The Journal Monitor is a subcategory of the regular Monitor. It is an irregularly published overview of issues of international journals on comics studies as well as special issues on corresponding topics. The introductory texts and/or tables of contents come from the respective websites.
Do you have suggestions or information on new releases that have been overlooked and should be introduced on our website? Please let us know via email: email@example.com.
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Journal of Graphic Novels and Comics
online (via subscription)
- Sylvain Rheault: A surge of Indigenous graphic novels
- Anthony N. Castle: Who took the comi’cuts? Whatever happened to Ginger Meggs?
- Miren Junkal Guevara Llaguno: Chester Brown´s Bible in Mary Wept Over the Feet of Jesus
- Catherine Appleton: The theory-practice interplay in creating a graphic memoir about the trauma of forced migration
- Christopher S. Markle: The new Australian: an observation of inexperienced and outsider views in Perth comics
- David Lewkowich: Traumatic loss and productive impasse in comics: Visual metaphors of depression and melancholia in Jillian and Mariko Tamaki’s This One Summer
- Shilpa Shirishkumar Tanna, Geetha Bakilapadavu: Revealing Layers: Sarnath Banerjee’s The Barn Owl’s Wondrous Capers
- Kindall Fredricks: ‘Meeting beneath faraway rivers:’ Examining the impact of graphic medicine through the aids memorial quilt and 7 Miles a Second
- Daniel Marrone: Towards jouissance: Pleasure and frustration in the work of Patrick Kyle
- Neal Curtis: Superheroes and the mythic imagination: Order, agency and politics
- E. Dawson Varughese: ‘Drawing thoughts together’: Indian artists’ reflections on the post-millennial Indian graphic narratives scene
ImageText 11.2 (2019-2020)
online (open access)
- Michelle Ann Abate: The Far Side of Comeeks: Gary Larson, Lynda Barry, and Ugliness
- Irenae A. Aigbedion: Graphic Accounts of Violence: Visualizing Slavery in American Comics
- Willi Barthold: The Swordsman as the Artist: Aesthetics of Fragmentation in Eiichirō Oda’s One Piece and 21st Century Cultural Hybridity
- Chamara Moore: Have We Cleared the Intersection Yet?: Black Women in Comic Film Adaptations
- Matt Reingold: The Heritage Broker and the Cultural Mediator: Navigating the Past and the Present in Liana Finck’s A Bintel Brief: Love and Longing in Old New York
- Juha Virtanen: ‘What face … will the bogeyman of this dark century wear?’ Politicizing a Contemporary Joker Juha Virtanen
IJOCA: International Journal of ComicArt 21.1 (2019)
print (via subscription)
- Ronald Stewart: Itō Hirobumi’s Nose: Syphilis in Early 20th Century Japanese Cartoons
- Paul M. Malone: “You Are Leaving the French Sector”: Flix’s Spirou in Berlin and the Internationalization of German Comics
- Anton Kannemeyer: As I Please: A Personal Reflection on Censorship
- Annabelle Cone: The “Bobo” (bourgeois-bohème) as Post-Modern Figure? Gentrification and Globalization in Dupuy and Berberian’s Monsieur Jean and Boboland
- Tania Pérez-Cano: Graphic Testimonies of the Balsero Crisis of 1994: Narratives of Cuban Detainees at the Guantánamo Naval Base
- Ana Merino: Comics Reinventing Creativity in the Museum: Some Thoughts about the Show “Viñetas Desbordadas/Overflowing Panels”
- Jon Holt: Ishii Takashi, Beyond 1979: Ero Gekiga Godfather, GARO Inheritor, or Shōjo Manga Artist?
