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E-book Comics of the New Europe : Reflections and Intersections

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Penilaian

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Despite claiming to offer surveys of “world comics,” global histories of graphic narrative replicate some of the aporias present in the relatively impossible category of “world” or “global” literature.2 Even more narrowly defined surveys of European comics focus primarily on the “Franco-Belgian” tradition, thus swiftly setting aside any comics production to the East of Germany.3This omission is unfortunate—not only do these countries have national traditions of comics, but they have experienced an unprecedented burgeoning of new work by younger artists since 1989. Part of the difficulty, at least from an Anglo-American perspective, is that a great deal of this work is either hard to find, or is simply not translated.4 In fact, half of the works discussed in this book are not yet available in English translation, but our hope is that this scholarship will pique the interest of academics, publishers, and the general public to discover exceptional examples of graphic narrative currently only known within their respective countries. Moreover, we would like to see more translations in and among these countries themselves, given that their comics scenes are not necessarily well-known even to each other. European comics festivals and a few international comics publications such as Stripburger (Slovenia),Aargh (Czech Republic), and Kuš (Latvia) have made admirable strides in this direction, but much more can be done in the academic arena. Currently,European Comic Art and the International Journal of Comic Artrepresent the best sources in English for comics studies on European cartoonists, and it is our intention to build upon these examples in this volume (indeed, some of our contributors have been recruited from these sources).Then there is the question of terminology—we might have referred to these countries as “East” European, but this term has shifted towards the pejorative connotation of “Eastern Bloc,” given that these peoples were formerly dominated by the Soviet Union. Even among those living in these countries, the “East” is often considered inferior to the West. Writing in 2018 about the Polish context, Tomasz Zarycki argues that “East” is comparable to Edward Said’s notion of Orientalism insofar as it designates the “uncivilized” other to the more “civilized” West. In Polish discourse, “the East plays the role of a negative, significant other ... it is backward, aggressive, dangerous, and unpredictable” (Moskalewicz and Przybylski 4). Negative stereotypes persist in the Czech Republic as well, as the Czechs think of themselves as the most “Western” compared to Russia, Romania, and Bulgaria: “Feeling the East of the West and the West of the East, and torn between both, they are constantly trying to get rid of their burden of ‘Eastness’” (Moskalewicz and Przybylski 4). On the other hand, Anita Starosta argues in Form and Instability: Eastern Europe, Literature, and Postimperial Difference (2016), that the designation “Eastern Europe” should not be abandoned, but reinvented and recuperated as a tool to challenge Eurocentrism (10-11).

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

741.5 ALA c

Penerbit

Belgium : Leuven University Press., 2023

Deskripsi Fisik

291 hlm

Bahasa

English

ISBN/ISSN

9789461665270

Klasifikasi

741.5

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Cartoons, Caricatures, Comics Drawings

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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