ImageTexT: Interdisciplinary Comics Studies

ISSN: 1549-6732

ImageTexT is a peer-reviewed, open access journal dedicated to the interdisciplinary study of comics and related media. We are published by the English Department at the University of Florida with support from the College of Liberal Arts and Sciences. Our content is available free of charge, and regular issues of ImageTexT will be published three times per year.

Volume 8, Issue 1



Past Issues

Volume 8 (2015)

  • Issue 1
     General Issue with "Monsters in the Margins" Forum

Volume 7 (2013-2014)

Volume 6 (2011 - 2013)

Volume 5 (2010 - 2011)

Volume 4 (2008 - 2009)

Volume 3 (2006 - 2007)

Volume 2 (2005 - 2006)

Volume 1 (2004 - 2005)

Editorial Board

  • Terry Harpold Editor

  • Anastasia Ulanowicz Associate Editor

  • Donald Ault Founder and Editor Emeritus

Editorial Advisory Board

  • Fredric Jameson
  • W.J.T. Mitchell
  • Jerome J. McGann

Editorial Review Board

  • Martin Barker
  • Scott Bukatman
  • Richard Burt
  • Sean Carney
  • Will Eisner (in memoriam)
  • Ian Gordon
  • Terry Harpold
  • Charles Hatfield
  • M. Thomas Inge
  • John Lent
  • Jeffery Klaehn
  • David Kunzle
  • Joseph Murphy
  • Scott Nygren (in memoriam)
  • Derek Parker Royal
  • Maureen Turim
  • Roger Sabin
  • Joseph Witek
  • Julian Wolfreys
  • Phil Wegner

The Sequential Artists Workshop

A new comix art school, The Sequential Artists Workshop, is soon open in Gainesville, FL. Please see the website at for details. From the SAW website:

A couple years ago we had the crazy idea to open a school; an informal, but serious school, with a curriculum to match any anywhere, but without the baggage, the loans or the politics of higher education. This was the challenge: to create an outpost of support and learning in the comics world. We’re here to educate students and support artists. SAW is a place you can come for a week or a year and forge your personal creative path in visual storytelling.

SAW's mission statement is described in this excerpt from a letter which was sent by the school's founders, who include Tom Hart and Leela Corman, before the school's opening:

We're starting this school because we recognize more and more the need for intensive training in this artform, and also want to see the good, interesting adventurous artists out there multiply and flourish. That's why we're calling it The Sequential Artists Workshop: our mission is to train and support artists.
The school is being founded by Tom Hart, who has taught cartooning at the School of Visual Arts in New York City for 10 years, and has helped countless amazing students at SVA become artists. Tom says, "Cartooning and graphic novels are becoming bigger and bigger every day. I tutor and teach more and more people who are fascinated by this medium but don't know it's workings or don't know its history, or who just need time and mentoring to practice, learn and work. We want to be a place to for those people to work, to learn the form and to become sequential artists."

You can see the letter in full on our announcement of the Workshop on the ImageTexT News Feed. We at ImageTexT hope that you will extend support to this exciting new organization.


Stay updated:

Send us a news item.

[cfp] LAST CALL!!! INTE 2015 Barcelona, SPAIN

Posted 04 Jun, 2015

Dear Colleague,

The Association of Science, Education and Technology (TASET), Governors State University and Sakarya University are pleased to invite you to the 6th "International Conference on New Horizons in Education" to be held in Barcelona, Spain on June 10-12, 2015.

The main aim of the INTE Conference is to bring scholars, researchers, educators, students, professionals and other groups interested in education to present their works in educational sciences.

After reviewing process, all accepted papers in English which are presented at INTE-2015, Barcelona, Spain will be published in The Special Issue of TOJET (The Online Journal of Educational Technology) ( ISSN: 2146-7242).

TOJET is an open access online international electronic journal, published four times a year (January, April, July, and October). TOJET provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.

TOJET has been published for 13 years and is currently being indexed by SCOPUS, ERIC, EBSCO ONLINE, and EBSCO CD ROM Database, DOAJ and AERA SEG.


You can submit your abstract at or email it to: or For all our conferences please visit TASET at

Important Dates:

Abstract Submission Deadline: May 30, 2015
Registration Deadline: June 07, 2015
Full Paper Submission Deadline: June 30, 2015

We are looking forward to welcoming you in Barcelona, Spain.

