h5>Keywords</h5>Literary Criticism; Women Authors; Literary Criticism; Comics & Graphic Novels</div>
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<h5>DOI</h5><a href="https://urldefense.com/v3/__https://doi.org/10.26818/9780814214572__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJn3b9TJo$">https://doi.org/10.26818/9780814214572</a></div>
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<h5>Publisher</h5>
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/22462__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJHn2gO18$">The Ohio State University Press</a>
</div>
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<h5>Publisher website</h5>
<a href="https://urldefense.com/v3/__https://ohiostatepress.org/__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJekLZuuM$">https://ohiostatepress.org/</a>
</div>
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<h5>Publication date and place</h5>2021</div>
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<h5>Imprint</h5>The Ohio State University Press</div><div class="gmail-item-page-field-wrapper">----------------------</div><div class="gmail-item-page-field-wrapper">
<div class="gmail-page-header gmail-first-page-header">
<h2>PathoGraphics: Narrative, Aesthetics, Contention, Community<br>
</h2>
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<h5>Contributor(s)</h5>
<div>Squier, Susan M (editor)<a href="https://urldefense.com/v3/__https://orcid.org/0000-0002-0061-8201__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJBtgj9rU$" target="_blank" class="gmail-orcid_icon"> <img alt="cc" src="https://library.oapen.org/themes/Mirage2//images/orcid_icon.png"></a>
</div>
<div>Krüger-Fürhoff, Irmela Marei (editor)</div>
</div>
<div class="gmail-page-header gmail-first-page-header">
<h2>Chapter 7 Crafting Psychiatric Contention Through Single-Panel Cartoons</h2>
<p class="gmail-lead"></p>
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<h5>Author(s)</h5>
<div class="gmail-ds-dc_contributor_author-authority">Spandler, Helen<a href="https://urldefense.com/v3/__https://orcid.org/0000-0002-0970-5141__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJkhJ7ggs$" target="_blank" class="gmail-orcid_icon"> <img alt="cc" src="https://library.oapen.org/themes/Mirage2//images/orcid_icon.png"></a>
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<h5>Collection</h5>Wellcome</div>
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<h5>Language</h5>English</div>
<div class="gmail-simple-item-view-show-full gmail-item-page-field-wrapper gmail-table">
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/47038?show=full__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJufywfn8$">Show full item record</a>
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<div>This chapter explores the role of cartoons in contesting
psychiatric knowledge and practice. It suggests that cartoons are an
increasingly important element in the growing repertoire of contention
of the psychiatric survivor movement. It explores how survivor activists
have drawn on creative countercultural traditions of art and subversion
to create new styles of psychiatric contention. Specifically, it
examines the unique role of single-panel cartoons in actively
challenging prevailing notions of normalcy, treatments and systems. It
presents some cartoons that appeared in the UK-based magazine Asylum
magazine from 1986-2016 and analyses how they are used to articulate key
themes of psychiatric contention: ECT; self-harm; psychiatric
diagnosis; and recovery. It suggests the cartoons encapsulate key
psychiatric critiques and communicates their critical messages in a
vivid, accessible and often humorous way. Moreover, the author suggests
they are a distinctive form of what Arthur W Frank has called
‘survivorship as craft’ and tentatively suggests they are a particular
‘style’ of contestation, created by psychiatric survivors.</div>
</div>
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<h5>Book</h5>
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/47037__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJjdsD33o$">PathoGraphics</a>
</div>
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<h5>URI</h5>
<span><a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/47038__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJuQfdScU$">https://library.oapen.org/handle/20.500.12657/47038</a></span>
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<h5>Keywords</h5>psychiatry; cartoons; knowledge; practice</div>
<div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<h5>ISBN</h5>97802710816170</div>
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<h5>Publisher</h5>
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/29686__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJBFwi7Gk$">Penn State University Press</a>
</div>
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<h5>Publisher website</h5>
<a href="https://urldefense.com/v3/__http://www.psupress.org/__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJKpbWa1g$">http://www.psupress.org/</a>
</div>
<div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
<h5>Publication date and place</h5>2020</div><div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">-----------------------------</div><div class="gmail-simple-item-view-date gmail-word-break gmail-item-page-field-wrapper gmail-table">
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<h2>How Comics Travel - Publication, Translation, Radical Literacies<br>
</h2>
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<h5>Author(s)</h5>
<div class="gmail-ds-dc_contributor_author-authority">Kelp-Stebbins, Katherine</div>
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<h5>Collection</h5>Knowledge Unlatched (KU)</div>
<div class="gmail-item-page-field-wrapper">
<h5>Language</h5>English</div>
<div class="gmail-simple-item-view-show-full gmail-item-page-field-wrapper gmail-table">
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/54156?show=full__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJvxlsbOo$">Show full item record</a>
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<div>Engages with comics as sites of struggle over representation by
developing a new methodology of reading for difference in transnational
contexts.</div>
</div>
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<h5>URI</h5>
<span><a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/54156__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJt4QpwUo$">https://library.oapen.org/handle/20.500.12657/54156</a></span>
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<h5>Keywords</h5>Literary Criticism; Comparative Literature; Literary
Criticism; Comics & Graphic Novels; Literary Criticism; Modern; 20th
Century</div>
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<h5>DOI</h5><a href="https://urldefense.com/v3/__https://doi.org/10.26818/9780814215043__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJ393Goto$">https://doi.org/10.26818/9780814215043</a></div>
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<h5>Publisher</h5>
<a href="https://urldefense.com/v3/__https://library.oapen.org/handle/20.500.12657/22462__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJHn2gO18$">The Ohio State University Press</a>
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<h5>Publisher website</h5>
<a href="https://urldefense.com/v3/__https://ohiostatepress.org/__;!!KGKeukY!xIvlziqNeNH-H6T9VE-7ZrE_p83AGazvocl3CtSQiJtv8GgutbmghkskVhdJ1pHoLrxw3N1PcXs-vhTY6jPJekLZuuM$">https://ohiostatepress.org/</a>
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<h5>Publication date and place</h5>2022</div></div>
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