Podcast appearances and mentions of elizabeth allyn woock

Zvolený americký prezident Donald Trump oznámil první jména lidí, kteří budou tvořit jeho novou administrativu. Svět tak zná příští ministry obrany a zahraničních věcí nebo šéfku tajných služeb. Svoji funkci dostane i miliardář a majitel sociální sítě X Elon Musk. S kým dalším bude Trump vládnout? Host: Jiří Pehe - politolog a publicistaČlánek a další informace najdete na webu Seznam ZprávyPřijďte s námi oslavit 17. listopad na akci Korzo Národní. V neděli 17. listopadu od 16 hodin budeme v pražském Divadle X10 mluvit s politologem Tomášem Klvaňou a amerikanistkou Elizabeth Allyn Woock o tom, zda Spojené státy stále žijí svůj americký sen. Otázky našim hostům budete moci položit i vy. Vstup je zdarma. Sledujte nás na sociálních sítích X (Twitter), Instagram nebo Threads. Náměty a připomínky nám můžete psát na e-mail zaminutusest@sz.cz

Dr. Paul Fisher Davies' book Comics As Communication: A Functional Approach (Palgrave MacMillan, 2019) explores how comics function to make meanings in the manner of a language. It outlines a framework for describing the resources and practices of comics creation and readership, using an approach that is compatible with similar descriptions of linguistic and multimodal communication. The approach is based largely on the work of Michael Halliday, drawing also on the pragmatics of Paul Grice, the Text World Theory of Paul Werth and Joanna Gavins, and ideas from art theory, psychology and narratology. This brings a broad Hallidayan framework of multimodal analysis to comics scholarship, and plays a part in extending that tradition of multimodal linguistics to graphic narrative. Dr. Paul Fisher Davies gained his Ph.D. in 2017 at the University of Sussex, where he has also been an associate lecturer and student mentor. He has published in Studies in Comics, the Journal of Graphic Novels and Comics, The Comics Grid and INKS amongst others, including sketchnotes and academic work in comics form. He teaches English Language and Literature at East Sussex College in the UK. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Dr. Paul Fisher Davies' book Comics As Communication: A Functional Approach (Palgrave MacMillan, 2019) explores how comics function to make meanings in the manner of a language. It outlines a framework for describing the resources and practices of comics creation and readership, using an approach that is compatible with similar descriptions of linguistic and multimodal communication. The approach is based largely on the work of Michael Halliday, drawing also on the pragmatics of Paul Grice, the Text World Theory of Paul Werth and Joanna Gavins, and ideas from art theory, psychology and narratology. This brings a broad Hallidayan framework of multimodal analysis to comics scholarship, and plays a part in extending that tradition of multimodal linguistics to graphic narrative. Dr. Paul Fisher Davies gained his Ph.D. in 2017 at the University of Sussex, where he has also been an associate lecturer and student mentor. He has published in Studies in Comics, the Journal of Graphic Novels and Comics, The Comics Grid and INKS amongst others, including sketchnotes and academic work in comics form. He teaches English Language and Literature at East Sussex College in the UK. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Dr. Paul Fisher Davies' book Comics As Communication: A Functional Approach (Palgrave MacMillan, 2019) explores how comics function to make meanings in the manner of a language. It outlines a framework for describing the resources and practices of comics creation and readership, using an approach that is compatible with similar descriptions of linguistic and multimodal communication. The approach is based largely on the work of Michael Halliday, drawing also on the pragmatics of Paul Grice, the Text World Theory of Paul Werth and Joanna Gavins, and ideas from art theory, psychology and narratology. This brings a broad Hallidayan framework of multimodal analysis to comics scholarship, and plays a part in extending that tradition of multimodal linguistics to graphic narrative. Dr. Paul Fisher Davies gained his Ph.D. in 2017 at the University of Sussex, where he has also been an associate lecturer and student mentor. He has published in Studies in Comics, the Journal of Graphic Novels and Comics, The Comics Grid and INKS amongst others, including sketchnotes and academic work in comics form. He teaches English Language and Literature at East Sussex College in the UK. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Dr. Paul Fisher Davies' book Comics As Communication: A Functional Approach (Palgrave MacMillan, 2019) explores how comics function to make meanings in the manner of a language. It outlines a framework for describing the resources and practices of comics creation and readership, using an approach that is compatible with similar descriptions of linguistic and multimodal communication. The approach is based largely on the work of Michael Halliday, drawing also on the pragmatics of Paul Grice, the Text World Theory of Paul Werth and Joanna Gavins, and ideas from art theory, psychology and narratology. This brings a broad Hallidayan framework of multimodal analysis to comics scholarship, and plays a part in extending that tradition of multimodal linguistics to graphic narrative. Dr. Paul Fisher Davies gained his Ph.D. in 2017 at the University of Sussex, where he has also been an associate lecturer and student mentor. He has published in Studies in Comics, the Journal of Graphic Novels and Comics, The Comics Grid and INKS amongst others, including sketchnotes and academic work in comics form. He teaches English Language and Literature at East Sussex College in the UK. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Dr. Paul Fisher Davies' book Comics As Communication: A Functional Approach (Palgrave MacMillan, 2019) explores how comics function to make meanings in the manner of a language. It outlines a framework for describing the resources and practices of comics creation and readership, using an approach that is compatible with similar descriptions of linguistic and multimodal communication. The approach is based largely on the work of Michael Halliday, drawing also on the pragmatics of Paul Grice, the Text World Theory of Paul Werth and Joanna Gavins, and ideas from art theory, psychology and narratology. This brings a broad Hallidayan framework of multimodal analysis to comics scholarship, and plays a part in extending that tradition of multimodal linguistics to graphic narrative. Dr. Paul Fisher Davies gained his Ph.D. in 2017 at the University of Sussex, where he has also been an associate lecturer and student mentor. He has published in Studies in Comics, the Journal of Graphic Novels and Comics, The Comics Grid and INKS amongst others, including sketchnotes and academic work in comics form. He teaches English Language and Literature at East Sussex College in the UK. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Dr. Amy Matthewson's Cartooning China: Punch, Power, & Politics in the Victorian Era (Routledge, 2022) explores the series of cartoons of China and the Chinese that were published in the popular British satirical magazine Punch over a sixty-year period from 1841 to 1901. Filled with political metaphors and racial stereotypes, these illustrations served as a powerful tool in both reflecting and shaping notions and attitudes towards China at a tumultuous time in Sino-British history. A close reading of both the visual and textual satires in Punch reveals how a section of British society visualised and negotiated with China as well as Britain's position in the global community. By contextualising Punch's cartoons within the broader frameworks of British socio-cultural and political discourse, the Dr. Matthewson engages in a critical enquiry of popular culture and its engagements with race, geopolitical propaganda, and public consciousness. This book will interest scholars and researchers of cultural studies, political history and Empire, Chinese studies, popular culture, Victoriana, as well as media studies comics-based research. Dr. Amy Matthewson has a PhD degree in history from the School of Oriental and African Studies (SOAS), at the University of London, in the UK. Dr. Matthewson is a historian interested in representation through visual and material culture, in particular the ways in which China and Chinese communities were understood by Western nations in the late nineteenth and twentieth centuries, with specific interest in Britain's relationship with China. She is currently teaching history at University of Iceland. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Dr. Amy Matthewson's Cartooning China: Punch, Power, & Politics in the Victorian Era (Routledge, 2022) explores the series of cartoons of China and the Chinese that were published in the popular British satirical magazine Punch over a sixty-year period from 1841 to 1901. Filled with political metaphors and racial stereotypes, these illustrations served as a powerful tool in both reflecting and shaping notions and attitudes towards China at a tumultuous time in Sino-British history. A close reading of both the visual and textual satires in Punch reveals how a section of British society visualised and negotiated with China as well as Britain's position in the global community. By contextualising Punch's cartoons within the broader frameworks of British socio-cultural and political discourse, the Dr. Matthewson engages in a critical enquiry of popular culture and its engagements with race, geopolitical propaganda, and public consciousness. This book will interest scholars and researchers of cultural studies, political history and Empire, Chinese studies, popular culture, Victoriana, as well as media studies comics-based research. Dr. Amy Matthewson has a PhD degree in history from the School of Oriental and African Studies (SOAS), at the University of London, in the UK. Dr. Matthewson is a historian interested in representation through visual and material culture, in particular the ways in which China and Chinese communities were understood by Western nations in the late nineteenth and twentieth centuries, with specific interest in Britain's relationship with China. She is currently teaching history at University of Iceland. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Dr. Amy Matthewson's Cartooning China: Punch, Power, & Politics in the Victorian Era (Routledge, 2022) explores the series of cartoons of China and the Chinese that were published in the popular British satirical magazine Punch over a sixty-year period from 1841 to 1901. Filled with political metaphors and racial stereotypes, these illustrations served as a powerful tool in both reflecting and shaping notions and attitudes towards China at a tumultuous time in Sino-British history. A close reading of both the visual and textual satires in Punch reveals how a section of British society visualised and negotiated with China as well as Britain's position in the global community. By contextualising Punch's cartoons within the broader frameworks of British socio-cultural and political discourse, the Dr. Matthewson engages in a critical enquiry of popular culture and its engagements with race, geopolitical propaganda, and public consciousness. This book will interest scholars and researchers of cultural studies, political history and Empire, Chinese studies, popular culture, Victoriana, as well as media studies comics-based research. Dr. Amy Matthewson has a PhD degree in history from the School of Oriental and African Studies (SOAS), at the University of London, in the UK. Dr. Matthewson is a historian interested in representation through visual and material culture, in particular the ways in which China and Chinese communities were understood by Western nations in the late nineteenth and twentieth centuries, with specific interest in Britain's relationship with China. She is currently teaching history at University of Iceland. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Dr. Amy Matthewson's Cartooning China: Punch, Power, & Politics in the Victorian Era (Routledge, 2022) explores the series of cartoons of China and the Chinese that were published in the popular British satirical magazine Punch over a sixty-year period from 1841 to 1901. Filled with political metaphors and racial stereotypes, these illustrations served as a powerful tool in both reflecting and shaping notions and attitudes towards China at a tumultuous time in Sino-British history. A close reading of both the visual and textual satires in Punch reveals how a section of British society visualised and negotiated with China as well as Britain's position in the global community. By contextualising Punch's cartoons within the broader frameworks of British socio-cultural and political discourse, the Dr. Matthewson engages in a critical enquiry of popular culture and its engagements with race, geopolitical propaganda, and public consciousness. This book will interest scholars and researchers of cultural studies, political history and Empire, Chinese studies, popular culture, Victoriana, as well as media studies comics-based research. Dr. Amy Matthewson has a PhD degree in history from the School of Oriental and African Studies (SOAS), at the University of London, in the UK. Dr. Matthewson is a historian interested in representation through visual and material culture, in particular the ways in which China and Chinese communities were understood by Western nations in the late nineteenth and twentieth centuries, with specific interest in Britain's relationship with China. She is currently teaching history at University of Iceland. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Dr. Amy Matthewson's Cartooning China: Punch, Power, & Politics in the Victorian Era (Routledge, 2022) explores the series of cartoons of China and the Chinese that were published in the popular British satirical magazine Punch over a sixty-year period from 1841 to 1901. Filled with political metaphors and racial stereotypes, these illustrations served as a powerful tool in both reflecting and shaping notions and attitudes towards China at a tumultuous time in Sino-British history. A close reading of both the visual and textual satires in Punch reveals how a section of British society visualised and negotiated with China as well as Britain's position in the global community. By contextualising Punch's cartoons within the broader frameworks of British socio-cultural and political discourse, the Dr. Matthewson engages in a critical enquiry of popular culture and its engagements with race, geopolitical propaganda, and public consciousness. This book will interest scholars and researchers of cultural studies, political history and Empire, Chinese studies, popular culture, Victoriana, as well as media studies comics-based research. Dr. Amy Matthewson has a PhD degree in history from the School of Oriental and African Studies (SOAS), at the University of London, in the UK. Dr. Matthewson is a historian interested in representation through visual and material culture, in particular the ways in which China and Chinese communities were understood by Western nations in the late nineteenth and twentieth centuries, with specific interest in Britain's relationship with China. She is currently teaching history at University of Iceland. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

Dr. Amy Matthewson's Cartooning China: Punch, Power, & Politics in the Victorian Era (Routledge, 2022) explores the series of cartoons of China and the Chinese that were published in the popular British satirical magazine Punch over a sixty-year period from 1841 to 1901. Filled with political metaphors and racial stereotypes, these illustrations served as a powerful tool in both reflecting and shaping notions and attitudes towards China at a tumultuous time in Sino-British history. A close reading of both the visual and textual satires in Punch reveals how a section of British society visualised and negotiated with China as well as Britain's position in the global community. By contextualising Punch's cartoons within the broader frameworks of British socio-cultural and political discourse, the Dr. Matthewson engages in a critical enquiry of popular culture and its engagements with race, geopolitical propaganda, and public consciousness. This book will interest scholars and researchers of cultural studies, political history and Empire, Chinese studies, popular culture, Victoriana, as well as media studies comics-based research. Dr. Amy Matthewson has a PhD degree in history from the School of Oriental and African Studies (SOAS), at the University of London, in the UK. Dr. Matthewson is a historian interested in representation through visual and material culture, in particular the ways in which China and Chinese communities were understood by Western nations in the late nineteenth and twentieth centuries, with specific interest in Britain's relationship with China. She is currently teaching history at University of Iceland. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Amy Matthewson's Cartooning China: Punch, Power, & Politics in the Victorian Era (Routledge, 2022) explores the series of cartoons of China and the Chinese that were published in the popular British satirical magazine Punch over a sixty-year period from 1841 to 1901. Filled with political metaphors and racial stereotypes, these illustrations served as a powerful tool in both reflecting and shaping notions and attitudes towards China at a tumultuous time in Sino-British history. A close reading of both the visual and textual satires in Punch reveals how a section of British society visualised and negotiated with China as well as Britain's position in the global community. By contextualising Punch's cartoons within the broader frameworks of British socio-cultural and political discourse, the Dr. Matthewson engages in a critical enquiry of popular culture and its engagements with race, geopolitical propaganda, and public consciousness. This book will interest scholars and researchers of cultural studies, political history and Empire, Chinese studies, popular culture, Victoriana, as well as media studies comics-based research. Dr. Amy Matthewson has a PhD degree in history from the School of Oriental and African Studies (SOAS), at the University of London, in the UK. Dr. Matthewson is a historian interested in representation through visual and material culture, in particular the ways in which China and Chinese communities were understood by Western nations in the late nineteenth and twentieth centuries, with specific interest in Britain's relationship with China. She is currently teaching history at University of Iceland. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Dr. Amy Matthewson's Cartooning China: Punch, Power, & Politics in the Victorian Era (Routledge, 2022) explores the series of cartoons of China and the Chinese that were published in the popular British satirical magazine Punch over a sixty-year period from 1841 to 1901. Filled with political metaphors and racial stereotypes, these illustrations served as a powerful tool in both reflecting and shaping notions and attitudes towards China at a tumultuous time in Sino-British history. A close reading of both the visual and textual satires in Punch reveals how a section of British society visualised and negotiated with China as well as Britain's position in the global community. By contextualising Punch's cartoons within the broader frameworks of British socio-cultural and political discourse, the Dr. Matthewson engages in a critical enquiry of popular culture and its engagements with race, geopolitical propaganda, and public consciousness. This book will interest scholars and researchers of cultural studies, political history and Empire, Chinese studies, popular culture, Victoriana, as well as media studies comics-based research. Dr. Amy Matthewson has a PhD degree in history from the School of Oriental and African Studies (SOAS), at the University of London, in the UK. Dr. Matthewson is a historian interested in representation through visual and material culture, in particular the ways in which China and Chinese communities were understood by Western nations in the late nineteenth and twentieth centuries, with specific interest in Britain's relationship with China. She is currently teaching history at University of Iceland. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Dr. Halsall's Growing Up Graphic: The Comics of Children in Crisis (Ohio State UP, 2023) has four primary objectives.  One, it explores this visual and literary medium that is heavily invested in the representation of children and youth, especially in relation to the depiction of particular experiences (social, political, cultural, racial, sexual, ableist, etc.) that young people have undergone and continue to live through. These texts contest images of childhood victimization, passivity, and helplessness, presenting instead children as actors who attempt to make sense of the challenges that affect them.  Two, it examines the many circuitous routes that graphic literature for young people takes in and out of discourses of nation, belonging, ableism, and identity, moving with and oftentimes against currents of power.  Three, it participates in a crucial intersectional trend in children's publishing that looks to complicate and diversify the content and characters produced for young readers in the Global North. Specifically, it highlights visual representations of a range of young people, including child soldiers, migrants, Indigenous peoples in Canada, queers, and young people living with impairments and/or undergoing particular medical life events. In its investigation of such subjects it also considers questions of age and audience.  Finally, it considers the reader as a source tension itself: the reader that is produced by the graphic text and the empirical reader (who might be an adult, child, etc.). Ultimately, this project considers graphic narratives for children and about children, an under-explored field in itself, and one that provides surprising insight into the types of reading material that young readers gravitate towards and that complicate assumptions of readerly innocence. (Halsall 2023: P8) In this interview Dr. Halsall talks about frameworks for analyzing comics aimed at young readers, how contemporary culture and politics can influence access to these works, and hopes for the creation of a new comics archive. Dr. Alison Halsall is an Associate Professor at York University in Toronto, Canada, and the coordinator of the Children, Childhood and Youth Program, part of the Department of Humanities. Her work is interdisciplinary and trans-generic – in addition to children's literature she specializes in Victorian and modernist literatures, with a particular emphasis on Visual Cultures, which includes the study of paintings and illustrations, contemporary film, comics and graphic novels. Alison Halsall and co-editor Jonathan Warren received the 2023 Will Eisner Awards for Best Academic/Scholarly Work for editing The LGBTQ+ Comics Studies Reader: Critical Openings, Future Directions. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Dr. Halsall's Growing Up Graphic: The Comics of Children in Crisis (Ohio State UP, 2023) has four primary objectives.  One, it explores this visual and literary medium that is heavily invested in the representation of children and youth, especially in relation to the depiction of particular experiences (social, political, cultural, racial, sexual, ableist, etc.) that young people have undergone and continue to live through. These texts contest images of childhood victimization, passivity, and helplessness, presenting instead children as actors who attempt to make sense of the challenges that affect them.  Two, it examines the many circuitous routes that graphic literature for young people takes in and out of discourses of nation, belonging, ableism, and identity, moving with and oftentimes against currents of power.  Three, it participates in a crucial intersectional trend in children's publishing that looks to complicate and diversify the content and characters produced for young readers in the Global North. Specifically, it highlights visual representations of a range of young people, including child soldiers, migrants, Indigenous peoples in Canada, queers, and young people living with impairments and/or undergoing particular medical life events. In its investigation of such subjects it also considers questions of age and audience.  