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209 Pages·2019·15.592 MB·English
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Representation and Memory in Graphic Novels This book analyses the relationship between comics and cultural memory. By focussing on a range of landmark comics from the twentieth and twenty-first centuries,thediscussiondrawsattentiontotheongoingroleofvisualculturein framing testimony, particularly in relation to underprivileged subjects such as migrantsandrefugees,individualsdealingwithwarandoppressiveregimesand individualslivingwithparticularhealthconditions.Thediscussionisinfluenced by literary and cultural debates on the intersections between ethics, testimony, trauma,andhumanrights,reflectedinitsthreeoverarchingquestions:‘Howdo comics usually complicate the production of cultural memory in local contents and global mediascapes?’, ‘How do comics engage with, and generate, new forms of testimonial address?’, and ‘Howdo the comics function as mnemonic structures?’ Theauthorhighlightsthatthepowerofcomicsisthattheyallowbothcreators andreaderstovisualisethefracturingpowerofviolenceandoppression–atthe level of the individual, domestic, communal, national and international – in powerfulandcreativeways.Comicsdonotstandoutsideofliterature,cinema,or anyof the other arts, but ratherenliven the reciprocal relationship between the verbalandthevisuallanguagethatinformsallofthesemedia.Assuch,thedis- cussion demonstrates how fields such as graphic medicine, graphic justice, and comics journalism contribute to existing theoretical and analytics debates, includingcriticalvisualtheory,traumaandmemorystudies,byofferingabroad ranging,yetcohesive,analysisofculturalmemoryanditsrepresentationinprint anddigitalcomics. Golnar Nabizadeh is Lecturer in Comics Studies at the University of Dundee where she teaches on the MLitt in Comics and Graphic Novels, as well as undergraduate modules in English and Humanities. Her research interests are in graphic justice, critical theory, trauma and memory studies. She has pub- lished on the work of Alison Bechdel, Marjane Satrapi, and Shaun Tan, visual adaptation, picturebooks, and comics and literary justice. Memory Studies: Global Constellations Henri Lustiger-Thaler, Ramapo College of New Jersey, USA and Ecole des Hautes Etudes en Sciences Sociales, France The ‘past in the present’ has returned in the early twenty-first century with a vengeance, andwith it the expansion of categories of experience. These experi- ences have largely been lost in the advance of rationalist and constructivist understandings of subjectivity and their collective representations. The cultural stakesaroundforgetting,‘usefulforgetting’andremembering,locally,regionally, nationallyandgloballyhaverisenexponentially.Itisthereforenotunusualthat ‘migrant memories’; micro-histories; personal and individual memories in their interwoven relation to cultural, political and social narratives; the mnemonic pastandpresentofemotions,embodimentandritual;andfinally,themnemonic spatialityofgeographyandterritoriesarereceivingmorepronouncedhearings. Thistranspiresasthesocialsciencesthemselvesareconsciouslyglobalizingtheir knowledgebases.Inadditiontotheabove,thereconstructivelogicofmemoryin the juggernautofgallopinginformationalizationisrendering it more and more publicly accessible, and therefore part of a new global public constellation aroundthecodingofmeaningandexperience.Memorystudiesasanacademic fieldofsocialandculturalinquiryemergesatatimewhenglobalpublicdebate- buttressedbythefragmentationofnationalnarratives-hasaccelerated.Societies today, in late globalized conditions, are pregnant with newly unmediated and unfrozenmemoriesoncesequesteredinwidecollectiverepresentations.Wewel- comemanuscriptsthatexamineandanalyzetheseprofoundculturaltraces. Titles in this series Traumatic Storytelling and Memory in Post-Apartheid South Africa Performing Signs of Injury Christopher J. Colvin Memory in Transatlantic Relations From the Cold War to the Global War on Terror Kryštof Kozák, György Tóth, Paul Bauer and Allison Lynn Wanger Representation and Memory in Graphic Novels Golnar Nabizadeh Representation