Tropes of Comics and Manga:
Between Genres, Conventions and Database Knowledge

2nd International CLOSURE Conference, 19.–21.11.2026

Keynote Speakers: Stephan Packard (Cologne) and Jaqueline Berndt (Stockholm)

Comics and manga work intensively with recurring, conventionalized situations: the superhero’s backstory wound, the laconic animal reflection in the four-panel strip, the alliance of hero and antagonist against a greater threat. Such standard situations are increasingly referred to as tropes in both popular and academic discourse, and the term carries a peculiar tension between fan cultures and scholarly inquiry. Platforms like TVtropes.org have been systematizing an extensive body of classificatory knowledge for over twenty years, currently comprising more than 30,000 entries across more than 80,000 media texts, while continuously negotiating the rules of correct classification. The ethos of these descriptions—“contrast this to,” “downplayed here,” “subverted as”—deserves to be taken seriously. Yet against the studied, if often ironically inflected, precision of individual articles, the overarching question of what distinguishes a trope in the first place, at which levels we locate it, and how it changes historically, remains productively open.

In the rhetorical tradition, “trope” designates a figure of figurative language: analogy, metonymy, oxymoron. In popular usage, trope tends to describe the scale of a conventionalized scene and its constellation of characters. Bakhtin’s (1981 [1975]) chronotope, for instance, prefigures actions and encounters in characteristic spacetimes, just as the dark alleyway implies the mugging and the crossroads the encounter between strangers. At the broader macro-level of plot structure, Campbell’s (2008 [1949]) hero’s journey has also been understood as an identifiable trope. What lies between rhetorical figure, scene type, and macro-plot, however, remains theoretically underdeveloped, and this conference aims to address that gap more precisely. The goal is to move beyond implicitly assumed concepts such as “cliché,” “stereotype,” or “motif,” as well as beyond unreflective adoption of the TVtropes framework, which has so far served primarily as a starting point for ideological critique of gender categories and representation. The precise scaling of the trope, its structural, semantic, and iconographic determinacy, remains an unresolved problem (Kunz and Wilde 2023, 51–70).

Comics and manga raise particularly pressing medium-specific questions in this regard. Manga in particular has repeatedly been characterized as “database consumption,” in which the anticipation of categories and narrative structures constitutes a significant part of the reading experience (Kacsuk 2016). But do the recurring, often schematically simplified figures of hand-drawn comics also encourage a particularly “tropistic” mode of storytelling? Does the seriality of the medium play with recognizability and variation in ways that are distinct from other media? If comics are to be understood as an inherently parodic medium (Frahm 2010), this might be expected to work against the affirmative, quasi-naive use of tropes—yet such use is undeniably widespread. Where does this contradiction come from, and what does it say about the relationship between formal reflexivity and generic convention in comics?

These questions have a pronounced transmedia dimension as well. Many tropes appear to be so shaped by their medium that their translation into live-action formats long proved unsuccessful, or became possible only through modern CGI technology. In his new Superman (2025), James Gunn cites interdimensional invasions in the background of the image, as tropes that require no further plausibilization. A plot that would first need to establish and naturalize them would be a non-starter. Similar dynamics can be observed in live-action adaptations of anime, which enjoyed little critical success before the Netflix One Piece adaptation (2023), perhaps precisely in their handling of tropistic characters, scenes, and character designs. Transmediality becomes a test case here for what in a trope is medium-specific and what is structurally anchored in narrative.

Tropes are also politically far from neutral. The sexist “Women in Refrigerator” trope is only the most familiar example of how hegemony, othering, and intersectional categories such as gender, race, class, and dis/ability are reproduced or subverted at the level of the scene (Sina 2021). Whether comics and manga structurally prefigure tropes toward subversive or affirmative uses, or whether this can only be determined case by case, is one of the most open and productive questions in the field. It also touches on the ideological weight of trope literacy in fan hierarchies and fan practices, where recognizing, naming, and varying tropes constitutes a distinct form of cultural knowledge.

The 2nd International CLOSURE Conference engages with these questions theoretically, analytically, historically, and through ideological critique.

Thursday, 19.11.2026 (WSP2 – R.214 – Hörsaal)

15:00: Welcome and Introduction:
Lukas R.A. Wilde (Trondheim) with Zoltán Kacsuk & Magnus Pfeffer (Stuttgart)

1. Panel: Mediality of Tropes

16:00: Martin Hennig & Christopher Zysik (Tübingen/Paderborn): Sichtbarkeit und Wissensordnung durch trope-Zuschreibung in Fan kuratierten Datenbanken

17:00: Mark Hibbett (London):
Issues of Medium-specificity in a Unified Catalogue of Transmedia Character Components

18:00: Short Break

18:30: Keynote Stephan Packard (Cologne):
When and Where Did Topoi Turn Into Tropes? Reflections On Comics‘ Popular Aesthetics as Laboratories and Databases

20:00: Dinner

Friday, 20.11.2026 (WSP2 – R.214 – Hörsaal)

2. Panel: Gendering and Queering Tropes

10:00: Vanessa Ossa (Cologne):
Invincible Iron Man als Paradigma verletzlicher Männlichkeit

11:00: Anneke Schewe & Melissa Schuh (Kiel):
“Oh. You’re Being Gay. Good Job. Carry on” – Serial Characterisation, Queer Joy and Queer Tropes in Alice Oseman’s Heartstopper

12:00: Yun-Jou Chen (Mainz):
Wer lacht hier? Die „Angst vor der Ehefrau“-trope zwischen Reproduktion und Subversion in chinesischsprachigen Comics

13:00: Lunch Break

3. Panel: Tropes in Manga

15:00: Fredrik Strömberg (Malmö):
The Eroding Divide between Shōnen and Shōjo – Rumiko Takahashi’s Inuyasha, a Catalyst for Change?

