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.
A new comix art school, The Sequential Artists Workshop, is soon to open in Gainesville, FL. Please see the website at http://www.sequentialartistsworkshop.org/ for details. The founders of the Sequential Artists Workshop, also called SAW, are running a fundraiser at http://www.indiegogo.com/Creating-The-Sequential-Artists-Workshop.
The following is an excerpt from a letter sent by the school's founders, who include Tom Hart and Leela Corman:
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.
ImageTexT: Interdisciplinary Comics Studies is pleased to announce the release of its latest issue, volume 7 number 2. It can be accessed via our main page at http://www.english.ufl.edu/imagetext/ or via its permalink location at http://www.english.ufl.edu/imagetext/archives/v7_2/.
The 11th Annual UF Conference on Comics and Graphic Novels
April 4th-6th, 2014
New deadline: January 25, 2014
The Graduate Comics Organization at the University of Florida invites applicants to submit proposals to the 11th UF Conference on Comics and Graphic Novels, "Traumics: Comics Narratives of Trauma." The conference will be held from Friday April 4th 2014 to Sunday April 6th 2014. Proposals are due January 25, 2014.
Traumics are, simply put, comics plus trauma. With their syntax of panels, gutters, and pages and their use of the evocative power of image in conjunction with the precise communication of text, comics are uniquely suited to delivering narratives of trauma. The relationship of trauma (especially childhood trauma) to the comics medium is a thread that runs throughout Hillary L. Chute's 2010 Graphic Women: Life Narrative & Contemporary Comics, a book which is structured around exploring the works of five autobiographical comics artists (Aline Kominsky-Crumb, Phoebe Gloeckner, Lynda Barry, Marjane Satrapi, and Alison Bechdel). By their very nature, comics provide a potentially ideal means through which to tell those stories which require the fragmentation and reconstruction of events of high drama and emotional intensity. The juxtaposition of images on the comic page make comics what might be considered a ‘natural' fit for exploring the concept of "Remembering, repeating, and working-through" examined so in-depth in Cathy Caruth's seminal 1996 work on trauma, Unclaimed Experience: Trauma, Narrative and History.
More than two decades ago, Art Spiegelman's Pulitzer-winning opus, Maus, changed the way much of the reading public views comics, and is now one of the most iconic and recognizable Holocaust narratives to be studied in the classroom or found on bookstore shelves. Since the turn of the century, autobiographical comics like Alison Bechdel's Fun Home, Marjane Satrapi's Persepolis, and Phoebe Gloeckner's Diary of a Teenage Girl have all been released to great critical acclaim. Epileptic, David B.'s autobiographical exploration of medical trauma, hugged the transition from the 1900s to the 2000s, with its original French release running from 1996 to 2003; more recently, David Small's autobiographical Stitches (2009) also forced a spotlight on medical trauma, using bold, rough graphics to recount the horror of a child's battle with cancer. Robert Kirkman's zombie survival horror comic The Walking Dead (which began its run in 2003 and continues today) has captured the American cultural imagination, with its adaptations ranging from a television show and video game to a prominent role in the most recent Halloween Horror Nights attraction at Universal Studios. Comics and war narratives (as well as war reporting) have also gone hand-in-hand for many years; just this November, noted war comics writer and artist Joe Sacco released his latest work, The Great War, which tells the story of the first day of the Battle of the Somme in one continuous, 24-foot drawing. Comics have become one of the most important and visible venues through which a 21st-century audience understands, imagines, and works through traumatic events.
We invite presentation proposals from all disciplines on the theme of "traumics: comics narratives of trauma." Possible topics include but are not limited to:
"Traumics: Comics Narratives of Trauma" will consider proposals from graduate students, professors, independent scholars, undergraduates and other academics, and all proposals will be judged based on merit. The conference will be free to attend and open to the public.
Graduate papers presented at the conference will be eligible for consideration as Best Graduate Paper. The competition is open to non-UF graduate students and will be judged by a panel of UF professors. The winner will be awarded $250 and an opportunity to publish the full-length version of his or her paper in ImageTexT. Please indicate interest in the competition with abstract submissions.