and Memory in Graphic Novels Golnar Nabizadeh Firstpublished2019 byRoutledge 2ParkSquare,MiltonPark,Abingdon,OxonOX144RN andbyRoutledge 52VanderbiltAvenue,NewYork,NY10017 RoutledgeisanimprintoftheTaylor&FrancisGroup,aninformabusiness ©2019GolnarNabizadeh TherightofGolnarNabizadehtobeidentifiedasauthorofthisworkhas beenassertedbyherinaccordancewithsections77and78ofthe Copyright,DesignsandPatentsAct1988. Allrightsreserved.Nopartofthisbookmaybereprintedorreproducedor utilisedinanyformorbyanyelectronic,mechanical,orothermeans,now knownorhereafterinvented,includingphotocopyingandrecording,orin anyinformationstorageorretrievalsystem,withoutpermissioninwriting fromthepublishers. Trademarknotice:Productorcorporatenamesmaybetrademarksor registeredtrademarks,andareusedonlyforidentificationandexplanation withoutintenttoinfringe. BritishLibraryCataloguinginPublicationData AcataloguerecordforthisbookisavailablefromtheBritishLibrary LibraryofCongressCataloging-in-PublicationData Names:Nabizadeh,Golnar,author. Title:Representationandmemoryingraphicnovels/GolnarNabizadeh. Description:NewYork,NY:Routledge,2019.| Series:Memorystudies:globalconstellations;11| Includesbibliographicalreferencesandindex. Identifiers:LCCN2018059992(print)|LCCN2018060210(ebook)| ISBN9781315605418(ebk)|ISBN9781317066101(webpdf)| ISBN9781317066095(epub)|ISBN9781317066088(mobi/kindle)| ISBN9781472481566(hbk) Subjects:LCSH:Graphicnovels--Historyandcriticism.| Collectivememoryandliterature.|Memoryinliterature. Classification:LCCPN6714(ebook)|LCCPN6714.N282019(print)| DDC741.5/9--dc23 LCrecordavailableathttps://lccn.loc.gov/2018059992 ISBN:978-1-4724-8156-6(hbk) ISBN:978-1-315-60541-8(ebk) TypesetinTimesNewRoman byTaylor&FrancisBooks Contents List of figures vi Acknowledgements viii Introduction: Comics, memory, and the visual archive 1 1 Migrant memories in Henry Yoshitaka Kiyama’s The Four Immigrants Manga and The Arrival by Shaun Tan 27 2 Racism and cultural afterlives: American Born Chinese by Gene Luen Yang and Pat Grant’s Blue 62 3 Narrating trauma in Marjane Satrapi’s Persepolis 89 4 Memories of illness in Epileptic by David B. and Stitches by David Small 112 5 Multimodal memories: The Photographer Into War-Torn Afghanistan with Doctors Without Borders by Guibert et al. and Waltz with Bashir by Ari Folman and David Polonsky 138 6 Comics online: Memories from the exclusion zone in “At Work Inside Our Detention Centres: AGuard’s Story” by Wallman et al. and “Villawood” by Safdar Ahmed 163 Afterword 185 Index 190 Figures Cover image: © Zuzanna Dominiak 0.1 “Comics and Memory. After Winsor McCay”. 4 0.2 “Winsor McCay, Little Sammy Sneeze, 24 September 1905”. 9 0.3 “Mother and Son”. © Yoshihiro Tatsumi. 13 0.4 “I saw the hell inside me…”. 16 1.1 “U.S. Immigration Station, Angel Island, San Francisco Bay, View Showing Wharf and Main Building, 1910”. 32 1.2 “Arrival in San Francisco”. The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904–1924 by Henry (Yoshitaka) Kiyama, translated by Frederik L. Schodt, p. 30. 33 1.3 “AVisit from the President”. The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904–1924 by Henry (Yoshitaka) Kiyama, translated by Frederik L. Schodt, p. 89. 37 1.4 “The Turlock Incident”. The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904–1924 by Henry (Yoshitaka) Kiyama, translated by Frederik L. Schodt, p. 124. 39 1.5 “Escape – Draft Sketch”. 44 1.6 “Originary Montage”. The Arrival by Shaun Tan. 50 1.7 “Departure”. The Arrival by Shaun Tan. 52 1.8 “Dissolve – part 1”. The Arrival by Shaun Tan. 55 1.9 “Dissolve – part 2”. The Arrival by Shaun Tan. 56 2.1 “Counter-narrative (detail)”. Pat Grant, Blue, 2012. Creative Commons Attribution. 77 2.2 “The Mongolian Octopus – his grip on Australia”. Philip May, The Bulletin, 21 August 1886. 79 2.3 “Transition (detail)”. Pat Grant, Blue, 2012. 80 2.4 “Recognition (detail)”. Pat Grant, Blue, 2012. 83 List of illustrations vii 6.1 “White Bars”. Image provided courtesy of Sam Wallman, Nick Olle, Pat Grant, and Pat Armstrong. “At Work Inside Our Detention Centres: AGuard’s Story” (February 2014). 170 6.2 “Wounded Head”. 171 6.3 “Untethered Contents”. 174 6.4 “Marking Boundaries”. 