|
Spring/Summer
1999
|
218 pages / 18 articles
|
x
|
|||||||||
|
Fall
1999
|
250
pages / 21 articles
|
x
|
|||||||||
|
Spring
2000
|
213
pages / 19 articles
|
x
|
|||||||||
|
Fall
2000
|
331
pages / 19 articles
|
Portfolio:
1o pieces
|
|||||||||
|
Spring
2001
|
302
pages / 24 articles
|
Portfolio:
14 pieces
|
|||||||||
|
Fall
2001
|
344
pages / 24 articles
|
Portfolio:
7 pieces
|
|||||||||
|
Spring
2002
|
322
pages / 27 articles
|
Portfolio:
12 pieces
|
|||||||||
|
Fall
2002
|
375
pages / 22 articles
|
Portfolio:
12 pieces
|
|||||||||
|
Spring
2003
|
426
pages / 29 articles
|
Portfolio:
13 pieces |
|||||||||
|
Fall
2003
|
526
pages / 34 articles
|
1
special Index/Portfolio: 11 pieces
|
|||||||||
|
Spring
2004
|
386
pages / 22 articles
|
Portfolio:
10 pieces
|
|||||||||
|
Fall
2004
|
26
articles
|
Portfolio:
11 pieces
|
|||||||||
|
Spring
2005
|
35
articles
|
Portfolio:
16 pieces
|
|||||||||
| John A. Lent | 1-3 |
Editor's
Notes: Finally, an International Journal for Comic Art
|
|
Joseph
Witek
|
4-16
|
Comics
Criticism in the United States; A Brief Historical Survey
|
|
Matthew
Lombard,
John A. Lent, Linda Greenwood, Asli Tunc |
17-32 | A Frameworks for Studying Comic Art |
|
Allen
Ellis
|
33-41
|
Comic
Art in Scholarly Writing: A Citation Guide
|
|
Peter
Duus
|
42-56
|
The
Marumaru Chinbun and the Origins of the Japanese Political Cartoon
|
|
Gene
Kannenberg, Jr.
|
57-75
|
Proving
"Silas" an Artist: Winsor McCay's Formal Experiments in Comics
and Animation
|
|
Mike
Kidson
|
76-89
|
William
Hogarth: Printing Techniques and Comics
|
|
David
A. Beronä
|
90-103
|
Breaking
Taboos: Sexuality in the Work of Will Eisner and the Early Wordless Novels
|
|
Leif
Packalén
|
104-121
|
Comics
in the Development of Africa
|
|
Bart
Beaty
|
122-139
|
Featuring
Stories by the World's Greates Authors:
Classics Illustrated and the "Middlebrow Problem" in the Postwar Era |
|
Pascal
Lefèvre
|
140-149
|
Recovering
Sensuality in Comic Theory
|
|
John
A. Lent
|
150-156
|
The
Horrors of Cartooning in Slim's Algeria
|
|
David
E. Goldweber
|
157-170
|
Mr.
Punch, Dangerous Savior
|
|
Waldomiro
C. S. Vergueiro
|
171-186
|
Children's
Comics in Brazil: From Chiquinho to Mônica, A Difficult Journey
|
|
Nadilson
Manoel da Silva
|
187-204
|
Brazilian
Adult Comics: The Age of Market
|
|
Sprios
Tsaousis
|
205-218
|
Postmodern
Spatiality and the Narrative Structure of Comics
|
| John A. Lent | 1-3 | Editor's Note |
| Jose Alaniz | 4-28 | Towards a History of a 'Stalled' Medium: Comics in Russia |
| Marc Singer | 29-40 | Invisible Order: Comics, Time and Narrative |
| Anne Rubenstein | 41-54 | Mexican
Magazine Censor Versus the United States Mariens: A Case Study of Transnational Reception |
| Michael A. Chaney | 55-65 | The Dismangling Evolution of Heroes: Aquaman's Amputation |
| John A. Lent | 66-75 | Poland's Malgorzata Tabaka, Drawer of Lyrical Satirical Cartoons |
| Daniel Patanella | 76-85 | The Persuasive Techniques and Psychological Validity of Seduction fo the Innocent |
| Igor Prassel | 86-97 | Slovenian Comics |
| Allen
Douglas Fedwa Malti-Douglas |
98-106 | Islamic "Classics Illustrated": Regendering Medieval Philosophy in a Modern Tunisian Strip |
| Joost Pollmann | 107-126 | An Art of the Real: About the Adulthood of Contemporary Comics |
| Turgut Ceviker | 127-131 | The City and Housing in Turkish Cartoons |
| Mark C. Rogers | 132-142 | Licensing Farming and the American Comic Book Industry |
| Michael G. Rhode | 143-170 | The Commercialization of Comics: A Broad Historical Overview |
| Francis B. Nyamnjoh | 171-190 | Press Cartoons and Politics in Cameroon |
| Caridad Blanco de la Cruz | 191-194 | The Engineering of Humor |
| Stanford W. Carpenter | 195-215 | The Tarzan vs. Predator Comic Book Mini-Series: An Ethnographic Analysis |
| 216-237 | "New Voices in Comics" 1998: A Roundtable | |
| John A. Lent | 238-241 | The Printed Word |
| Mark C. Rogers | 242-243 | Reviews |
| Gene Kannenberg, Jr. | 244-247 | Critical Closure |
| 248-250 | Correspondence | |
| John A. Lent | 1-2 | Editor's Note |
| Leonard Rifas | 3-32 | Cold War Comics |
| Annette matton | 33-43 | Reader Responses to Doug Murray's The 'Nam |
| Wai-ming Ng | 44-56 | A Comparative Study of Japanese Comics in Southeast Asia and East Asia |
| Andrew Matzner | 57-75 | Not a Pretty Picture: Images of Married Life in Thai Comic Books |
| Old Frahm | 76-84 | Weird Signs: Asethstices of Domics as a Parody |
| Maurice Horn | 85-89 | American Comic Strips And Silent Seriable: A prarallel |
| Zdravko Zupan | 90-101 | The Golden Age of Serbian Comics Belgrade Comic Art 1935-1941 |
| John A. Lent | 102-108 | East European Cartooning: Differences over Time and Space |
| Oleg Dergatchov | 109-116 | Leonid Tishkov's Dabloids: Russian Myth in Comics |
| Michael Hill | 117-132 | Outside Influence / Local Color: The Australian Small Press |
| Anne N. Thalheimer | 133-143 | Terrorists, Bitches, and Dykes: Late 20th Century Lesbian Comix |
| Barbara Jo Lewis | 144-158 | Cyborg Might: Conceptions of Power in Comic Book Art |
| Libbie McQuillan | 159-177 | Between the Sheets at Pilote: 1968-1973 |
| Caridad Blanco | 178-189 | Always the Other One: Salomon |
| Ana Merino | 190-197 | Inodoro
Pereyra, A "Gaucho" in the Pampa of Paper and Ink: Folkloric and Literary Intertextuality and its Reformulations in Argentinean Comics |
| Oyin Medubi | 198-206 | Leadership Stereotypes and Lexical Choices: An Example of Nigerian Cartoons |
| John A. Lent | 207-208 | The Printed Word |
| Mike
Kidson Michael G. Rhode |
209-213 | Reviews |
| David R. Spencer | 1-32 | Double Vision: The Victorian Bi-cultural World of Henri Julien |