Marvel's Civil War: How Comics Defined the Post 9/11 Era
(Collection of Essays)
Kevin Scott, Albany State University
Contact email: firstname.lastname@example.org
Not since the comics book industry's response to World War II have comic books addressed contemporary events in American culture so powerfully than they did after 9/11. As the United States invaded Iraq and struggled to deal with fears about terrorism at home, the medium that has often depended on icons of American exceptionalism found the very idea of the superhero—who exerts his power over others with little to no oversight— politically charged and problematic. Marvel Comics responded with its now famous Civil War series, pitting superhero against superhero and placing the very embodiment of American values, Captain America, in the position of criminal and fugitive. The series, a seven–issue comics event that ran from 2006 to 2007 but included nearly a hundred other comics from across the Marvel universe, had at its center the classic, painful question of "how much liberty will you give up for security?" The answer would control the storylines within the Marvel universe for the next four years and engender a sustained and sophisticated discussion of America's values and its political system.
The volume editor, the coauthor of The Porning of America (Beacon, 2008), seeks a variety of essays addressing the Civil War event as well as the storylines that followed from it, for a collection being developed with McFarland Books.
Synæsthesia: Communication Across Cultures is an open-access interdisciplinary journal, rigorously peer-reviewed and oriented toward advancing new perspectives and understandings of how thought, engagement, and the communication of meanings hinge upon human perception. The journal encourages new dialogues in communication theory and research by publishing original scholarship that explores issues from the interpersonal to mass-marketed, regional to global, academic to corporate, among genders and across time. The journal welcomes innovative theoretical essays and research articles from scholars around the world and aims to advance the progressive exchange of ideas.
Synæsthesia invites submissions for a special upcoming themed edition of the journal (Vol. 2, No. 3) specifically focused on 'The Comic Book Superheroes.'
Synæsthesia managing editors Dr. Christopher Melley and Dr. Daniel Broudy are pleased to announce that this special topic edition of the journal will be co-edited by Dr. Jeffery Klæhn.
Possible themes/topics that may be explored include superheroes within the broader context of history, pop culture, theory, masculinity and femininity, race and ethnicity, inequality (social, political, economic), power, identity, the medium and/or other genres, the broader comic book industry, other media, methods of production, authorship, creator's rights, the changing status of comic book writers and/or artists, changing markets and channels of distribution, readership and fandom.
All articles considered for publication will undergo a peer-review process.
Scholarly work accepted for publication with the online journal will receive subsequent consideration for publication within future collected volumes.
Submissions should be rigorous in scholarship yet accessible in style for audiences across a wide spectrum of disciplines.
Submissions lodged by e-mail should include a title, abstract, author's name, and institutional affiliation. Including in the subject line of your e-mail submission the proposed title of your essay/paper will help us parse spam from legitimate inquiries. If including images within the manuscript, please adhere to fair use policy. Manuscripts attached to e-mail submissions should be saved in the MSWord .doc format.
contact email: editors@Synæsthesiajournal.com
Guest Editor: Jeffrey A. Brown, Ph.D.
Co-Editor: Melissa Loucks
"A Comic of Her Own: Women Writing, Reading, and Embodying in Comics" will be a Special Issue of ImageTexT inspired by our 2013 Conference on Comics and Graphic Novels. Those who presented at and/or attended the 2013 conference, "A Comic of Her Own," are encouraged to submit, and we also invite submissions from contributors who did not attend the conference. All submissions will be judged based on merit.
From our "Comic of Her Own" CFP:
Trina Robbins's A Century of Women Cartoonists responds to a comics history which often forgets women. In the past few years, interest has grown around women working in the comics industry, perhaps best exemplified by Hillary Chute's 2010 Graphic Women. Similarly, academia has made many inroads into comics and gender through scholarship on superheroines in mainstream comics. Mike Madrid's 2009 The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines and Jennifer Stuller's 2010 Ink-Stained Amazons and Cinematic Warriors: Superwomen in Modern Mythology, not to mention more works by Trina Robbins and Lillian Robinson, attest to this growing interest in the representation of women in comics. However, these two scholarly fields rarely engage in meaningful dialog, despite their mutual interest: the examination of women in comics, whether behind the scenes or on the page.
This Special Issue of ImageTexT hopes to explore the intersections between women's writing in comics, women represented in comics, and the women who read them. To further the dialogue between creators, readers, and scholars, for this special issue we will also consider submissions artistic and biographical in nature, provided they adhere to the issue's theme.
Possible topics include, but are not limited to:
Please send the full text of articles to email@example.com by February 15, 2014.
All content is (c) ImageTexT 2004 - 2010 unless otherwise noted. All authors
and artists retain copyright unless otherwise noted.
All images are used with permission or are permissible under fair use. Please see our legal notice.