The Trauma Graphic Novel

Romero-Jódar, Andrés

doi:10.4324/9781315296616

Cited by 19 publications

(2 citation statements)

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“…Lene Hansen argues that scholars should not overlook comics and graphic novels like these because they “may not come forth as explicit attempts to impact foreign policymaking or even as inputs to broader political debates, yet they rely upon and produce particular representations of international subjectivity and practices of significance for world politics, including, for example, diplomacy and military intervention” (582). But most scholarship on graphic novels about war focuses on texts like Maus and Palestine , which are more numerous than texts like Roll Hard and Executive Outcomes (Adams; Gilmore; Thorsten; Romero‐Jódar). Likewise, scholarly discussions of graphic novels about war often focus on the role of the genre in classroom teaching (Christensen; Decker and Castro).…”

Section: Graphical and Historical Landscapesmentioning

confidence: 99%

Private Military Companies and Neoliberal Adventure in Roll Hard (2013) and Executive Outcomes (2015)

Covey¹

2018

The J of Popular Culture

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Section: Graphical and Historical Landscapesmentioning

confidence: 99%

Private Military Companies and Neoliberal Adventure in Roll Hard (2013) and Executive Outcomes (2015)

Covey¹

2018

The J of Popular Culture

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“…Bajo el concepto de novela gráfica el cómic tuvo la oportunidad de liberarse tanto de las fórmulas genéricas tomadas de la ficción popular como de las férreas restricciones impuestas por los formatos preestablecidos por la industria, que dictaban el espacio que tenían para contar su historia. Esa liberación venía dada sobre todo por la necesidad de afrontar narrativamente un territorio vital enmarcado las más de las veces por una experiencia dolorosa, en muchas ocasiones de naturaleza traumática (Romero-Jódar, 2017;Orbán, 2020). Will Eisner había disfrazado de ficción la pérdida de su hija en Contrato con Dios.…”

Section: Introducción: La Lectura Enriquecida Del Relato Traumáticounclassified

Repertorios iconográficos y modalidades textuales.

Cabado

2023

Ocnos

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Este artículo pretende estudiar las diferentes estrategias para encontrar un lenguaje que exprese sentimientos traumáticos. Se centra en la obra de Emile Ferris Lo que más me gusta son los monstruos y en Una entre muchas de Una. El análisis está estructurado en dos niveles: por un lado, la construcción de repertorios iconográficos que configuran visualmente la historia y, por otro lado, las modalidades textuales concebidas como un dispositivo para organizar el texto y otorgarle significado al discurso. Mientras que Emil Ferris usa lo que podríamos denominar una especie de Koiné gráfica enraizada en las convenciones de las películas y cómics de terror, Una crea un nuevo código gráfico para dibujar imágenes simbólicas que son válidas solo para ese contexto: crea un idiolecto gráfico. Lo que me más gusta son los monstruos está construido sobre formas textuales como el diario y la historia policíaca mientras que Una entre muchas se vale de las formas del reportaje y de los textos de no ficción. Ambos hechos tienen su repercusión en el aspecto visual de las historias y regulan las condiciones de lectura.

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Introduction: Documenting Trauma in Comics

Davies

2020

Palgrave Studies in Comics and Graphic Novels

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elastic concept that weaves and loops along networks of institutional and social knowledges, reshaping political and cultural forms, and linking once discrete categories through enticing analogies and metaphorical shadows. Trauma is 'sticky', gathering into its shape multiple affects and forms, and assuming multiple bearings and dispositions-as Sara Ahmed has written of emotional objects more generally, trauma might be said to 'become sticky, or saturated with affect, as [a site] of personal and social tension' (2014: 11; my emphasis). As Ahmed would likely suggest, we have to 'feel our way' to trauma, a critical and affective poise that, for comics scholar Kate Polak, is built into the readerly encounter with trauma that is documented specifically in graphic narratives (2017: 30). As writers, drawers, and readers of comics, we privilege our embodied reflexes to trace the traces of trauma that imprint themselves on muscles and membranes, buildings and landscapes, monuments and narratives. In this reading, trauma is only ever a shadow of itself.Maurice E. Stevens offers one useful definition, among many: 'By trauma, I mean the sets of practices that provide explanatory narratives, organise interpersonal and material relations, and establish meaningful frameworks for understanding relatedness, temporality, and embodiment vis-avis "overwhelming events". Trauma, here, is an ingathering of practices, a cultural object ' (2016: 26).A sticky concept, an emotional object, a cultural form: trauma does not so much describe as it produces; it cannot so much be represented as it can be documented. Trauma work is, for Stevens, not about describing events, but making them (28); it involves compiling and reifying an event or process into and as a narrative of trauma. It is then a 'socially mediated attribution'; it may be made in real time as an event occurs, long after the fact, or even before it takes place (Alexander, 2012: 13).As Luckhurst insists, 'cultural narratives have been integral not just in consolidating the idea of posttraumatic subjectivity, but have actively helped form it ' (2008: 15). Highlighting both visual and popular cultures in particular, Luckhurst (2018: 296) emphasises-with the support of Latour and others-that scientific concepts, psychological terminologies, and psychiatric diagnoses are

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The Trauma Graphic Novel

Cited by 19 publications

References 0 publications

Private Military Companies and Neoliberal Adventure in Roll Hard (2013) and Executive Outcomes (2015)

Private Military Companies and Neoliberal Adventure in Roll Hard (2013) and Executive Outcomes (2015)

Repertorios iconográficos y modalidades textuales.

Introduction: Documenting Trauma in Comics

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