In How Comics Travel: Publication, Translation, Radical Literacies, Katherine Kelp-Stebbins challenges the clichéd understanding of comics as a “universal” language, circulating without regard for cultures or borders. Instead, she develops a new methodology of reading for difference. Kelp-Stebbins’s anticolonial, feminist, and antiracist analytical framework engages with comics as sites of struggle over representation in a diverse world. Through comparative case studies of Metro, Tintin, Persepolis, and more, she explores the ways in which graphic narratives locate and dislocate readers in every phase of a transnational comic’s life cycle according to distinct visual, linguistic, and print cultures. How Comics Travel disengages from the constrictive pressures of nationalism and imperialism, both in comics studies and world literature studies more broadly, to offer a new vision of how comics depict and enact the world as a transcultural space.
Author(s): Katherine Kelp-Stebbins
Series: Studies in Comics and Cartoons
Publisher: Ohio State University Press
Year: 2022
Language: English
Pages: 238
City: Columbus
How Comics Travel: Publication, Translation, Radical Literacies by Katherine Kelp-Stebbins
Half title page
Series title page
Title page
Copyright page
Dedication
Contents
List of Illustrations
Acknowledgments
INTRODUCTION: GRAPHIC POSITIONING SYSTEMS
Is the World of World Literature the World of World Comics?
Translation
Form
Print Cultures
Differences in the World
Differences in the Comics
Methodology
The Politics of Location
A Map to Travel Through
CHAPTER 1: THE ADVENTURES OF THREE READERS IN THE WORLD OF TINTIN
Introduction: World Comics through Three Readings of Tintin
“Lines to See” and “Lines to Be,” or Ligne Claire, Black Skin, and White Masks
The Album
Text and Image
Ligne Claire
Revisionism
The World of Tintin and Its Discontents
Nitnits and Other Tintins, or Tintin and the Pirates!
Formatting
Swiping
Denaturing Clear Line
Self-Plagiarism
World Comics in Three Dimensions
CHAPTER 2: GRAPHIC DISORIENTATIONS: Metro and Translation
A Passage to Cairo
Locating Metro
Metro: A Story of Cairo (2008/2010/2011/2012/2013/2015)
Whence and Whither Metro?
Translating Sound
Translating Space
Nodes and Networks
Sequence versus Surface
Text as Object versus Text as Experience
Siting Translation
CHAPTER 3: PERSEPOLIS AND THE CULTURAL CURRENCY OF THE GRAPHIC NOVEL
How Newness Enters the Discourse about Persepolis
Marjane Satrapi: A Girl David B. or a Childlike Art Spiegelman?
The Symbolic Life of Marjane Satrapi
The Material History of Persepolis
The Translations of Persepolis
Satrapi as Precedent
Black and White and Brown All Over
The Global Graphic Novel
The Graphic Novel and the Anxiety of Influence
Graphic Aesthetics: Comics as a Problem for Literary Reception
Framing Comparison
CHAPTER 4: BORDER THINKING AND DECOLONIAL MAPPING IN MICHAEL NICOLL YAHGULANAAS’S HAIDA MANGA
Decolonizing Comics
The Time and Place of Indigenous Art
Comics versus Manga
TERMINOLOGY
FORM
Manga as a Toponymic Function
The Panel and the Frameline
Haida Manga as Art Object
Haida Manga as Codex
CHAPTER 5: SAMANDAL AND TRANSLATIONAL TRANSNATIONALISM
Verbal, Visual, Amphibious
The World, the Globe, and the Comic
Commercialism: Comics in Common
Authorship: The Right to Draw
Language: Thinking in Opposite Directions
Kerblog versus Beyrouth juillet-août 2006 versus Beirut Won’t Cry
Form: Trilingualism and the Heterotopia of the Flippy Page
Aesthetics: Experimental Salamanders
Bibliography
Index
Series page