[issue] ImageTexT 8.1

Posted 26 May, 2015

ImageTexT: Interdisciplinary Comics Studies is pleased to announce the release of its latest issue, volume 8 number 1. It can be accessed via our main page at or via its permalink location at


We are proud to present these featured articles in Issue 8.1:

  • Michelle E. Bloom's "Constructing Guy Delisle's Shenzhen and Deng Xiaoping's Shenzhen: Graphic Novel and Urban Space"
  • Cristina Delgado-García's "Invisible Spaces for the "Impossible" State: National Identity and the Production of Space in Joe Sacco's Palestine"
  • Andréa Gilroy's "The Epistemology of the Phone Booth: The Superheroic Identity and Queer Theory in Batwoman: Elegy"
  • John Cech's "From Humbaba to the Wild Things: The Monster Archetype That is Forever With Us"
  • Eric Doise's "Two Lunatics: Sanity and Insanity in The Killing Joke"
  • Laurie Gries's "Obama Zombies and Rhetorical (Dis)Identifications in an Era of Dog Whistle Politics and Political Polarization"
  • Caleb Simmons's "Erotic Grotesque Redemption: Transgressive Sexuality and the Search for Salvation in Katsuya Terada's The Monkey King Volume 1"
  • Anastasia Ulanowicz's "Chick Tracts, Monstrosity, and Pornography"

[cfp] Call For Papers: The Future in Comics [UPDATED: Deadline Extended]

Posted 19 Apr, 2015

Organizers: The research group on comics at the English Department, Stockholm University

Where and When: Stockholm, 3rd-5th September

Call for papers, deadline/ Notification of acceptance: 10th of May, 2015/15th of May, 2015


E-mail for submissions: Submissions will be handled via easychair:

This conference aims to investigate ways in which comics explore the idea of "future." Its goal is to gather scholars from the field of comic studies and related fields, such as linguistics, philosophy, literary studies, cultural studies, sociology, anthropology, film studies as well as others that can discover a conceptual connection to the rigorous study of comics. Given our broad and yet specific purpose, we aim to discuss work on comics originating from all major traditions: French bande desineé, American and British comics, Italian fumetti, Japanese manga, and so on. In pursuing this cross-cultural approach, we wish to discuss not only how different conceptions of the future in comics can be compared and analysed, but also how comics offer unorthodox modes of representation that allow for creative, intellectual freedom that may be different from literature and cinema. In particular, we are interested in, but not limited to, discussing these themes:

  • The cross-roads between utopia and dystopia (e.g. Gundam's Universal Century, Transmetropolitan's representation of life in "the city", Harlock's 30th century, the world of Rogue Trooper);
  • Apocalypses and new beginnings (e.g. Nausicaä's tragic millennium, Authority's new world, X-Men's days of future past, El eternauta's alien invasion);
  • The cities of the future (e.g. Dredd's Mega city one, Akira's neo-Tokyo, RanXeroX's Rome);
  • The humans of the future: mutants, augmented humans and cyborgs (e.g. Major Kusanagi in Ghost in the Shell, Tony Stark in Iron Man; 2000 A.D.'s ABC Warriors);
  • The politics of the future (e.g. Bilal's Nicopol Trilogy, Oshi's Patlabor trilogy, Marvel's Civil War);
  • Time and history (e.g. Watchmen, Planetary, Neon Genesis Evangelion);
  • Nostalgia for future pasts (e.g. Nadia, Arzach, Tom Strong, Satellite Sam);
  • Elaborations and revisitations of futures in comics (Pluto, Time2, Le Transperceneige);
  • Futures set in stone, and how to avoid or reach them (X-Men's days of future past, AppleSeed, The Invisibles).

We hope to create a conference that not only discusses these topics and uncovers how they have been addressed in comics about the future, but also to lay the foundations of future research on these topics and develop new tools for advanced comics studies. We welcome abstracts between 400 and 500 words, excluding references and title. At the moment, we are aiming at securing publishing rights for selected papers from this conference, aiming at publication in December 2016.

For further information, please contact us at:

Electronic registration will start by the 16th of May.

[event] "Comics Read but Seldom Seen" Press Release

Posted 07 Apr, 2015

Feel free to download and distribute our press release for this weekend's 12th Annual UF Conference on Comics and Graphic Novels, "Comics Read but Seldom Seen: Diversity and Representation in Comics and Related Media."