16:00: Arnold Bärtschi (Bochum):
Production and Reception Aesthetics of Tropes in the Manga Bakuman

17:00: Katharina Hülsmann (Düsseldorf):
Tropes in Original German Language Manga

18:00: Short Break

18:30: Keynote Jaqueline Berndt (Stockholm):
Mangaesque Eyes: On the Media-specific Performativity of an Infamous Iconographic Device

20:00: Dinner

Saturday, 21.11.2026 (WSP2 – R.214 – Hörsaal)

4. Panel: Adapting and Deconstructing Tropes

10:00: Kay Schwemer (Halstenbeck):
Tropes der Fantastischen Literatur in Le Horla von Guy de Maupassant und ihre Übertragung in Adaptionen der Novelle in Comics – Potentiale für den Französischunterricht in Deutschland

11:00: Francesca Bravi (Kiel):
„Parodien sind eine ernste Angelegenheit.“ Leo Ortolanis Rat-Man: ein Superheld ohne Superkräfte

12:00: Tamar Barbakadze (Vienna):
The Chronotope of Resistance: Deconstructing the “Counter-Infrastructure” Trope in Contemporary Graphic Narratives

13:00: Conclusions

Download Book of Abstracts as Pdf

Re-envisioning Time Across ImageTexts

Mit Beiträgen von u.A. Giorgio Busi Rizzi, Arnold Bärtschi und Ole Frahm.

Keynote speaker: Prof. Dr. Kai Mikkonen, The University of Helsinki, Finland

Veranstaltungstext:

„This conference brings together scholars and practitioners to explore the intersections between imagetexts and dominant/alternative/counter temporalities.  The topic of time in Comics Studies has always received its share of attention. Among its earlier examples, we find Scott McCloud’s exploration of gutter-spaces and sequentiality (1994) and Thierry Groensteen’s advanced theorisation of spatio-topical networks (1999), including more recent analyses of the topic, such as Kai Mikkonen’s exploration of time in The Narratology of Comic Art (2017), Jan Baetens’ multiple contributions to the topic (i.e. ‘Gap or Gag’ (2020)), as well as Groensteen’s latest La Bande dessinée et le temps (2022). As ‘comics exist in time’ (Baetens, 2022), their temporal existence seems to stretch beyond purely spatial relations, including manifold interconnections that constitute the growing body of research on time in comics, often following Bergsonian critique of spatiality (Conard & Lambeen, 2012). What is especially intriguing in this respect is the way in which temporal relations in imagetexts further resonate with our socio-political realities, in which historical metanarratives become naturalized through specific regimes of reading, looking, and more broadly, ‘experiencing’ time, and where story-time and discourse-time are further informed by the time ‘out there’ as our historical time.
As a continuation of this critical polylogue, this conference seeks to provide a platform for furthering the discussion on time construction and perception in comics, while expanding the object of inquiry to include broader constellations of imagetexts: static printed and digital media where image and text intersect, merge, or collide in creative ways, including illustrated prose, collage, visual poetry, zines, film still assemblages, scrapbooks, and experimental mixed-media works.“

The conference takes place in person, with the keynote and roundtable being available in a hybrid form. To receive the link to the online streaming of these two events, please, contact the organizers via email.  Feel free to get in touch:
Svitlana Stupak (svitlana.stupak@uni-siegen.de) and Silvia Vari (silviaericavari@gmail.com) for any questions.

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Vom Mi, 8.7.2026 bis zum Fr, 10.7.2026, findet eine Tagung der 34. Internationalen Sommerakademie des Instituts für jüdische Geschichte Österreichs in Kooperation mit dem Literaturhaus Wien / Österreichische Exilbibliothek statt:

„Samson, Superwoman und Krusty, der Clown – Jüdische Bilder Geschichten vom Mittelalter bis zur Gegenwart“

Unter den Vortragenden befinden sich auch ComFor-Mitglieder Ralf Palandt und Ole Frahm.

Ankündigungstext:
„Jüdische Geschichte ist seit mehreren Jahrzehnten ein Stoff, der auch in Comics und Graphic Novels verarbeitet wird. Ende der 1980er Jahre erschien Art Spiegelmans Comic »Maus«, das die Shoah auf neue Weise thematisierte und dafür mit dem Pulitzer-Preis ausgezeich net wurde. Von »Maus« be ein flusst, setzte in der Folge ein regel rechter Boom ein. Auch die 34. Internationale Sommerakademie setzt sich mit jüdischen Bilder-Geschichten aus einan der. Sie nimmt nicht nur mehrere Epo chen und Themen in den Blick, sondern auch die ganze Bandbreite künstlerischer Genres. Historische Er eig nisse oder die Aben teuer realer und er fun de ner jüdischer Held:innen wurden nicht nur in Comics und Trickfilmen erzählt, sondern auch in der Buch malerei des Mittelalters oder in früh neu zeit lichen Flugblättern. Die Som mer aka demie rückt Künstler:innen und Leser:innen, Selbst- und Fremd bilder, Genres und Medien sowie jüdisch-nichtjüdische Beziehungen ins Bild.“

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