| Wendy
Siuyi Wong Lisa M. Cuklanz |
33-53 | The Emerging Image of the Modern Woman in Hong Kong Comics of the 1960s & 1970s |
| Francis Nyamnjoh | 54-76 | Zapiro and South African Political Cartooning |
| Jordan J. Titus | 77-99 | Gnashing of Teeth: The Vagina Dentata Motif in "Bad Girl" Comics |
| Chris York | 100-110 | All in the Family: Homophobia and Batman Comics in the 1950s |
| Thierry Groensteen | 111-120 | Gustave Dore's Comics |
| Kalman Rubovszky | 121-134 | The Hungarian Comic Strip at the Turn of the Millennium |
| Mel Gibson | 135-151 | Reading as Rebellion: The Case of the Girls' comic in Britain |
| Ruth Boyask | 152-163 | Reading Community in Funtime Comics: A New Zealand Narrative |
| Waldomiro C. S. Vergueiro | 164-177 | Brazilian Superheroes in Search of Their Own Identities |
| Jeff Williams | 178-190 | The Evolving Novel: the Comic-Book Medium as the Next Stage |
| Paul P. Somers, Jr. | 191-205 | Krauts Hinaus: Graphic Stereotypes of German-Americans Before and During World War I |
| Eric Weitzel | 206-232 | Of
Pop Culture Pleasures and Radical Aesthetics: The Influence of Popular Comic Strips on Picasso's Political Art |
| Jongmin
Park Sung Wook Shim |
233-247 | The
Presidential Candidates in Political Cartoons: A Reflection of Cultural Differencs between the United States and Korea |
| Michael
L. Maynard Edward Lordan |
248-264 | Laughing at the Glass Ceiling in The Wall Street Journal Cartoons |
| Michael
Rhode Tom Furtwangler David Wybenga |
265-306 | Stories Without Words: A Bibliography with Annotations |
| John A. Lent | 307-309 | The Printed Word |
| 310-321 | Reviews | |
| Gene Kannenberg, Jr. | 322-324 | Critical Closure |
| 325-331 | Portfolio | |
| John A. Lent | 1-2 | Editor's Note |
| John A. Lent | 3-8 | Comic Art: Some Global Issues |
| Joost Pollman | 9-21 | Shaping Sounds in Comics |
| Jeremy Allen | 22-37 | A Virtual Revolution: Australian Comic Creators and the Web |
| Tim Blackmore | 38-58 | What a Picnic!: Swamp Ecology in Walt Kelly's Pogo |
| Lim Cheng Tju | 59-76 | "Sister Art" - A Short History of Chinese Cartoons and Woodcuts in Singapore |
| David E. Goldweber | 77-85 | The Function of Dreams and Stories in The Sandman |
| Pierre L. Horn | 86-92 | American Graffiti - French Style: Three Comic Strip Artists Look at Pre-War America |
| Mark C. Rogers | 93-108 | Ideology in Four Colours: British Cultural Studies Do Comics |
| Jean-Marie Bertin | 109-119 | Thoughts and Views on Raymond Peynet, French Artist and Universal Poet |
| Sheng-mei Ma | 120-148 | The Nine Lives of Blackhawk's Oriental: Chop Chop, Wu Cheng, and Weng Chan |
| Sue
Ralph Beth Haller Tim Lees |
149-169 | "Off Me Head": Cartoons from English Newspapers Concerning the Glenn Hoddle Affair |
| Peter Nieuwendijk | 170-190 | Several Ways of Making a Cartoon (with 26 Examples) |
| Andy Mason | 191-197 | Africa Ink: Cartoonists Working Group, Towards an Association of African Cartoonists: Report of an International Workshop on Cartoon Journalism and Democratisation in Southern Africa |
| John A. Lent | 198-202 | How To Withstand War, the Rastko Ciric Way |
| Chris Gage | 203-209 | Can You Dig It? The World of Fast Willie Jackson |
| William Foster, III | 210-216 | Interview with Bertram Fitzgerald: The Life and Times of Fast Willie Jackson (1976-1977) |
| M. Thomas Inge | 217-250 | Comic Strips: A Bibliographic Essay |
| Lucy Shelton Caswell | 251-262 | Resources for Scholars at The Ohio State University Cartoon Research Library |