Download the press release as as an rtf file

[cfp] Muslim Superherhoes: Comics, Islam, and Representation

Posted 03 Apr, 2015

Editors: A. David Lewis and Martin Lund

Now accepting chapter proposals for new collection with established publisher interest!

Despite turning a rather blind eye to them through much of the twentieth century, major American comic book publishers like Marvel Comics and DC Comics have featured, in the twenty-first century, numerous Muslim superhero characters, with the seeming intention to diversify their fictional universes and to provide corrective representations of Muslims in a cultural moment when stereotype and vilification of Muslims and Islam is particularly rife. The most recent example is Marvel's Kamala Khan (Ms. Marvel, Feb. 2014). Although it might be easy to dismiss Ms. Marvel as something peripheral, she was discussed in various mainstream media long before her first appearance. High praise was expressed by Muslims and non-Muslims who thought the character could help "normalize" Muslims in American eyes while vehement opposition was voiced by critics who regarded her as "appeasement" of Muslims. As recently as January 2015, the character was plastered on anti-Muslim ads in San Francisco, illustrating the cultural power such characters can attain. It seems clear that, today, Muslim superheroes—and Islam in comic books, more generally—matter greatly to a large number of Muslims and non-Muslims alike.

Of course, Muslim superheroes are not restricted to the post-9/11 years, to the major superhero publishers, nor to the United States. There have been limited examples of Muslim superheroes in American superhero comics since their so-called "Golden Age." And, smaller American publishers have created characters like Buraaq and the Silver Scorpion. More importantly, in recent years a steady stream of successful Muslim superhero comics has been emerging from Islamic contexts, ranging from the now multinational The 99 to the activist webcomic Qahera, much of which has also met with both approval and condemnation at home and abroad.

However, neither the historical precedents for the most recent American characters nor the contemporary diversity among Muslim superheroes is widely known. Although the Muslim superhero is becoming an increasingly important cultural phenomenon, it is still understudied and ill-understood, as is the representation of Islam in comics generally. Therefore, we are now looking for chapter proposals for the edited volume Muslim Superheroes. Through a series of close readings, this collection will study how Muslim and non-Muslim comics creators and critics have produced, reproduced, and represented different conceptions of Islam and Muslimness, embodied in superhero comics characters specifically and comic book protagonists more generally.

The purpose of the collection is threefold. First, it will assemble studies of a variety of comics characters and, thus, begin to outline the long history and diversity of Muslim superheroes. Second, it will attempt to answer some basic questions about these characters: why do Muslim superheroes keep being created?; what purposes do they serve?; how do they succeed (and how do they fail) in performing their assigned duties as signifiers of one conception of Islam or another? Third, it sets out to consider the extent of the impact Muslim superheroes have and will continue to have on both the genre and its audiences today.

Possible topics for proposals include, but are not limited to:

  • Muslim superheroes in Marvel or DC comics in a specific period ("Golden Age," "Silver Age," "Bronze Age," post-9/11)
  • Close readings of specific characters from other publishers (e. g. Buraaq, Silver Scorpion, Qahera, The 99)
  • Reception (positive and negative), consumption, and uses of Muslim superheroes
  • Translation and transposition of American superheroes in Islamic contexts

Please send a short synopsis (no more than 150 words) of your chapter, a full abstract (no more than 800 words), as well as contact information, affiliation, and a short CV with publication list to by April 30, 2015. Feel free to direct any questions to Martin Lund at

About the Editors

A. David Lewis is the co-editor of Graven Images: Religion in Comic Books and Graphic Novels (Bloomsbury) and Digital Death: Mortality and Beyond in the Online Age (Praeger). He holds a Ph.D. in Religious Studies from Boston University and is both an Executive Board Member of the Comics Studies Society and a founding member of Sacred & Sequential.

Martin Lund is a Swedish Research Council International Postdoc at Linnaeus University and Visiting Research Scholar at the Gotham Center for New York City History at the CUNY Graduate Center. He holds a Ph.D. in Jewish Studies from Lund University and is an editor of the Scandinavian Journal of Comic Art and a contributing member of Sacred & Sequential.

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ImageTexT is published by the Department of English at the University of Florida.