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Zeitschriftenmonitor 08: Neue Ausgaben

Der Zeitschriftenmonitor ist eine Unterkategorie des Monitors. Hier werden in unregelmäßigen Abständen kürzlich erschienene Ausgaben und Artikel internationaler Zeitschriften zur Comicforschung sowie Sonderhefte mit einschlägigem Themenschwerpunkt vorgestellt. Die Ankündigungstexte und/oder Inhaltsverzeichnisse stammen von den jeweiligen Websites.
Haben Sie Anregungen oder Hinweise auf Neuerscheinungen, die übersehen worden sind und hier erwähnt werden sollten? Das Team freut sich über eine Mail an redaktion@comicgesellschaft.de.
Zu früheren Monitoren


 

Inks: The Journal of the Comics Studies Society 4.1

online (im Abonnement)
Website

  • Neal Curtis: The Specters of Captain America: Time and the Haunting of American Politics
  • J. V. Miranda, Joseph Turner: Watchmen and Speculating on the Future of the Humanities
  • Layli Maria Miron: No Reclaimed Homeland: Thi Bui’s Postcolonial Historiography in The Best We Could Do
  • Adrienne Resha: The Blue Age of Comic Books
  • Rebecca Wanzo: Identity Temporalities and American Born Chinese
  • Dale Jacobs, Heidi Jacobs: Comics and Public History: The True Story of the 1934 Chatham Coloured All-Stars

Imagetext 11.3

Themenschwerpunkt: ImageTech: Comics and Materiality

online (open access)
Website

  • Madeline B. Gangnes, Megan Fowler, Jaquelin Elliott: ImageTech: Comics and Materiality
  • Madeline B. Gangnes: Introduction
  • Aaron Kashtan: Comics Are for Everyone: Rethinking Histories of Comics Fandom
  • Mita Mahato: Material Comics
  • Anastasia Salters: #NostalgiaGate? Comics as Battleground in Transmedia Networked Publics
  • Claudia Maria Acosta: Print_and_PDF Culture: The Transmediation of Public Intimacy, Allied Readership and Feminist Collage by Millennial Zinesters
  • Allison Bannister: A Fairytale Box of Thermochromic Fragments: Comics Materiality, Theory and Praxis
  • Carolina Martins: Extending Realities, Expanding Readings? Spatial Reconfigurations and Activated Presence in XR Comics‘ Experiences
  • Elaine Sponholtz: Object Lessons: Comics Creators Roundtable on Materiality and Comics
  • Tomasz Żaglewski: The Unwrapped Editions: Searching for the “Ultimate” Format of Graphic Novels and its Limitations

 