Finally, it considers the reader as a source tension itself: the reader that is produced by the graphic text and the empirical reader (who might be an adult, child, etc.). Ultimately, this project considers graphic narratives for children and about children, an under-explored field in itself, and one that provides surprising insight into the types of reading material that young readers gravitate towards and that complicate assumptions of readerly innocence. (Halsall 2023: P8) In this interview Dr. Halsall talks about frameworks for analyzing comics aimed at young readers, how contemporary culture and politics can influence access to these works, and hopes for the creation of a new comics archive. Dr. Alison Halsall is an Associate Professor at York University in Toronto, Canada, and the coordinator of the Children, Childhood and Youth Program, part of the Department of Humanities. Her work is interdisciplinary and trans-generic – in addition to children's literature she specializes in Victorian and modernist literatures, with a particular emphasis on Visual Cultures, which includes the study of paintings and illustrations, contemporary film, comics and graphic novels. Alison Halsall and co-editor Jonathan Warren received the 2023 Will Eisner Awards for Best Academic/Scholarly Work for editing The LGBTQ+ Comics Studies Reader: Critical Openings, Future Directions. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Dr. Halsall's Growing Up Graphic: The Comics of Children in Crisis (Ohio State UP, 2023) has four primary objectives.  One, it explores this visual and literary medium that is heavily invested in the representation of children and youth, especially in relation to the depiction of particular experiences (social, political, cultural, racial, sexual, ableist, etc.) that young people have undergone and continue to live through. These texts contest images of childhood victimization, passivity, and helplessness, presenting instead children as actors who attempt to make sense of the challenges that affect them.  Two, it examines the many circuitous routes that graphic literature for young people takes in and out of discourses of nation, belonging, ableism, and identity, moving with and oftentimes against currents of power.  Three, it participates in a crucial intersectional trend in children's publishing that looks to complicate and diversify the content and characters produced for young readers in the Global North. Specifically, it highlights visual representations of a range of young people, including child soldiers, migrants, Indigenous peoples in Canada, queers, and young people living with impairments and/or undergoing particular medical life events. In its investigation of such subjects it also considers questions of age and audience.  Finally, it considers the reader as a source tension itself: the reader that is produced by the graphic text and the empirical reader (who might be an adult, child, etc.). Ultimately, this project considers graphic narratives for children and about children, an under-explored field in itself, and one that provides surprising insight into the types of reading material that young readers gravitate towards and that complicate assumptions of readerly innocence. (Halsall 2023: P8) In this interview Dr. Halsall talks about frameworks for analyzing comics aimed at young readers, how contemporary culture and politics can influence access to these works, and hopes for the creation of a new comics archive. Dr. Alison Halsall is an Associate Professor at York University in Toronto, Canada, and the coordinator of the Children, Childhood and Youth Program, part of the Department of Humanities. Her work is interdisciplinary and trans-generic – in addition to children's literature she specializes in Victorian and modernist literatures, with a particular emphasis on Visual Cultures, which includes the study of paintings and illustrations, contemporary film, comics and graphic novels. Alison Halsall and co-editor Jonathan Warren received the 2023 Will Eisner Awards for Best Academic/Scholarly Work for editing The LGBTQ+ Comics Studies Reader: Critical Openings, Future Directions. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Drawings and sequential images are so pervasive in contemporary society that we may take their understanding for granted. But how transparent are they really, and how universally are they understood? Combining recent advances from linguistics, cognitive science, and clinical psychology, Who Understands Comics?: Questioning the Universality of Visual Language Comprehension (Bloomsbury, 2020) argues that visual narratives involve greater complexity and require a lot more decoding than widely thought. Although increasingly used beyond the sphere of entertainment as materials in humanitarian, educational, and experimental contexts, Neil Cohn demonstrates that their universal comprehension cannot be assumed. Instead, understanding a visual language requires a fluency that is contingent on exposure and practice with a graphic system. Bringing together a rich but scattered literature on how people comprehend, and learn to comprehend, a sequence of images, this book coalesces research from a diverse range of fields into a broader interdisciplinary view of visual narrative to ask: Who Understands Comics? In this interview, Dr. Cohn discusses some common misconceptions about comics, the ability to read and make comics, and how drawings are at the core of so many creations. Who Understands Comics? was Nominated for the 2021 Eisner Award for Best Academic/Scholarly Work Dr. Niel Cohn is currently an Associate Professor at the Tilburg center for Cognition and Communication at Tilburg University, in the Netherlands, Neil Cohn is an American cognitive scientist best known for his pioneering research on the overlap in cognition between graphic communication and language. His books, The Visual Language of Comics (2013) and the 2021 Eisner-nominated Who Understands Comics? (2020), establish a foundation for the scientific study of comics' structure. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Drawings and sequential images are so pervasive in contemporary society that we may take their understanding for granted. But how transparent are they really, and how universally are they understood? Combining recent advances from linguistics, cognitive science, and clinical psychology, Who Understands Comics?: Questioning the Universality of Visual Language Comprehension (Bloomsbury, 2020) argues that visual narratives involve greater complexity and require a lot more decoding than widely thought. Although increasingly used beyond the sphere of entertainment as materials in humanitarian, educational, and experimental contexts, Neil Cohn demonstrates that their universal comprehension cannot be assumed. Instead, understanding a visual language requires a fluency that is contingent on exposure and practice with a graphic system. Bringing together a rich but scattered literature on how people comprehend, and learn to comprehend, a sequence of images, this book coalesces research from a diverse range of fields into a broader interdisciplinary view of visual narrative to ask: Who Understands Comics? In this interview, Dr. Cohn discusses some common misconceptions about comics, the ability to read and make comics, and how drawings are at the core of so many creations. Who Understands Comics? was Nominated for the 2021 Eisner Award for Best Academic/Scholarly Work Dr. Niel Cohn is currently an Associate Professor at the Tilburg center for Cognition and Communication at Tilburg University, in the Netherlands, Neil Cohn is an American cognitive scientist best known for his pioneering research on the overlap in cognition between graphic communication and language. His books, The Visual Language of Comics (2013) and the 2021 Eisner-nominated Who Understands Comics? (2020), establish a foundation for the scientific study of comics' structure. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Drawings and sequential images are so pervasive in contemporary society that we may take their understanding for granted. But how transparent are they really, and how universally are they understood? Combining recent advances from linguistics, cognitive science, and clinical psychology, Who Understands Comics?: Questioning the Universality of Visual Language Comprehension (Bloomsbury, 2020) argues that visual narratives involve greater complexity and require a lot more decoding than widely thought. Although increasingly used beyond the sphere of entertainment as materials in humanitarian, educational, and experimental contexts, Neil Cohn demonstrates that their universal comprehension cannot be assumed. Instead, understanding a visual language requires a fluency that is contingent on exposure and practice with a graphic system. Bringing together a rich but scattered literature on how people comprehend, and learn to comprehend, a sequence of images, this book coalesces research from a diverse range of fields into a broader interdisciplinary view of visual narrative to ask: Who Understands Comics? In this interview, Dr. Cohn discusses some common misconceptions about comics, the ability to read and make comics, and how drawings are at the core of so many creations. Who Understands Comics? was Nominated for the 2021 Eisner Award for Best Academic/Scholarly Work Dr. Niel Cohn is currently an Associate Professor at the Tilburg center for Cognition and Communication at Tilburg University, in the Netherlands, Neil Cohn is an American cognitive scientist best known for his pioneering research on the overlap in cognition between graphic communication and language. His books, The Visual Language of Comics (2013) and the 2021 Eisner-nominated Who Understands Comics? (2020), establish a foundation for the scientific study of comics' structure. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Drawings and sequential images are so pervasive in contemporary society that we may take their understanding for granted. But how transparent are they really, and how universally are they understood? Combining recent advances from linguistics, cognitive science, and clinical psychology, Who Understands Comics?: Questioning the Universality of Visual Language Comprehension (Bloomsbury, 2020) argues that visual narratives involve greater complexity and require a lot more decoding than widely thought. Although increasingly used beyond the sphere of entertainment as materials in humanitarian, educational, and experimental contexts, Neil Cohn demonstrates that their universal comprehension cannot be assumed. Instead, understanding a visual language requires a fluency that is contingent on exposure and practice with a graphic system. Bringing together a rich but scattered literature on how people comprehend, and learn to comprehend, a sequence of images, this book coalesces research from a diverse range of fields into a broader interdisciplinary view of visual narrative to ask: Who Understands Comics? In this interview, Dr. Cohn discusses some common misconceptions about comics, the ability to read and make comics, and how drawings are at the core of so many creations. Who Understands Comics? was Nominated for the 2021 Eisner Award for Best Academic/Scholarly Work Dr. Niel Cohn is currently an Associate Professor at the Tilburg center for Cognition and Communication at Tilburg University, in the Netherlands, Neil Cohn is an American cognitive scientist best known for his pioneering research on the overlap in cognition between graphic communication and language. His books, The Visual Language of Comics (2013) and the 2021 Eisner-nominated Who Understands Comics? (2020), establish a foundation for the scientific study of comics' structure. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Drawings and sequential images are so pervasive in contemporary society that we may take their understanding for granted. But how transparent are they really, and how universally are they understood? Combining recent advances from linguistics, cognitive science, and clinical psychology, Who Understands Comics?: Questioning the Universality of Visual Language Comprehension (Bloomsbury, 2020) argues that visual narratives involve greater complexity and require a lot more decoding than widely thought. Although increasingly used beyond the sphere of entertainment as materials in humanitarian, educational, and experimental contexts, Neil Cohn demonstrates that their universal comprehension cannot be assumed. Instead, understanding a visual language requires a fluency that is contingent on exposure and practice with a graphic system. Bringing together a rich but scattered literature on how people comprehend, and learn to comprehend, a sequence of images, this book coalesces research from a diverse range of fields into a broader interdisciplinary view of visual narrative to ask: Who Understands Comics? In this interview, Dr. Cohn discusses some common misconceptions about comics, the ability to read and make comics, and how drawings are at the core of so many creations. Who Understands Comics? was Nominated for the 2021 Eisner Award for Best Academic/Scholarly Work Dr. Niel Cohn is currently an Associate Professor at the Tilburg center for Cognition and Communication at Tilburg University, in the Netherlands, Neil Cohn is an American cognitive scientist best known for his pioneering research on the overlap in cognition between graphic communication and language. His books, The Visual Language of Comics (2013) and the 2021 Eisner-nominated Who Understands Comics? (2020), establish a foundation for the scientific study of comics' structure. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language

Drawings and sequential images are so pervasive in contemporary society that we may take their understanding for granted. But how transparent are they really, and how universally are they understood? Combining recent advances from linguistics, cognitive science, and clinical psychology, Who Understands Comics?: Questioning the Universality of Visual Language Comprehension (Bloomsbury, 2020) argues that visual narratives involve greater complexity and require a lot more decoding than widely thought. Although increasingly used beyond the sphere of entertainment as materials in humanitarian, educational, and experimental contexts, Neil Cohn demonstrates that their universal comprehension cannot be assumed. Instead, understanding a visual language requires a fluency that is contingent on exposure and practice with a graphic system. Bringing together a rich but scattered literature on how people comprehend, and learn to comprehend, a sequence of images, this book coalesces research from a diverse range of fields into a broader interdisciplinary view of visual narrative to ask: Who Understands Comics? In this interview, Dr. Cohn discusses some common misconceptions about comics, the ability to read and make comics, and how drawings are at the core of so many creations. Who Understands Comics? was Nominated for the 2021 Eisner Award for Best Academic/Scholarly Work Dr. Niel Cohn is currently an Associate Professor at the Tilburg center for Cognition and Communication at Tilburg University, in the Netherlands, Neil Cohn is an American cognitive scientist best known for his pioneering research on the overlap in cognition between graphic communication and language. His books, The Visual Language of Comics (2013) and the 2021 Eisner-nominated Who Understands Comics? (2020), establish a foundation for the scientific study of comics' structure. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/neuroscience

Drawings and sequential images are so pervasive in contemporary society that we may take their understanding for granted. But how transparent are they really, and how universally are they understood? Combining recent advances from linguistics, cognitive science, and clinical psychology, Who Understands Comics?: Questioning the Universality of Visual Language Comprehension (Bloomsbury, 2020) argues that visual narratives involve greater complexity and require a lot more decoding than widely thought. Although increasingly used beyond the sphere of entertainment as materials in humanitarian, educational, and experimental contexts, Neil Cohn demonstrates that their universal comprehension cannot be assumed. Instead, understanding a visual language requires a fluency that is contingent on exposure and practice with a graphic system. Bringing together a rich but scattered literature on how people comprehend, and learn to comprehend, a sequence of images, this book coalesces research from a diverse range of fields into a broader interdisciplinary view of visual narrative to ask: Who Understands Comics? In this interview, Dr. Cohn discusses some common misconceptions about comics, the ability to read and make comics, and how drawings are at the core of so many creations. Who Understands Comics? was Nominated for the 2021 Eisner Award for Best Academic/Scholarly Work Dr. Niel Cohn is currently an Associate Professor at the Tilburg center for Cognition and Communication at Tilburg University, in the Netherlands, Neil Cohn is an American cognitive scientist best known for his pioneering research on the overlap in cognition between graphic communication and language. His books, The Visual Language of Comics (2013) and the 2021 Eisner-nominated Who Understands Comics? (2020), establish a foundation for the scientific study of comics' structure. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Simon Grennan's book A Theory of Narrative Drawing (Palgrave MacMillan, 2017) offers an original new conception of visual storytelling, proposing that drawing, depictive drawing and narrative drawing are produced in an encompassing dialogic system of embodied social behavior. It refigures the existing descriptions of visual story-telling that pause with theorizations of perception and the articulation of form.  The book identifies and examines key issues in the field, including: the relationships between vision, visualization and imagination; the theoretical remediation of linguistic and narratological concepts; the systematization of discourse; the production of the subject; idea and institution; and the significance of resources of the body in depiction, representation and narrative. It then tests this new conception in practice with two original visual demonstrations to clarify the particular dialectic relationships between subjects and media, in an examination of drawing style and genre, social consensus and self-conscious constraint. The book's originality derives from its clear articulation of a wide range of sources in proposing a conception of narrative drawing, and the extrapolation of this new conception in these two visual demonstrations. In this Interview Dr. Grennan discusses different strategies for reading this book, explains the graphiotactic array, and talks about how one can draw in drag. Dr. Simon Grennan is a Professor of Art and Design, at the University of Chester and has been practicing internationally as an artist since 1990. As part the collaborative team Grennan & Sperandio (Kartoonkings.com), he is well known as a pioneer of interventionist, New Genre and post-relational practice, through publishing, television and social action projects. Dr. Grennan is also an educator and an awarded scholar of narrative drawing, with particular expertise in the histories of drawing, comics, remediation and inter-media. He is a recognised theorist of the pedagogic relationship between practice and research and is an experienced, public facing practitioner. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Simon Grennan's book A Theory of Narrative Drawing (Palgrave MacMillan, 2017) offers an original new conception of visual storytelling, proposing that drawing, depictive drawing and narrative drawing are produced in an encompassing dialogic system of embodied social behavior. It refigures the existing descriptions of visual story-telling that pause with theorizations of perception and the articulation of form.  The book identifies and examines key issues in the field, including: the relationships between vision, visualization and imagination; the theoretical remediation of linguistic and narratological concepts; the systematization of discourse; the production of the subject; idea and institution; and the significance of resources of the body in depiction, representation and narrative. It then tests this new conception in practice with two original visual demonstrations to clarify the particular dialectic relationships between subjects and media, in an examination of drawing style and genre, social consensus and self-conscious constraint. The book's originality derives from its clear articulation of a wide range of sources in proposing a conception of narrative drawing, and the extrapolation of this new conception in these two visual demonstrations. In this Interview Dr. Grennan discusses different strategies for reading this book, explains the graphiotactic array, and talks about how one can draw in drag. Dr. Simon Grennan is a Professor of Art and Design, at the University of Chester and has been practicing internationally as an artist since 1990. As part the collaborative team Grennan & Sperandio (Kartoonkings.com), he is well known as a pioneer of interventionist, New Genre and post-relational practice, through publishing, television and social action projects. Dr. Grennan is also an educator and an awarded scholar of narrative drawing, with particular expertise in the histories of drawing, comics, remediation and inter-media. He is a recognised theorist of the pedagogic relationship between practice and research and is an experienced, public facing practitioner. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Simon Grennan's book A Theory of Narrative Drawing (Palgrave MacMillan, 2017) offers an original new conception of visual storytelling, proposing that drawing, depictive drawing and narrative drawing are produced in an encompassing dialogic system of embodied social behavior. It refigures the existing descriptions of visual story-telling that pause with theorizations of perception and the articulation of form.  The book identifies and examines key issues in the field, including: the relationships between vision, visualization and imagination; the theoretical remediation of linguistic and narratological concepts; the systematization of discourse; the production of the subject; idea and institution; and the significance of resources of the body in depiction, representation and narrative. It then tests this new conception in practice with two original visual demonstrations to clarify the particular dialectic relationships between subjects and media, in an examination of drawing style and genre, social consensus and self-conscious constraint. The book's originality derives from its clear articulation of a wide range of sources in proposing a conception of narrative drawing, and the extrapolation of this new conception in these two visual demonstrations. In this Interview Dr. Grennan discusses different strategies for reading this book, explains the graphiotactic array, and talks about how one can draw in drag. Dr. Simon Grennan is a Professor of Art and Design, at the University of Chester and has been practicing internationally as an artist since 1990. As part the collaborative team Grennan & Sperandio (Kartoonkings.com), he is well known as a pioneer of interventionist, New Genre and post-relational practice, through publishing, television and social action projects. Dr. Grennan is also an educator and an awarded scholar of narrative drawing, with particular expertise in the histories of drawing, comics, remediation and inter-media. He is a recognised theorist of the pedagogic relationship between practice and research and is an experienced, public facing practitioner. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Ethics in the Gutter: Empathy and Historical Fiction in Comics (Ohio State UP, 2017) explores an often-overlooked genre of graphic narratives: those that fictionalize historical realities. While autographics, particularly those that place the memoirist in the context of larger cultural conversations, have been the objects of sustained study, fictional graphic narratives that—as Linda Hutcheon has put it—both “enshrine and question” history are also an important area of study. By bringing narratology and psychological theory to bear on a range of graphic narratives, Kate Polak seeks to question how the form utilizes point of view and the gutter as ethical tools that shape the reader's empathetic reactions to the content. This book's most important questions surround how we receive and interpret representations of history, considering the ways in which what we think we know about historical atrocities can be at odds with the convoluted circumstances surrounding violence. Beginning with a new look at Watchmen, and including examinations of such popular series as Scalped and Hellblazer as well as Bayou and Deogratias, the book questions how graphic narratives create an alternative route by which to understand large-scale violence. Ethics in the Gutter explores how graphic narrative representations of violence can teach readers about the possibilities and limitations of empathy and ethics. Dr. Kate Polak is a writer, artist, performer, and scholar specializing in comics, poetry, 21st century women writers, and the literatures of genocide. She is an instructor and research associate in the English Department at Florida Atlantic University, where she teaches writing and literature, focusing on poetry, the representation of violence, and graphic narrative. Her book, Ethics in the Gutter: Empathy and Historical Fiction in Comics, was nominated for an Eisner Award. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Ethics in the Gutter: Empathy and Historical Fiction in Comics (Ohio State UP, 2017) explores an often-overlooked genre of graphic narratives: those that fictionalize historical realities. While autographics, particularly those that place the memoirist in the context of larger cultural conversations, have been the objects of sustained study, fictional graphic narratives that—as Linda Hutcheon has put it—both “enshrine and question” history are also an important area of study. By bringing narratology and psychological theory to bear on a range of graphic narratives, Kate Polak seeks to question how the form utilizes point of view and the gutter as ethical tools that shape the reader's empathetic reactions to the content. This book's most important questions surround how we receive and interpret representations of history, considering the ways in which what we think we know about historical atrocities can be at odds with the convoluted circumstances surrounding violence. Beginning with a new look at Watchmen, and including examinations of such popular series as Scalped and Hellblazer as well as Bayou and Deogratias, the book questions how graphic narratives create an alternative route by which to understand large-scale violence. Ethics in the Gutter explores how graphic narrative representations of violence can teach readers about the possibilities and limitations of empathy and ethics. Dr. Kate Polak is a writer, artist, performer, and scholar specializing in comics, poetry, 21st century women writers, and the literatures of genocide. She is an instructor and research associate in the English Department at Florida Atlantic University, where she teaches writing and literature, focusing on poetry, the representation of violence, and graphic narrative. Her book, Ethics in the Gutter: Empathy and Historical Fiction in Comics, was nominated for an Eisner Award. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Ethics in the Gutter: Empathy and Historical Fiction in Comics (Ohio State UP, 2017) explores an often-overlooked genre of graphic narratives: those that fictionalize historical realities. While autographics, particularly those that place the memoirist in the context of larger cultural conversations, have been the objects of sustained study, fictional graphic narratives that—as Linda Hutcheon has put it—both “enshrine and question” history are also an important area of study. By bringing narratology and psychological theory to bear on a range of graphic narratives, Kate Polak seeks to question how the form utilizes point of view and the gutter as ethical tools that shape the reader's empathetic reactions to the content. This book's most important questions surround how we receive and interpret representations of history, considering the ways in which what we think we know about historical atrocities can be at odds with the convoluted circumstances surrounding violence. Beginning with a new look at Watchmen, and including examinations of such popular series as Scalped and Hellblazer as well as Bayou and Deogratias, the book questions how graphic narratives create an alternative route by which to understand large-scale violence. Ethics in the Gutter explores how graphic narrative representations of violence can teach readers about the possibilities and limitations of empathy and ethics. Dr. Kate Polak is a writer, artist, performer, and scholar specializing in comics, poetry, 21st century women writers, and the literatures of genocide. She is an instructor and research associate in the English Department at Florida Atlantic University, where she teaches writing and literature, focusing on poetry, the representation of violence, and graphic narrative. Her book, Ethics in the Gutter: Empathy and Historical Fiction in Comics, was nominated for an Eisner Award. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Ethics in the Gutter: Empathy and Historical Fiction in Comics (Ohio State UP, 2017) explores an often-overlooked genre of graphic narratives: those that fictionalize historical realities. While autographics, particularly those that place the memoirist in the context of larger cultural conversations, have been the objects of sustained study, fictional graphic narratives that—as Linda Hutcheon has put it—both “enshrine and question” history are also an important area of study. By bringing narratology and psychological theory to bear on a range of graphic narratives, Kate Polak seeks to question how the form utilizes point of view and the gutter as ethical tools that shape the reader's empathetic reactions to the content. This book's most important questions surround how we receive and interpret representations of history, considering the ways in which what we think we know about historical atrocities can be at odds with the convoluted circumstances surrounding violence. Beginning with a new look at Watchmen, and including examinations of such popular series as Scalped and Hellblazer as well as Bayou and Deogratias, the book questions how graphic narratives create an alternative route by which to understand large-scale violence. Ethics in the Gutter explores how graphic narrative representations of violence can teach readers about the possibilities and limitations of empathy and ethics. Dr. Kate Polak is a writer, artist, performer, and scholar specializing in comics, poetry, 21st century women writers, and the literatures of genocide. She is an instructor and research associate in the English Department at Florida Atlantic University, where she teaches writing and literature, focusing on poetry, the representation of violence, and graphic narrative. Her book, Ethics in the Gutter: Empathy and Historical Fiction in Comics, was nominated for an Eisner Award. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In Frames and Framing in Documentary Comics (Palgrave Macmillan, 2021), Johannes Schmid's new book considers documentary comics in relationship to framing, that is both the strategic use of communication to encourage a particular interpretation of a scenario; secondly, the process of structuring a representation (or portions thereof) by situating it within certain boundaries, in the case of comics, a panel or a page, for example. Dr. Schmid combines theories of framing analysis and cognitive narratology with comics studies, focusing on the medium's visual frames and engaging in a broader discussion about facts and journalism in the current age of fake news and post-truth politics. After laying out its theoretical foundation, the book tackles this subject by dividing it up into Material Framing, Visual Framing, and Narrative framing.   Dr. Johannes Schmid is a postdoctoral researcher at Europa-Universität Flensburg, Germany, and associate editor at American Studies: A Quarterly, the official journal of the German Society for American Studies (GAAS). His other recent publications include Shooting Pictures, Drawing Blood: The Photographic Image in the Graphic War Memoir (2016). Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Frames and Framing in Documentary Comics (Palgrave Macmillan, 2021), Johannes Schmid's new book considers documentary comics in relationship to framing, that is both the strategic use of communication to encourage a particular interpretation of a scenario; secondly, the process of structuring a representation (or portions thereof) by situating it within certain boundaries, in the case of comics, a panel or a page, for example. Dr. Schmid combines theories of framing analysis and cognitive narratology with comics studies, focusing on the medium's visual frames and engaging in a broader discussion about facts and journalism in the current age of fake news and post-truth politics. After laying out its theoretical foundation, the book tackles this subject by dividing it up into Material Framing, Visual Framing, and Narrative framing.   Dr. Johannes Schmid is a postdoctoral researcher at Europa-Universität Flensburg, Germany, and associate editor at American Studies: A Quarterly, the official journal of the German Society for American Studies (GAAS). His other recent publications include Shooting Pictures, Drawing Blood: The Photographic Image in the Graphic War Memoir (2016). Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In Frames and Framing in Documentary Comics (Palgrave Macmillan, 2021), Johannes Schmid's new book considers documentary comics in relationship to framing, that is both the strategic use of communication to encourage a particular interpretation of a scenario; secondly, the process of structuring a representation (or portions thereof) by situating it within certain boundaries, in the case of comics, a panel or a page, for example. Dr. Schmid combines theories of framing analysis and cognitive narratology with comics studies, focusing on the medium's visual frames and engaging in a broader discussion about facts and journalism in the current age of fake news and post-truth politics. After laying out its theoretical foundation, the book tackles this subject by dividing it up into Material Framing, Visual Framing, and Narrative framing.   Dr. Johannes Schmid is a postdoctoral researcher at Europa-Universität Flensburg, Germany, and associate editor at American Studies: A Quarterly, the official journal of the German Society for American Studies (GAAS). His other recent publications include Shooting Pictures, Drawing Blood: The Photographic Image in the Graphic War Memoir (2016). Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

In Frames and Framing in Documentary Comics (Palgrave Macmillan, 2021), Johannes Schmid's new book considers documentary comics in relationship to framing, that is both the strategic use of communication to encourage a particular interpretation of a scenario; secondly, the process of structuring a representation (or portions thereof) by situating it within certain boundaries, in the case of comics, a panel or a page, for example. Dr. Schmid combines theories of framing analysis and cognitive narratology with comics studies, focusing on the medium's visual frames and engaging in a broader discussion about facts and journalism in the current age of fake news and post-truth politics. After laying out its theoretical foundation, the book tackles this subject by dividing it up into Material Framing, Visual Framing, and Narrative framing.   Dr. Johannes Schmid is a postdoctoral researcher at Europa-Universität Flensburg, Germany, and associate editor at American Studies: A Quarterly, the official journal of the German Society for American Studies (GAAS). His other recent publications include Shooting Pictures, Drawing Blood: The Photographic Image in the Graphic War Memoir (2016). Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Geraint D'Arcy's book Mise en scène, Acting, and Space in Comics (Palgrave Macmillan, 2020) explores some of the less frequently questioned ideas which underpin comics creation and criticism. “Mise en scène” is a term which refers to the way in which visual elements work together to create meaning in comics. It is a term that comics have borrowed from cinema, which borrowed it in turn from theatre. But comics are not film and they are not cinema, so how can this term be of any use? If we consider comics to have mise en scène, should not we also ask if the characters in comics act like the characters on film and stage? In its exploration of these ideas, this book also asks what film and theatre can learn from comics. Dr. Geraint D'Arcy is a lecturer in Media Practice, at the School of Art, Media and American Studies at the University of East Anglia in the UK and a member of the Comics Studies Research Group. he also wrote Critical Approaches to TV and Film Set Design in 2018, published with Taylor and Francis. He currently works across several courses at the University of South Wales. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Geraint D'Arcy's book Mise en scène, Acting, and Space in Comics (Palgrave Macmillan, 2020) explores some of the less frequently questioned ideas which underpin comics creation and criticism. “Mise en scène” is a term which refers to the way in which visual elements work together to create meaning in comics. It is a term that comics have borrowed from cinema, which borrowed it in turn from theatre. But comics are not film and they are not cinema, so how can this term be of any use? If we consider comics to have mise en scène, should not we also ask if the characters in comics act like the characters on film and stage? In its exploration of these ideas, this book also asks what film and theatre can learn from comics. Dr. Geraint D'Arcy is a lecturer in Media Practice, at the School of Art, Media and American Studies at the University of East Anglia in the UK and a member of the Comics Studies Research Group. he also wrote Critical Approaches to TV and Film Set Design in 2018, published with Taylor and Francis. He currently works across several courses at the University of South Wales. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Geraint D'Arcy's book Mise en scène, Acting, and Space in Comics (Palgrave Macmillan, 2020) explores some of the less frequently questioned ideas which underpin comics creation and criticism. “Mise en scène” is a term which refers to the way in which visual elements work together to create meaning in comics. It is a term that comics have borrowed from cinema, which borrowed it in turn from theatre. But comics are not film and they are not cinema, so how can this term be of any use? If we consider comics to have mise en scène, should not we also ask if the characters in comics act like the characters on film and stage? In its exploration of these ideas, this book also asks what film and theatre can learn from comics. Dr. Geraint D'Arcy is a lecturer in Media Practice, at the School of Art, Media and American Studies at the University of East Anglia in the UK and a member of the Comics Studies Research Group. he also wrote Critical Approaches to TV and Film Set Design in 2018, published with Taylor and Francis. He currently works across several courses at the University of South Wales. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Geraint D'Arcy's book Mise en scène, Acting, and Space in Comics (Palgrave Macmillan, 2020) explores some of the less frequently questioned ideas which underpin comics creation and criticism. “Mise en scène” is a term which refers to the way in which visual elements work together to create meaning in comics. It is a term that comics have borrowed from cinema, which borrowed it in turn from theatre. But comics are not film and they are not cinema, so how can this term be of any use? If we consider comics to have mise en scène, should not we also ask if the characters in comics act like the characters on film and stage? In its exploration of these ideas, this book also asks what film and theatre can learn from comics. Dr. Geraint D'Arcy is a lecturer in Media Practice, at the School of Art, Media and American Studies at the University of East Anglia in the UK and a member of the Comics Studies Research Group. he also wrote Critical Approaches to TV and Film Set Design in 2018, published with Taylor and Francis. He currently works across several courses at the University of South Wales. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Geraint D'Arcy's book Mise en scène, Acting, and Space in Comics (Palgrave Macmillan, 2020) explores some of the less frequently questioned ideas which underpin comics creation and criticism. “Mise en scène” is a term which refers to the way in which visual elements work together to create meaning in comics. It is a term that comics have borrowed from cinema, which borrowed it in turn from theatre. But comics are not film and they are not cinema, so how can this term be of any use? If we consider comics to have mise en scène, should not we also ask if the characters in comics act like the characters on film and stage? In its exploration of these ideas, this book also asks what film and theatre can learn from comics. Dr. Geraint D'Arcy is a lecturer in Media Practice, at the School of Art, Media and American Studies at the University of East Anglia in the UK and a member of the Comics Studies Research Group. he also wrote Critical Approaches to TV and Film Set Design in 2018, published with Taylor and Francis. He currently works across several courses at the University of South Wales. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture