741.5 Comics, Cartoons, Karikaturen
Refine
Year of publication
Document Type
- Article (27)
- Part of a Book (26)
- Part of Periodical (26)
- Review (10)
- Book (7)
- Contribution to a Periodical (4)
- Conference Proceeding (1)
- Periodical (1)
Is part of the Bibliography
- no (102)
Keywords
- Comic (26)
- Comicroman (11)
- Karikatur (11)
- Manga (5)
- Erzähltechnik (3)
- Wissenschaft (3)
- Bild (2)
- Dante, Alighieri (2)
- Divina commedia (2)
- Erzähltheorie (2)
Institute
- Neuere Philologien (17)
- Präsidium (4)
- Gesellschaftswissenschaften (1)
- Sprachwissenschaften (1)
- Universitätsbibliothek (1)
Der Artikel gibt einen Überblick über die unterschiedlichen Sammlungsbestände von Comics, Graphic Novels und Manga in wissenschaftlichen Bibliotheken in Deutschland. Im weiteren Verlauf wird ein Schwerpunkt auf die Herausforderungen und Probleme in Bezug auf Bestandsaufbau, Erschließung, Archivierung bzw. Verfügbarmachung sowie Findmittel gelegt.
In visual narratives such as comics, national images are actually depicted. While Franco-Belgian comics have been the subject of detailed studies regarding the national stereotypes they convey, Flemish comics have been largely ignored. This article focuses on three albums of the Flemish comic series "Suske en Wiske", in which the heroes travel to a fictitious Eastern Bloc country, Japan, and China. It will examine how both heteroimages and auto-image are presented (visually, textually, and as part of the plot), and how comic characters may combine contradictory ethnotypes. As it will turn out, in the early album (1945) ethnotypes are perpetuated, whereas in later ones (1984, 2008) they are rather undermined.
In der "Ästhetik" von 1853 hat Rosenkranz die Karikatur von der Frühzeit der Kunst bis zur Mitte des 19. Jahrhunderts (Christian August Weißes Ästhetik über das Komische als Aufhebung des Hässlichen als Negation des Schönen erweiternd) als Aufhebung des Hässlichen als das "Negativschöne" (bzw. die "Schattenseite des Schönen") untersucht. Für Rosenkranz sollte die ideale, phantasiereiche Karikatur eine Befreiung vom Hässlichen ins Komische ermöglichen, wobei der Betrachter sich auch das Schöne vorstellen könne.
This review analyses the aesthetic engagement with Nazi atrocities during WWII and belonging in post-war Germany as presented in Nora Krug’s graphic novel Heimat: A German Family Album. The authors employ Marianne Hirsch’s concept of ‘postmemory’ as an analytical tool that helps them locate the complex historical and emotional contexts from which this graphic novel receives its impulses. The concrete scenes from the novel are presented and subsequently related to the field of memory and postmemory scholarship. Wider critical debates on how aesthetic articulations of past atrocities influence the next generations of ‘victims’ and ‘perpetrators’ are examined, to ask: What does it mean to inhabit memories of ghostly narratives about perpetrators and how does it form a feeling of post-home?
The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning “history,” “legend,” and “narrative,” is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or ‘snippets’ from Greenland’s history (from the periods of Saqqaq, late Dorset, Norse settlement, and European colonization). Adopting a fragmentary and episodic approach to historical narrativization, the texts frame the modern European presence in Greenland as one of multiple migrations to and settlements in the Artic, rather than its central axis. We argue that, in consequence, the Oqaluttuaq narratives not only “provincialize” the tradition of hyperborean colonial memories, but also provide a postcolonial mnemonic construction of Greenland as a place of multiple histories, plural peoples, and heterogenous temporalities. As such, the books also narrativize loss and disappearance—of people, cultures, and environments—as a distinctive melancholic strand in Greenlandic history. Informed by approaches in the field of cultural memory and in the study memorial objects, Marks’ haptic visuality and Keenan and Weizman’s forensic aesthetics, we analyze the graphic narratives of Oqaluttuaq in regard to their aesthetic dimensions, as well as investigate the role of material objects and artifacts, which work as narrative “props” for multiple stories of encounter and survival in the Arctic.
The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning “history,” “legend,” and “narrative,” is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or ‘snippets’ from Greenland’s history (from the periods of Saqqaq, late Dorset, Norse settlement, and European colonization). Adopting a fragmentary and episodic approach to historical narrativization, the texts frame the modern European presence in Greenland as one of multiple migrations to and settlements in the Artic, rather than its central axis. We argue that, in consequence, the Oqaluttuaq narratives not only “provincialize” the tradition of hyperborean colonial memories, but also provide a postcolonial mnemonic construction of Greenland as a place of multiple histories, plural peoples, and heterogenous temporalities. As such, the books also narrativize loss and disappearance—of people, cultures, and environments-as a distinctive melancholic strand in Greenlandic history. Informed by approaches in the field of cultural memory and in the study memorial objects, Marks’ haptic visuality and Keenan and Weizman’s forensic aesthetics, we analyze the graphic narratives of Oqaluttuaq in regard to their aesthetic dimensions, as well as investigate the role of material objects and artifacts, which work as narrative “props” for multiple stories of encounter and survival in the Arctic.