| Micheal
Rhode Ray Bottorff, Jr. |
263-274 | The Grand Comics Database (GCD): An Evolving Research Tool |
| John A. Lent | 275-277 | The Printed Word |
| Peter
Coogan Michael Rhode |
278-282 | Book Reviews |
| Michael Rhode | 283-288 | Exhibition Reviews |
| Gene Kannenberg, Jr. | 289-291 | Critical Closure |
| 292-302 | Portfolio | |
|
[Latin
American Comic Art: A Symposim]
|
||
| John A. Lent | 1-22 | An Historical and Contemporary Overview |
| Andres Accorsi | 23-43 | Argentine Comics |
| Jeff Williams | 44-55 | Argentine Comics Today: A Foreigner's Perspective |
| Ana Merino | 56-69 | Oesterheld, the Literary Voice of Argentine Comics |
| Waldomiro C. S. Vergueiro | 70-78 | Brazilian
Pornographic Comics: A View on the Eroticism of a Latin American Culture in the Work of Artist Carlos Zefiro |
| Perucho Mejia G. | 79-82 | Comic Art in Colombia: a Short Historical Journey |
| Dario Mogno | 83-105 | Parallel Lives: Comics and Animated Cartoons in Cuba From beginning to Present |
| Caridad Blanco de la Cruz | 106-115 | Ares: An Undomesticated Humorist |
| Daniel Puch | 116-126 | Cartooning in Uruguay: Not Yet the White Flag |
| Gisel Gil-Egui | 127-137 | Venezuela's Alonso and the Art of leaving It All to Art |
| Beatrice Marechal | 138-150 | "The Singular Stories of the Terashima Neighborhood": A Japanese Autobiographical Comic |
| Fusami Ogi | 151-161 | Beyond
Shoujo, Blending Gender: Subverting the Homogendered World in Shoujo Manga (Japanese Comics for Girls) |
| Nhu-Hoa Nguyen | 162-174 | The Rhetoric of Parody in Claire Bretecher's Le Destin de Monique |
| Philippe Sohet | 175-188 | Figures and Representation of the Fantastic in Andreas's Work |
| Kerry Soper | 189-201 | Gentrifying the Alternatives or Alternifying the Mainstream? Consolidation, Incorporation, and the State of Comic Strip Satire in Alternative Weeklies, 1985-2000 |
| Bart Beaty | 202-221 | Fredric Wertham Faces His Critics: Contextualizing the Postwar Comics Debate |
| Patricia
Watson Shariff Hilary Janks |
222-238 | Changing Stories: The Making and Analysis of a Critical Literacy Romance Comic |
| Mel Gibson | 239-249 | "Wham!
Bam! The X-Men Are Here": The British Broadsheet Press and the X-Men Film and Comi |
| Mark David Nevins | 250-294 | "New Voices in Comics III" (ICAF 2000) |
| M. Thomas Inge | 295-328 | Comic Books, A Bibliographic Essay |
| John A. Lent | 329-331 | The Printed Word |
| David Berona | 332-334 | Book Review |
| Michael Rhode | 335 | Exhibition Review |
| Gene Kannenberg, Jr. | 336-337 | Critical Closure |
| 338-343 | Portfolio | |
| John A. Lent | 1-4 | Editor's Note |
|
[There
at the Beginning: Early Days of Comics Scholarship]
|
||
| John A. Lent | 5 | Introduction |
| Maurice Horn | 6-22 | How It All Began, or Present at the Creation |
| Alvaro de Moya | 23-25 | Pioneering in Brazilian Quadrinhos, as a Cartoonist and Researcher |
| Giulio C. Cuccolini | 26-39 | In Search of Lost Time or Time Regained |
| Arthur Asa berger | 40-47 | Is This the Kind of Thing That Serious Academics Do? |
| Wolfgang J. Fuchs | 48-59 | The Story of an "Anatomy" That Gave Recognition to Comics as a Mass Medium |
| Will Eisner | 60-63 | Comics and Electronics |
| Martin Barker | 64-77 | Kicked into the Gutters: or, "My Dad Doesn't Read Comics, he Studies Them." |
| Trina Robbins | 78-83 | How I Became a Herstorian |
| John A. Lent | 84-96 | Almost Left at the Gate: An Arrhythmic Career in Comics Scholarship |
| David Ehrilich | 97-133 | Growing up with Dinosaurs: An Interview with Steve Bissette |