Journal of Graphic Novels and Comics

online (im Abonnement)
Website

  • Aneurin Wright: Shame, sexuality, mental health and comics
  • Sam Hester: Indie comics in Alberta: two stories from the field
  • Matt Reingold: Israeli graphic novels & the second Palestinian Intifada: ‘Jamilti’, Exit Wounds & Mike’s Place
  • Samantha Golding, Diarmuid Verrier: Teaching people to read comics: the impact of a visual literacy intervention on comprehension of educational comics
  • Loren Barbour: ‘Nemeses! Dragons! Symbolism!’: queering the fantasy hero narrative in Nimona
  • Debra Dudek: Silent sequences and ontological entanglement in Shaun Tan’s The Arrival and Pat Grant’s Blue
  • Anne Rüggemeier: Transformative list-making: challenging heteronormativity and ableism in Ellen Forney’s somatographies
  • Gonzalo M. Pavés: The discreet charm of the butterfly pierced by a pin. Federico Fellini, Milo Manara, and the comic book
  • Olga Michael: PTSD and female sexuality in the aftermath of childhood and adolescent sexual abuse in Una’s Becoming Unbecoming
  • Meg-John Barker: Plural selves, queer, and comics
  • Ivo Jirásek: Holistic leisure education through the Czech Rapid Arrows comics
  • Bruce Mutard: Vita Longa, Ars Breva
  • Sydney Phillips Heifler: Romance comics, dangerous girls, and the importance of fathers
  • Benjamin Fraser: Tactile comics, disability studies and the mind’s eye: on “A Boat Tour” (2017) in Venice with Max
  • Cara Gormally: The baby-making black hole
  • Tatiana Prorokova-Konrad: Child soldiers in transatlantic graphic narratives of war
  • Fionnuala Doran: Alone amidst X-men: Rogue, sexuality, and mental illness
  • J. Andrew Deman: Busting Loose: Ms. Marvel and post-rape trauma in X-Men comics
  • Pfunzo Sidogi: (South) Africa’s online animation revolution: the case of Jonas Lekganyane’s The adventures of Noko Mashaba
  • Jillian Fleck: A stranger heritage: Canadian identity in the comics of Michael DeForge
  • Vlad Beronja: Twilight zones of history: Aleksandar Zograf’s Regards from Serbia and the Serbian alternative comics of the 1990s
  • Giorgio Busi Rizzi: Immigrant song: nostalgic tensions in Shaun Tan’s The Arrival
  • Maria Pagès: The spreading of technical knowledge in post-Civil War Spain: the example of Josep Escobar
  • Tomasz Żaglewski: From white eagles to turbopoles. The specifics of superhero narratives in Polish comic books
  • Tomasz Żaglewski: The Impossibles revived: Hanna-Barbera’s superhero universe in TV and comics
  • Camilla Baasch Andersen: Musings on the comic book contract project and legal design thinking
  • Paul Mountfort: Tintin, gender and desire
  • Keith Friedlander: Beyond alternative: Michael DeForge and the new grotesque
  • Delilah Bermudez Brataas: Gods and monsters: authorial creation in Gaiman’s Sandman and McCreery and Del Col’s Kill Shakespeare
  • Leonie Brialey: Varieties of sincerity and irony in the work of Michael Leunig and Mary Leunig
  • Paul Uhlmann: Lines of doubt, fear and tenderness in the work of José Luis Cuevas and Tommi Parrish

Programm der Comfor-Jahrestagung 2020: „Comics & Agency“

Termin:
08.10.2020 - 10.10.2020

15. Jahrestagung der Gesellschaft für Comicforschung:

Comics & Agency: Actors, Publics, Participation

Online | Live via Zoom

Anmeldung:

Es gibt keine Tagungsgebühr; eine vorherige Registrierung unter comfor@comicgesellschaft.de bis spätestens zum 5. Oktober 2020 ist jedoch notwendig.

Organisator_innen:

Vanessa Ossa (University of Cologne)
Jan-Noël Thon (Norwegian University of Science and Technology)
Lukas R. A. Wilde (University of Tuebingen)

Programm:
Donnerstag, 8. October 2020
13:30 CEST Welcome and Introduction: Christina Meyer (Free University Berlin), Vanessa Ossa (University of Cologne), Jan-Noël Thon (Norwegian University of Science and Technology), Lukas R. A. Wilde (University of Tuebingen)
Panel 1: Digital Agency
14:00 CEST
  • Nicolle Lamerichs (HU University of Applied Sciences Utrecht):
    Comics Interfaces: Digital Innovation and Fandom on Webtoon
  • Giorgio Busi Rizzi (Ghent University):
    Won’t Somebody Please Think of the Readers? Digital Comics Enhancing and Undermining the Agency of Their Users
  • Hans-Joachim Backe (IT University of Copenhagen):
    Who Controls the Speech Bubbles? Refl ecting on Agency in Comic-Games
15:30 CEST Coffee Break
Panel 2: Intermedial Agency
16:00 CEST
  • Manuel Herrero-Puertas (National Taiwan University):
    “Unconquerable and Simple”: Whitman, Democracy, Comics
  • Greice Schneider (Universidade Federal de Sergipe):
    Telling Stories with Photo-Archives: Narrativizing Visual Archives through Documentary Comics
  • Jared Gardner (The Ohio State University):
    Playing Comics, Reading Games
17:30 CEST Coffee Break
Keynote 1
18:00 CEST Henry Jenkins (University of Southern California):
Comics and Stuff
Award Ceremony: Martin-Schüwer-Preis 2020
20:00 CEST Dorothee Marx (University of Kiel), Daniel Stein (University of Siegen), and the Winner of the Martin-Schüwer-Preis

 