- Daniel F. Yezbick: Of Bears, Birds, and Barks: Animetaphoric Antagonism and Animalscéant Anxieties within Dell Funny Animal Franchise Comics
- John A. Lent: Wang Ning, Beijing Total Vision Culture Spreads Co. Ltd., and the Transnationalization of Chinese Comic Books
- Alvaro Alemán, Eduardo Villacís: Pointed Language: Reading Paola Gaviria’s Virus Tropical (2009) from the Perspective of the Visual Protocols of the Graphic Novel
- Héctor Fernández L’Hoeste: On Butterflies, Viruses, and Visas: Comics and the Perils of Diasporic Imagined Communities
- Anu Sugathan: The City and the Medium of Comics: Depiction of Urban Space in Sarnath Banerjee’s Corridor and The Barn Owl’s Wondrous Capers
- ComFor member Dietrich Grünewald: Crossing Borders: Graphic Novels Quoting Art (transl.: Christina Little)
- Kent Worcester: That Chameleon Quality: An Interview with R. Sikoryak
- Sara Dallavalle: Popular Format and Auteur Format in Italian Comics. The Case of Magnus
- Sam Cannon, Hugo Hinojosa Lobos: Chile’s Military Dictatorship and Comics as Alternative Methods of Memorialization: Critical Approaches from Contemporary Chilean Graphic Novels
- Leila Sadegh Beigi: Marjane Satrapi’s Persepolis and Embroideries: A Graphic Novelization of Sexual Revolution across Three Generations of Iranian Women
- Mathieu Li-Goyette: A Sublime in Tension Around Alexandre Fontaine Rousseau and Francis Desharnais’ Les Premiers Aviateurs
- Michelle Ann Abate: “They’re Quite Strange in the Larval Stage”: Children and Childhood in Gary Larson’s “The Far Side”
- Magnus Nilsson: Marxism Across Media: Characterization and Montage in Variety Artwork’s Capital in Manga
- Debarghya Sanyal: The Desi Archie: Selling India’s America to America’s India
- Sina Shamsavari: Gay Male Porno Comics: Genre, Conventions, and Challenges
- Anno Moyoco Yasuko Akiyama: Ambitious Women in Male Manga Magazines: Sakuran and Hataraki-Man
- Aimee Vincent: “Hey Kids, Patriarchy!”: Satire and Audience on the Back Covers of Bitch Planet
- Chad A. Barbour: The Fine Art of Genocide: Underground Comix and U.S. History as Horror Story
- John Darowski: Superman’s Remediation of Mid-20th Century American Identity
- Héctor Fernández L’Hoeste: A Matter of Affect: Illustrated Responses to the Immigration Debacle
- Bi Keguan: Random Notes of the Editorial Office of China’s Manhua Magazine (ed.: Bi Weimin, transl..: Xu Ying)
- Chu Der-Chung (Zola Zu) with John A. Lent: The Chus: A Family Teeming with Cartoonists (transl. Xu Ying)
- Alvaro Alemán, Eduardo Villacís: Faith in Comics: Ex-voto Religious Offerings and Comic Art
- Barbara Zocal Da Silva: Translated Hispano-American Comics in Brazil
- Conversation with Jan Ziolkowski and Ariana Chaivaranon: An Afternoon with R. O. Blechman
- John Gardner: Kennedy Conspiracy Comics: ¡en Español!
- Michela Canepari:The Myth of Frankenstein from Mary Shelley to Gris Grimly: Some Intersemiotic and Ideological Issues
Section: The Best We Could Do: A Mini-Symposium
- Isabelle Martin: The Role of Water in the Construction of Refugee Subjectivity in Thi Bui’s The Best We Could Do
- Debarghya Sanyal: A Burden of Tales: Memories, Trauma, and Narratorial Legacies in The Best We Could Do and Munnu
- Francesca Lyn: The Fragmentary Body: Traumatic Configurations in Autobiographical Comics by Women of Color
- A. David Lewis: A Graphic Medicine Prescription
Section: Pioneers in Comics Scholarship
- Kosei Ono: My Life with American Comics: How It Started
- Shefali Elizabeth Mathew: Nature of Reality in the Graphic: “Calvin and Hobbes”
Good news in the academic field of comics studies: the University of East Anglia introduces an MA in Comics Studies – the first one of its kind worldwide, they say -, starting this fall; applications are open now and should not be submitted later than 31st of July 2020. Tuition fees for the academic year 2020/2021 are: £7,850 for full time UK/EU Students and £16,400 for full time international students.
“The MA in Comics Studies is the only MA programme of its kind in the world, and whether you are new to the field of comics studies or are developing existing interests, the programme will serve to deepen and broaden your understanding of comics and their associated cultures.
As a student on the programme, you will learn about comics from a range of international contexts such as Great Britain, the United States, Europe, Japan and others. You will also learn about the various theoretical approaches to studying comics, including the unique ways comics make meaning from the combination of words and images.
World-leading comics scholars will guide you through the complex histories, cultures and politics of the form. You will take a year-long, team-taught module focusing on key issues in comics studies, with additional compulsory modules in the theory and practice of comics studies and the long-standing relationship between film and comics. You will also choose from a wide variety of optional modules that touch upon such issues as politics, gender, sexuality and race in both comics and related media.
Through these modules, you will develop your ability to undertake advanced independent research projects. In addition, you will deepen your critical and analytical skills, especially in relation to understanding and evaluating visual art and storytelling.”
Another helpful resource on comics studies might be Nick Sousanis‘ linklist on comics programs.