| Randy Duncan | 134-142 | The Weaver's Art: An Examination of Comic Book "Writing" |
| Jeffrey A. Miller | 143-150 | Comics Narrative as Striptease |
| Trina Robbins | 151-162 | No
Man Is My Master: American Romance Comics of the 1970s and the Women's Liberation Movement |
| K. A. Laity | 163-169 | Construction
of a "Female Hero": Iconography in Les aventures extraordinaires d'Adele Blanc-Sed |
| John A. Lent | 170-204 | New Zealand -- Exporter of Mainstream Cartoonists, haven for Alternative Comics |
| Fabrice Leroy | 205-217 | Absent-Mindness, Mustaches, and the Cold War: The Image of Science in Herge's Professor Calculus and Franquin's Count of Champignac |
| Oleg Dergachov | 218-227 | Rosta Windows: As a Phenomenon of Russian Revolutionary Comic Strips |
| Stanford W. Carpenter | 228-238 | Alex
Simmons and the African-American Soldier of Fortuen Known as Blackjack:
A Case Study in Independent Comic Book Publishing |
| Brian Cremins | 239-247 | "Why
have you allowed me to see you without your mask?": Captain America #133 and the Great American (Protest) Novel |
| Nadilson Manoel da Silva | 248-268 | Viz Comic: Carnival and Commercialization |
| A. David Lewis | 269-300 | Kingdom Code |
| John A. Lent | 301-304 | The Printed Word |
| David
Berona Rocco Versaci |
305-309 | Book Reviews |
| Micheal Rhode | 310 | Exhibition Reviews |
| Gene Kannenberg, Jr. | 311-312 | Critical Closure |
| 313-322 | Portfolio | |
| Mark David Nevins | 1-52 | "Drawing from Life": An Interview with Joe Sacco |
| Micheline Maupoint | 53-69 | Plantu: The Editorial in Caricatures: An Analysis of the Role and the Impact of Plantu's Political Cartoons in the French Daily Newspaper, Le Monde |
| Hector D. Fernandez L'Hoeste | 70-83 | Resurrecting the Nation Through the Eyes of a Native: The Case of Turey el Taino |
| John A. Lent | 84-123 | Fear [of] and Loafing [with] Ralph Steadman in Turkey |
| Natsu Onoda | 124-138 | Drag Prince in Spotlight: Theatrical Cross-Dressing in Osamu Texuka's Early Shojo Manga |
| Rik Sanders | 139-156 | The Changing of Dutch Comics: Some Pluses and Minuses |
| Waldomiro
Vertueiro Lucimar Ribeiro Mutarelli |
157-167 | Forging a Sustainable Comics Industry: A Case Study on Graphic Novels as a Viable Format for Developing Countries, Based on the Work of a Brazilian Artist |
| William H. Foster III | 168-185 | The
Image of Blacks (African Americans) in Underground Comix: New Liberal Agenda or Same Racist Stereotypes? |
| Christopher Murray | 186-208 | Superman vs Imago: Superheroes, Lacan, and Mediated Identity |
| Reiko Tomii | 209-223 | Akasegawa
Genpei's The Sakura Illustrated: When the Good Old man Makes a Dead Tree Flower and the Bad Old Man Throws a Fire Bomb |
| Maurice Horn | 224-228 | The Lady, or the Dragon? |
| Richard Ostrom | 229-240 | Bali's
Transition from a Traditional to a Modern Society: Some Op-Art Warnings about the Trade-offs |
| Michael L. Maynard | 241-260 | Friendly
Fantasies in Japanese Advertising: Persuading japanese Teens through Cartoonish Art |
| A. David Lewis | 261-275 | The Secret, Untold Relationship of Biblical Midrash and Comic Book Retcon |
| Jae-Woong Kwon | 276-286 | Korean Cartoonists' Reactions to Bush's "Axis of Evil" |
| John A. Lent | 287-291 | Larry Alcala and the Depiction of Filipinos As They Are |
| Wendy Kail | 292-314 | Clifford K. Berryman: Drawing The Line |
| Hong-Chi Shiau | 315-326 | American Imported Animationin Taiwan: A Case Study of South Park |
| John A. Lent | 327-329 | The Printed Word |
| Marc
