|
" Redrawing the historical past : "
edited by Martha J. Cutter and Cathy J. Schlund-Vials.
| Document Type
|
:
|
BL
|
| Record Number
|
:
|
846909
|
| Title & Author
|
:
|
Redrawing the historical past : : history, memory, and multiethnic graphic novels /\ edited by Martha J. Cutter and Cathy J. Schlund-Vials.
|
| Publication Statement
|
:
|
Athens :: The University of Georgia Press,, [2018]
|
|
|
:
|
, ©2018
|
| Page. NO
|
:
|
1 online resource
|
| ISBN
|
:
|
0820352020
|
|
|
:
|
: 9780820352022
|
|
|
:
|
0820352004
|
|
|
:
|
0820352012
|
|
|
:
|
9780820352008
|
|
|
:
|
9780820352015
|
| Bibliographies/Indexes
|
:
|
Includes bibliographical references and index.
|
| Contents
|
:
|
Cover; Half Title; Title; Copyright; CONTENTS; Foreword Frederick Luis Aldama, "Coloring a Planetary Republic of Comics"; Acknowledgments; Introduction Martha J. Cutter and Cathy J. Schlund-Vials, "Redrawing the Historical Past: History, Memory, and Multiethnic Graphic Novels"; Chapter 1 Martha J. Cutter, "Redrawing Race: Renovations of the Graphic and Narrative History of Racial Passing in Mat Johnson and Warren Pleece's Incognegro"; Chapter 2 Taylor Hagood, "Nostalgic Realism: Fantasy, History, and Brer Rabbit-Trickster Ambiguity in Jeremy Love's Bayou"Love's Bayou" Love's Bayou."
|
|
|
:
|
Chapter 11 Katharine Capshaw, "Fractured Innocence in G. Neri and Randy DuBurke's Yummy: The Last Days of a Southside Shorty"Chapter 12 Jennifer Glaser, "Art Spiegelman and the Caricature Archive"; Bibliography; Contributors; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; X; Y.
|
|
|
:
|
Chapter 3 Caroline Kyungah Hong, "Teaching History through and as Asian/American Popular Culture in Gene Luen Yang's Boxers and Saints"Chapter 4 Monica Chiu, "Who Needs a Chinese American Superhero? Gene Luen Yang and Sonny Liew's The Shadow Hero as Asian American Historiography"; Chapter 5 Julie Buckner Armstrong, "Stuck Rubber Baby and the Intersections of Civil Rights Historical Memory"; Chapter 6 Jorge Santos, "On Photo-Graphic Narrative: 'To Look-Really Look' into Lila Quintero Weaver's Darkroom."
|
|
|
:
|
Chapter 7 Jeffrey Santa Ana, "Environmental Graphic Memory: Remembering the Natural World and Revising History in Vietnamerica"Chapter 8 Catherine H. Nguyen, "Illustrating Diaspora: History and Memory in Vietnamese American and French Graphic Novels"; Chapter 9 Angela Laflen, "Punking the 1990s: Cristy C. Road's Historical Salvage Project in Spit and Passion"; Chapter 10 Cathy J. Schlund-Vials, "Speculative Fictions, Historical Reckonings, and 'What Could Have Been': Scott McCloud's The New Adventures of Abraham Lincoln."
|
| Abstract
|
:
|
Redrawing the Historical Pastexamines how multiethnic graphic novels portray and revise U.S. history. This is the first collection to focus exclusively on the interplay of history and memory in multiethnic graphic novels. Such interplay enables a new understanding of the past. The twelve essays explore Mat Johnson and Warren Pleece's Incognegro, Gene Luen Yang's Boxers and Saints, GB Tran's Vietnamerica, Scott McCloud's The New Adventures of Abraham Lincoln, Art Spiegelman's post-Mauswork, and G. Neri and Randy Du Burke's Yummy: The Last Days of a Southside Shorty, among many others. The collection represents an original body of criticism about recently published works that have received scant scholarly attention. The chapters confront issues of history and memory in contemporary multiethnic graphic novels, employing diverse methodologies and approaches while adhering to three main guidelines. First, using a global lens, contributors reconsider the concept of history and how it is manifest in their chosen texts. Second, contributors consider the ways in which graphic novels, as a distinct genre, can formally renovate or intervene in notions of the historical past. Third, contributors take seriously the possibilities and limitations of these historical revisions with regard to envisioning new, different, or even more positive versions of both the present and future. As a whole, the volume demonstrates that graphic novelists use the open and flexible space of the graphic narrative page-in which readers can move not only forward but also backward, upward, downward, and in several other directions-to present history as an open realm of struggle that is continually being revised.--
|
| Subject
|
:
|
Comic books, strips, etc-- History and criticism.
|
| Subject
|
:
|
Ethnicity in literature.
|
| Subject
|
:
|
Graphic novels-- History and criticism.
|
| Subject
|
:
|
History in literature.
|
| Subject
|
:
|
Memory in literature.
|
| Subject
|
:
|
Minorities in literature.
|
| Subject
|
:
|
Narration (Rhetoric)-- Social aspects.
|
| Subject
|
:
|
ART-- Techniques-- Drawing.
|
| Subject
|
:
|
Comic books, strips, etc.
|
| Subject
|
:
|
Ethnicity in literature.
|
| Subject
|
:
|
Graphic novels.
|
| Subject
|
:
|
History in literature.
|
| Subject
|
:
|
HISTORY-- United States-- 21st Century.
|
| Subject
|
:
|
Memory in literature.
|
| Subject
|
:
|
Minorities in literature.
|
| Subject
|
:
|
Narration (Rhetoric)-- Social aspects.
|
| Dewey Classification
|
:
|
741.5/9
|
| LC Classification
|
:
|
PN6714.R43 2017eb
|
| Added Entry
|
:
|
Cutter, Martha J.
|
|
|
:
|
Schlund-Vials, Cathy J.,1974-
|
| |