176 6.5 “Symbolic Composition”. 178 6.6 “Couplets in Urdu”. 179 Acknowledgements I am grateful for the support of many people whose encouragement and care enriched the long process through which this book came to fruition. The book wasstartedinPerth,WesternAustralia,andcompletedinDundee,Scotland. In Australia, I’d like to thank David Barrie, Ned Curthoys, Joy Damousi and the Kathleen Fitzpatrick Fellowship Program, Kieran Dolin, Wendy Grace, Gareth Griffiths, Tony Hughes-d’Aeth, Gail Jones, Judy Johnston, JaneLydon,Lee-VonKim,AdamNicol,RajeshKrishnamuti,AndreCrozier, Des Manderson, Philip Mead, Bruce Mutard, National Library of Australia, Sophie Sunderland, Peter Morgan,Katie Tonkin, BobWhite, Sam Hutchison who providedvaluablefeedbackon several chapterdrafts,and the Croweand Nabizadeh families. I also thank Shaun Tan, Sam Wallman, and Safdar Ahmed,whoserespectiveworksIwriteabouthere,fortheirartisticgenerosity and help with my queries. IntheUK,I’dliketothankJenBarnes,SueBlack,DanielCook,LauraFin- dlay, Carmen Garcia del Rio, Jo George, Dominic Smith, Matt Graham, Damon Herd, Brian Hoyle, Martine van Ittersum, Divya Jindal-Snape, the Livesey-Stephens family, Monty Nero, Joan Ormrod, Andrew Roberts, Julia Round, Roger Sabin, Ana Salzberg, Aliki Varvogli, Phil Vaughan, Keith Wil- liams,colleaguesintheSchoolofHumanities,andthefantasticartistsatInkPot Studios.I’dalsoliketothanktheMLittinComicsandGraphicNovelscohorts for 2016/17 and 2017/18 for their enthusiasm and insights into the world of comics. To Zu Dominiak, thankyou for designing and illustrating the coverof thisbook,andspecialthankstoCatrionaLairdfordrawingthethree-panelstrip inFigure0.1. Inotherpartsoftheworld,IthankAngelikaBammerandIanGordon,for their interest in my research, and also send special thanks to Fred Schodt for his invaluable insights on The Four Immigrants Manga. I extend many thanks to Drawn & Quarterly Publications, Stone Bridge Press, Hachette Australia, and Pat Grant, for providing permission to use the respective images in this book. Sections of Chapter 1 on The Arrival were previouslypublished in ‘Visual melancholyin Shaun Tan’s The Arrival’ in Journal of Graphic Novels and Comics 5.3 (2014), pp. 366–379, and is reprinted here with permission of the publisher, Taylor & Francis Ltd. A Acknowledgements ix portionofChapter2previouslyappearedin‘VisualisingriskinPatGrant’sBlue: xenophobiaandgraphicnarrative’inTextualPractice31.3(2017),pp.537–552, availablefrom www.tandfonline.com. PartsofChapter 3 were first publishedin ‘Vision and precarity in Marjane Satrapi’s Persepolis’, WSQ: Women’s Studies Quarterly44.1&2(2016),pp.152–167.Copyright©2016bytheFeministPress at the City Universityof New York. Usedwith permission of The Permissions Company, Inc., on behalf of the publishers, www.feministpress.org. All rights reserved. Parts of Chapter 6 first appeared in the article ‘Comics online: Detentionandwhite-space in“AGuard’s Story”’, publishedinariel: A Review ofInternationalEnglishLiterature47.1–2(2016),pp.337–357.Copyright©2016 The Johns Hopkins University Press and the University of Calgary, and are reprintedherewithpermissionfromJohnsHopkinsUniversityPress. AtRoutledge,IamindebtedtoAlice Salt forhersupportandhelpatevery stage of the manuscript. I also want to acknowledge Henri Lustiger-Thaler’s feedbackon the finishedwork, for which I am enormously appreciative. IamparticularlygratefultoChrisMurrayforhisextensivefeedbackonthe manuscript, and for his indelible support and friendship since I arrived at Dundee. Mayra Crowe has been an amazing friend, who I was lucky enough to meet during my first week at Dundee. Thank you for your unforgettable generosity and spirit. I am grateful to Narges Razavi, the best, best friend anyone couldwish for, and for her love, kindness, and support for more than 29 years. Specialthankstomy parents, Maliand Sohrab Nabizadehfortheir support, love, inspiration, and trust. Andfinally,toMatthewCrowe,withoutwhosesteadfastencouragementand selflessness I would not have movedtoDundee totake up the opportunityofa lifetime,andalsoforhisbrilliantfeedbackonthemanuscript.

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