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"Biographical comic books, strips, etc."
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Women who were kings : Hatshepsut
\"The first great woman of history of whom we are informed Hatshepsut - throne name Maatkare - was one of the greatest pharaohs of Ancient Egypt. And remarkably - a woman. In a civilisation that didn't allow women to rule, how did Hatshepsut ascend to the throne? What did she achieve, and what were her policies as a female politician? What makr did she make on Egypt as its female king? What his her story?\"--Back cover.
Book
Autobiographical Comics
A troubled childhood in Iran. Living with a disability. Grieving for a dead child. Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth.
InAutobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre. The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles.
Drawing on concepts from several disciplinary fields--including semiotics, literary and narrative theory, art history, and psychology--El Refaie shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one's self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.
eBook
I remember Beirut
Zeina Abirached grew up in Beirut in the 1980s when fighting between Christians and Muslims divided the city streets. With striking black-and-white artwork, Abirached recalls the details of ordinary life inside a war zone.
Book
Palookaville
Tom Smart's Palookaville: Seth and the Art of Graphic Autobiography examines the construction self-identity and the wafer-thin distinction between fiction and autobiography in Canadian cartoonist Seth's Palookaville series of graphic novels.
eBook
Canadian graphic
Critical essays on contemporary Canadian cartoonists working in graphic life narrative, from confession to memoir to biography. Draws on literary theory, visual studies, and cultural history to ask why and how Canadian cartoonists have become so prominent in the international market for comic books based on real life experiences.
eBook
Fantastical Autography in Asaf Hanuka's The Realist
Originally published in the Israeli business newspaper Calcalist, Asaf Hanuka's series The Realist introduces readers to the real-life experiences that he has as an Israeli, a father, a husband, and a professional cartoonist. Each week's comic revolves around one event or experience from Hanuka's personal life during the preceding week. In many of the cartoons, Hanuka employs science fiction and fantasy motifs that provide the reader with insights into Hanuka's feelings and attitudes toward the nonfictional element. This article analyzes the series by employing a literary concept that I will call fantastical autography. I argue that Hanuka's use of the fantastical in his comics enables him to make use of complex visual metaphors that offer commentary on Israeli society and Hanuka's own place in it. More often than not, Hanuka's depictions of the “real” world are bleak and dreary, but fantasy provides a way out.
Journal Article
From Pioneer of Comics to Cultural Myth
The multifaceted Galician artist, writer and politician Alfonso Daniel Rodríguez Castelao (1886–1950) has been considered a pioneer of Galician comics, or banda deseñada. This is because of his key role in the development of the medium from his early comic strips in the magazine Vida gallega [Galician life] (1909), to the cartoons that he published in the press in the 1920s and 1930s. Furthermore, Castelao has become a comics character in several graphic biographies since the end of the 1970s. This article not only addresses the reasons for the recurrent presence of Castelao in Galician comics, but it also looks at how the latter have contributed to the mythologisation of this important figure of Galician culture. In aesthetic terms, it will reveal the overlaps between adaptation, biography and comics by analysing all three of them as networks.
Journal Article