Singer Charles Hatfield Rocco Versaci Mark Rogers Jeff Williams Michael Rhode A. David Lewis |
330-352 | Book Reviews |
| Michael Rhode | 353-354 | Exhibition Review |
| Gene
Kannenberg, Jr. Michael Rhode |
355-358 | Critical Closure |
| 359-368 | Portfolio | |
| John A. Lent | 1-2 | Editor's Note |
|
[Pioneers
of Comic Art Scholarship Series]
|
||
| David Kunzle | 3-7 | Kunzle and the Comic Strip |
| Sture Hegerfors | 8-20 | Sture Hegerfors and Swedish Comics Scholarship |
| M. Thomas Inge | 21-30 | Portrait of the Professor as a Failed Cartoonist |
| Ana Merino | 31-73 | Gary Groth and Kim Thompson: Interviews with the Heart of the Alternative Comics Industry |
| Fredrik Stromberg | 74-94 | Swedish Comics and Comics in Sweden |
| Jigal Beez | 95-114 | They
Are Crazy These Swahili: Komredi Kipepe in the Footsteps of Asterix; Globalization in East African Comics |
| Nhu-Hoa
Nguyen Philippe Sohet |
115-133 | Social
Criticism in a Singular Mode of Expression: The Art of New Realist Cartoonist Chantal Montellier |
| Allen
Douglas Fedwa Malti-Douglas |
134-146 | Tardi and Daeninckx: Comic Strips, Detective Novels, and World War I |
| Deborah Shamoon | 147-160 | Focalization and Narrative Voice in the Novels and Comics of Uchida Shungiku |
| Natsu Onoda | 161-194 | Tezuka Osamu and the Star System |
| Brad Prager | 195-213 | Modernism
in the Contemporary Graphic Novel: Chris Ware and the Age of Mechanical Reproduction |
| M. Thomas Inge | 214-219 | William Faulkner and the Graphic Novel |
| Hector D. Fernandez L'Hoeste | 220-230 | The Mystery of Kaliman, el Hombre Increible: Race and Identity in Mexican Comics |
| Richard Ostrom | 231-243 | The
changed Function of Political Cartoonists in Indonesia: From Challenging a Repressive Regime to Promoting Democratic Reforms |
| Kenneth D. Nordin | 244-255 | The Editorial Comic Art of Clay Bennett |
| John A. Lent | 256-289 | Cartooning in malaysia and Singapore: The Same, but Different |
| Ron Provencher | 290-291 | Remembering "The Chief," Rejab Had: Cartoonist, Story Teller, Teacher, and Philosopher |
| Muliyadi Mahamood | 292-304 | An Overview of malaysian Contemporary Cartoons |
| Mel Gibson | 305-324 | "You Can't Read Them, They're for Boys!" British Girls, American Superhero Comics and Identity |
| Chetan Desai | 325-333 | The Krishna Conspiracy |
| Craig Fischer | 334-354 | Fantastic Fascism? jack Kirby, Nazi Aesthetics, and Kalus Theweleit's Male Fantasies |
| Live Action Cartoonists | 355-365 | Have
Markers, Will Travel: Live-Action Cartoonists in the Age of Multimedia Performances and Online Comics |
| Martha H. Kennedy | 366-373 | Early Creative Responses to 9-11 by Comic Artists: Panelists Share Personal Experiences |
| John A. Lent | 374-376 | The Printed Word |
| David Kunzle | 377-384 | Review Essay |
| David
Kunzle Leonard Rifas Marc Singer |
385-393 | Book Reviews |
| Bart
Beaty Maurice Horn Jennifer Wood Michael Hill Michael Rhode |
394-405 | Exhibition / Festival Reviews and Report |
| Gene Kannenberg, Jr. | 406-407 | Critical Closure |
| 408-426 | Portfolio | |
| John A. Lent |
i
|
Editor's Note |
|
[Spanish
Comics: A Symposim]
|
||
|
Ana
Merino
|
3-4
|
Introduction
|
|
Viviane
Alary
|
5-27
|
Briefness
in Spanish Comics: A Few Landmarks
|
|
Manuel
Barrero
|
28-49
|
The
Evolution of Children's Comics in Spain
|
|
Jesus
Jimenez Varea
|
50-65
|
You
Can Never Win: An Analysis of Comic Strips by the Spanish Cartoonist Penarroya
|
|
Anne
Magnussen
|
66-84
|
Spanish
Comics and Family
|
|
Pedro
Perez del Solar
|
85-101
|
Old
|