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DISAPPOINTED BELIEVERS?
by
Sarah Lightman
in
Anger
/ Anthropology
/ Arts
/ Behavioral sciences
/ Cognitive psychology
/ Comic books
/ Communications
/ Communications media
/ Cultural identity
/ Emotion
/ Emotional states
/ Ethnic groups
/ Ethnography
/ Ethnology
/ Ethnoreligious groups
/ Fiction
/ Graphic novels
/ Graphics
/ Group identity
/ Jewish identity
/ Jewish peoples
/ Jewish studies
/ Judaism
/ Literary genres
/ Literature
/ Narratives
/ Psychology
/ Social psychology
/ Social sciences
/ Visual arts
/ Visual materials
2015
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DISAPPOINTED BELIEVERS?
by
Sarah Lightman
in
Anger
/ Anthropology
/ Arts
/ Behavioral sciences
/ Cognitive psychology
/ Comic books
/ Communications
/ Communications media
/ Cultural identity
/ Emotion
/ Emotional states
/ Ethnic groups
/ Ethnography
/ Ethnology
/ Ethnoreligious groups
/ Fiction
/ Graphic novels
/ Graphics
/ Group identity
/ Jewish identity
/ Jewish peoples
/ Jewish studies
/ Judaism
/ Literary genres
/ Literature
/ Narratives
/ Psychology
/ Social psychology
/ Social sciences
/ Visual arts
/ Visual materials
2015
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Do you wish to request the book?
DISAPPOINTED BELIEVERS?
by
Sarah Lightman
in
Anger
/ Anthropology
/ Arts
/ Behavioral sciences
/ Cognitive psychology
/ Comic books
/ Communications
/ Communications media
/ Cultural identity
/ Emotion
/ Emotional states
/ Ethnic groups
/ Ethnography
/ Ethnology
/ Ethnoreligious groups
/ Fiction
/ Graphic novels
/ Graphics
/ Group identity
/ Jewish identity
/ Jewish peoples
/ Jewish studies
/ Judaism
/ Literary genres
/ Literature
/ Narratives
/ Psychology
/ Social psychology
/ Social sciences
/ Visual arts
/ Visual materials
2015
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Book Chapter
DISAPPOINTED BELIEVERS?
2015
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Overview
Frimme hersh’s question marks stand out in ‘A Contract with God’ (1978; Fig. 1). Written in a unique font, these markings intertwine English punctuation with Hebrew lettering, and articulate faith, anger, expectation and disappointment. These question marks are both text and image, end sentences but also look for answers from a God found wanting: ‘Then is not GOD ALSO, so obligated??’ (Eisner 2006: 5). In this essay I will consider how American graphic novelists explore their complex relationships with God and Judaism through their semi-autobiographical comics. Focusing on Will Eisner’s ‘A Contract with God’¹ I will also examine Miss Lasko-Gross’s
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