Freitag, 9. October 2020
Panel 3: Authorial Agency
11:30 CEST
  • Georges Felten (University of Zurich):
    Moving Pictures: “Anti-Authorial” Dynamics in Wilhelm Busch’s Max und Moritz
  • Laura Glötter (Heidelberg University):
    Comics Artist versus Artistic Genius: Authorship and Metafi ction in Fiske’s and Kverneland’s Kanon
  • Jörn Ahrens (University of Giessen):
    Ada in the Jungle and Aya in Yop City: Doing Gender and Doing Africa
13:00
CEST
Lunch Break
Panel 4: Editorial Agency
14:00 CEST
  • Jaqueline Berndt (Stockholm University): Distributive Agents Coming to the Fore: The Manga Editor in Recent Media Texts
  • Barbara Eggert (University of Art and Design Linz):
    Distribution and Publication as Topics in Autobiographical Graphic Novels and Comics Anthologies
  • Jessica Burton (University of Luxembourg):
    Tintin’s Global Journey: Invisible Actors behind a Europeanisation of the Comics Industry in the 1960s
15:30 CEST Coffee Break
Panel 5: Distributional Agency
16:00 CEST
  • Shawna Kidman (University of California San Diego):
    Licensing and Licensors as Agents of Change in US Comic Book Publishing
  • Romain Becker (École Normale Supérieure de Lyon):
    How Reprodukt Creates Series
  • Ian Horton (University of the Arts London) and John Miers (Kingston University London):
    Issues of Agency when Archiving and Displaying Mini-Comics from the Les Coleman Collection
17:30 CEST Coffee Break
Keynote 2
18:00 CEST Mel Gibson (Northumbria University):
Librarians, Agency, Young People, and Comics: Graphic Account and the Development of Graphic Novel Collections in Public Libraries in Britain in the 1990s
Virtual Comic Museum Erlangen
20:00 CEST Lisa Neun and Ralf Marczinczik

 

Samstag, 10. October 2020
Open Forum
11:30 CEST
  • Cathérine Lehnerer (Academy of Fine Arts Vienna):
    Comic Workshops: New Ways to Shape Participation in Education
  • Janina Wildfeuer, Ielka van der Sluis, and Gisela Redeker (University of Groningen):
    No Laughing Matter? Analyzing Instructional First-Aid Comics
  • Mark Hibbett (University of the Arts London):
    Toward a Tool for Measuring Transmedia Character Coherence
13:00
CEST
Lunch Break
Panel 7: Fan Agency (Part I)
14:00 CEST
  • Benjamin Woo (Carleton University):
    The Self-Commodifi cation of Comics Fandoms: From “Active” to “Agentic” Audiences?
  • Matthew J. Smith (Radford University):
    Pilgrimage to Hall H: Fan Agency at Comic-Con
  • Suzanne Scott (University of Texas at Austin):
    Towards an Aesthetics of Noncompliance: Comics Iconography and Fan Tattoos
15:30 CEST Coffee Break
Panel 8: Fan Agency (Part II)
16:00 CEST
  • Safiyya Hosein (Ryerson University/York University):
    Muslim Manga: Fandom Discourses and Issues of Cultural Participation
  • Anke Marie Bock and Ashumi Shah (University of Augsburg):
    Death of the Endless and Fan Projections
  • Christopher Pizzino (University of Georgia):
    Comics and the Omnipotent Reader: The Body of Richard C. Meyer
17:30 CEST Coffee Break
Concluding Discussion: Where Do We Go from Here?
18:00 CEST Vanessa Ossa (University of Cologne), Jan-Noël Thon (Norwegian University of Science and Technology),
Lukas R. A. Wilde (University of Tuebingen)

 

Hier gibt es das Programm zum herunterladen als PDF-Datei.

Monitor 60: Neue Publikationen

Im Monitor werden in unregelmäßigen Abständen aktuelle Publikationen aus den letzten 6 Monaten vorgestellt, die für die Comicforschung relevant sein könnten. Die kurzen Ankündigungstexte dazu stammen von den jeweiligen Verlagsseiten. Haben Sie Anregungen oder Hinweise auf Neuerscheinungen, die übersehen worden sind und hier erwähnt werden sollten? Das Team freut sich über eine Mail an redaktion@comicgesellschaft.de.
Zu früheren Monitoren.


Language Play in Contemporary Swedish Comic Strips

Language Play and Creativity, Bd. 3

Kristy Beers Fägersten
De Gruyter
214 Seiten
Juni 2020
Verlagsseite

„This book focuses on the unexplored context of contemporary Swedish comic strips as sites of innovative linguistic practices, where humor is derived from language play and creativity, often drawing from English and other European languages as well as social and regional dialects of Swedish. The overall purpose of the book is to highlight linguistic playfulness in Swedish comic strips, as an example of practices as yet unobserved and unaccounted for in theories of linguistic humor as applied to comics scholarship.
The book familiarizes the reader with the Swedish language and linguistic culture as well as contemporary Swedish comic strips, with chapters focusing on specific strategies of language play and linguistic humor, such as mocking Swedish dialects and Swedish-accented foreign language usage, invoking English language popular culture, swearing in multiple languages, and turn-final code-switching to English to signal the punchline.
The book will appeal to readers interested in humor, comics, or how linguistic innovation, language play, and language contact each can further the modern development of language, exemplified by the case of Swedish.“

Graphic Indigeneity: Comics in the Americas and Australasia *

Frederick Luis Aldama (Hg.)
University Press of Mississippi
400 Seiten
Juni 2020
Verlagsseite

„Cultural works by and about Indigenous identities, histories, and experiences circulate far and wide. However, not all films, animation, television shows, and comic books lead to a nuanced understanding of Indigenous realities.
Acclaimed comics scholar Frederick Luis Aldama shines light on how mainstream comics have clumsily distilled and reconstructed Indigenous identities and experiences. He and contributors emphasize how Indigenous comic artists are themselves clearing new visual-verbal narrative spaces for articulating more complex histories, cultures, experiences, and narratives of self.
To that end, Aldama brings together scholarship that explores both the representation and misrepresentation of Indigenous subjects and experiences as well as research that analyzes and highlights the extraordinary work of Indigenous comic artists. Among others, the book examines Daniel Parada’s Zotz, Puerto Rican comics Turey el Taíno and La Borinqueña, and Moonshot: The Indigenous Comics Collection.
This volume’s wide-armed embrace of comics by and about Indigenous peoples of the Americas and Australasia is a first step to understanding how the histories of colonial and imperial domination connect the violent wounds that still haunt across continents. Aldama and contributors resound this message: Indigeneity in comics is an important, powerful force within our visual-verbal narrative arts writ large.“

 

Rebuilding Story Worlds: The Obscure Cities by Schuiten and Peeters

East Asian Popular Culture

Jan Baetens
Rutgers University Press
198 Seiten
Juni 2020
Verlagsseite

„A collaboration between Belgian artist François Schuiten and French writer Benoît Peeters, The Obscure Cities is one of the few comics series to achieve massive popularity while remaining highly experimental in form and content. Set in a parallel world, full of architecturally distinctive city-states, The Obscure Cities also represents one of the most impressive pieces of world-building in any form of literature.
Rebuilding Story Worlds offers the first full-length study of this seminal series, exploring both the artistic traditions from which it emerges and the innovative ways it plays with genre, gender, and urban space. Comics scholar Jan Baetens examines how Schuiten’s work as an architectural designer informs the series’ concerns with the preservation of historic buildings. He also includes an original interview with Peeters, which reveals how poststructuralist critical theory influenced their construction of a rhizomatic fictional world, one which has made space for fan contributions through the Alta Plana website.
Synthesizing cutting-edge approaches from both literary and visual studies, Rebuilding Story Worlds will give readers a new appreciation for both the aesthetic ingenuity of The Obscure Cities and its nuanced conception of politics.“

The Ages of the Black Panther: Essays on the King of Wakanda in Comic Books *

Joseph J. Darowski (Hg.)
McFarland
234 Seiten
Juli 2020
Verlagsseite

„Black Panther was the first black superhero in mainstream comic books, and his most iconic adventures are analyzed here. This collection of new essays explores Black Panther’s place in the Marvel universe, focusing on the comic books. With topics ranging from the impact apartheid and the Black Panther Party had on the comic to theories of gender and animist imagery, these essays analyze individual storylines and situate them within the socio-cultural framework of the time periods in which they were created, drawing connections that deepen understanding of both popular culture and the movements of society. Supporting characters such as Everett K. Ross and T’Challa’s sister Shuri are also considered. From his creation in 1966 by Jack Kirby and Stan Lee up through the character’s recent adventures by Ta-Nehisi Coates and Brian Stelfreeze, more than fifty years of the Black Panther’s history are addressed.“

 

Archie’s Rivals in Teen Comics, 1940s-1970s: An Illustrated History

Michelle Nolan
McFarland
266 Seiten
Juni 2020
Verlagsseite

„This is the first book to comprehensively examine the multitude of non-Archie teen humor comic books, including girls and boys such as Patsy Walker, Hedy Wolfe, Buzz Baxter and Wendy Parker from Marvel; Judy Foster, Buzzy, Binky and Scribbly from DC; Candy from Quality Comics; and Hap Hazard from Ace Comics. It covers, often for the first time, the history of the characters, who drew them, why (or why not) they succeeded as rivals for the Archie Series, highlights of both unusual and typical stories and much more. The author provides major plotlines and a history of the development of each series. Much has been written about the Archie characters, but until now very little has been told about most of their many comic book competitors.“

 

Manga Cultures and the Female Gaze

East Asian Popular Culture

Kathryn Hemmann
Palgrave
182 Seiten
April 2020
Verlagsseite

„The female gaze is used by writers and readers to examine narratives from a perspective that sees women as subjects instead of objects, and the application of a female gaze to male-dominated discourses can open new avenues of interpretation. This book explores how female manga artists have encouraged the female gaze within their work and how female readers have challenged the male gaze pervasive in many forms of popular media. Each of the chapters offers a close reading of influential manga and fancomics to illustrate the female gaze as a mode of resistant reading and creative empowerment. By employing a female gaze, professional and amateur creators are able to shape and interpret texts in a manner that emphasizes the role of female characters while challenging and reconfiguring gendered themes and issues.“

 


*Die ComFor-Redaktion bedauert den Mangel an Diversität in dieser Publikation. Wir sind bestrebt, möglichst neutral über das Feld der Comicforschung in all seiner Breite zu informieren und redaktionelle Selektionsprozesse auf ein Minimum zu beschränken. Gleichzeitig sind wir uns jedoch auch der problematischen Strukturen des Wissenschaftsbetriebs bewusst, die häufig dazu führen, dass insbesondere Comicforscherinnen sowie jene mit marginalisierten Identitäten weniger sichtbar sind. Wir wissen, dass dieses Ungleichgewicht oft nicht der Intention der Herausgeber_innen / Veranstalter_innen entspricht und möchten dies auch nicht unterstellen, wollen aber dennoch darauf aufmerksam machen, um ein Bewusstsein für dieses Problem zu schaffen.

Publikationshinweis: Closure 6.5: Obszönität und Tabubruch in den Comics der Familie Crumb

Das Kieler e-Journal für Comicforschung Closure hat – unter tatkräftiger Mitarbeit seitens mehrerer ComFor-Mitglieder_innen – die letzten Wochen und Monate genutzt und nach der letztjährigen Ausgabe zu Nicolas Mahler eine weitere Sondernummer veröffentlicht: herausgegeben von unserer zweiten Vorsitzenden und Mitbegründerin der AG Comicforschung der GfM Véronique Sina und Kalina Kupczynska versammelt die Ausgabe 6.5. Beiträge zur Obszönität und zum Tabubruch in den Comics der Familie Crumb; darunter auch weitere Texte von Comfor-Mitgliedern.

Ankündigungstext:

»[…] in Worten läßt Crumb ständig die Hosen runter, in den zahllosen Zeichnungen aber zieht er sie wieder hoch und schreitet mit festem Schritt sein Terrain ab« schrieb Robert Gernhardt 1982 in Der Spiegel, anlässlich der Veröffentlichung von Robert Crumbs Sketchbook 1966–1967 im deutschen Verlag Zweitausendeins. Zu dieser Zeit war Aline Kominsky-Crumb in Deutschland weitgehend unbekannt, und dies obwohl Crumb ›sein Terrain‹ bereits seit 1972 immer wieder in Form kollaborativer Arbeiten mit ihr teilte. In diesem Zusammenhang spricht Hillary Chute völlig zurecht von einem kulturtypischen »double standard«. Denn während die Künstlerin wiederholt für ihre als ›pornografisch‹ und ›primitiv‹ bezeichneten Werke kritisiert, verkannt und aus der ›kanonischen‹ Comicgeschichtsschreibung sowie -forschung ausgeschlossen wird, wird Robert Crumb, dessen Werke nicht minder kontrovers oder tabubrechend sind, als genialer Comickünstler gefeiert. Dabei vereint ein Aspekt das Comic-Schaffen von Robert Crumb und Aline Kominsky-Crumb mit verblüffender Konsequenz: Beide zeichnen autobiografisch.

Beiträge:

  • Ole Frahm: »How could anyone say that our work is repetitious.« »I yam what I yam an’ thass al I yam…« – Differenz und Wiederholung der autobiografischen Comicfigur in den gemeinsamen Arbeiten von Aline Kominsky-Crumb und Robert Crumb
  • Kalina Kupczynska : »Ärger mit den Frauen«. VerCrumbte Bekenntnisse an der Kreuzung der Diskurse
  • Katharina Serles: The Book of Robert. Crumb und die ›illustrierte‹ Schöpfung
  • Aline Kominsky-Crumb, Sarah Lightman: Aline Kominsky Crumb in conversation with Sarah Lightman
  • Lukas Etter: »It[’]s a Relief !«Verbal Aspects of Aline Kominsky’s Style
  • Véronique Sina: »The Good, the Bad, and the Ugly« Obszönität und Tabubruch in den Comics von Aline Kominsky-Crumb
  • Joanna Nowotny: Gesammelte Subjektivität. Paradoxien und Analogien von Form, Inhalt und Rahmung in Sophie Crumbs The Evolution of a Crazy Artist

Weitere Informationen zu den Beiträgen sowie die PDF der Ausgabe finden sich auf der Webseite der Closure.

 

Publikationshinweis: ComFor Tagungsband „Spaces Between“

Wir freuen uns, die Publikation des Tagungsbands der 13. ComFor Jahrestagung, die im September 2018 in Köln stattfand, zu verkünden. Unter Herausgeberscchaft der ComFor-Mitglieder Nina Eckhoff-Heindl und Véronique Sina versammelt der Band unter dem Titel Spaces Between: Gender, Diversity, and Identity in Comics einschlägige Beiträge zahlreicher Mitglieder und nicht-Mitglieder.

 

Nina Eckhoff-Heindl and Véronique Sina (eds.)

Spaces Between: Gender, Diversity, and Identity in Comics

Springer, 2020

ISBN 978-3-658-30115-6

 

Verlagsbeschreibung:

„The contributions gathered in this volume exhibit a great variety of interdisciplinary perspectives on and theoretical approaches to the notion of spaces between’. Theydraw our attention to the nexus between the medium of comics and the categories of difference as well as identity such as gender, dis/ability, age, and ethnicity, in order to open and intensify an interdisciplinary conversation between comics studies and intersectional identity studies.“ → zur Verlagsseite

Inhalt:

  • Cocca, Carolyn: „Reproducing Inequality and Representing Diversity: The Politics of Gender in Superhero Comics“
  • Blank, Juliane: „Gendered Violence and Structures of Power. Reclaiming the Victim Narrative in the Netflix Show Marvel’s Jessica Jones
  • Brown, Jeffrey A.: „Spider-Analogues: The Unmarking and Unmasking of White Male Superheroism“
  • Crawford, Philip: „My Noose Around that Pretty’s Neck: Meditations on Matt Baker’s Good Girls
  • Miller, Ann: „The Nude and the Naked: From Fine Art to Comics“
  • Rauchenbacher, Marina, und Katharina Serles: „Fragmented and Framed. Precarious ‘Body Signs’ in Comics by Regina Hofer, Ulli Lust, Barbara Yelin and Peer Meter“
  • Veith, Natalie: „Othering Voices and the Voice of the Other: The Depiction of Joseph Merrick in From Hell
  • Neldner, Jonas: „Dis/ability and Hybridity: The Bodies of Charles Burns“
  • Becker, Romain: „The Binary Comics of a Non-binary Artist: How Vaughn Bodé’s Identity Structured His Art“
  • Eckhoff-Heindl, Nina: „Branford the Best Bee in the World. The Socio-Culturally Imprinted Self of Anthropomorphic Bodies“
  • Sina, Véronique: „‚If only I’d had a nose job‘. Representations of the Gendered Jewish Body in the Works of Aline Kominsky-Crumb“
  • Berndt, Jaqueline: „Manga Aging: Grannies and Gutters
  • Oksman, Tahneer: „An Art of Loss“

→ Zum Bericht der 13. ComFor Jahrestagung
→ Zur Übersicht aller ComFor Jahrestagungen
→ Zur Übersicht aller ComFor Tagungsbände