Relevant bibliographies by topics / Gender identity – Cartoons and comics

Academic literature on the topic 'Gender identity – Cartoons and comics'

Author: Grafiati
Published: 25 July 2024

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Journal articles on the topic "Gender identity – Cartoons and comics"

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Høigilt, Jacob. "EGYPTIAN COMICS AND THE CHALLENGE TO PATRIARCHAL AUTHORITARIANISM." International Journal of Middle East Studies 49, no. 1 (January 20, 2017): 111–31. http://dx.doi.org/10.1017/s0020743816001161.

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AbstractAdult comics are a new medium in the Arab world. This article is the first in-depth study of their emergence and role within Arab societies. Focused on Egypt, it shows how adult comics have boldly addressed political and social questions. Seeing them as part of a broader cultural efflorescence in Egypt, I argue that, against patriarchal authoritarianism, adult comics have expressed an alternative ideology of tolerance, civic rights and duties, individualism, creativity, and criticism of power. Specifically, they present a damning critique of Egypt's authoritarian order, as well as of the marginalization of women and broader gender dynamics in Egyptian society. Through frank humor, a playful style, and explicit graphics, they give voice to the concerns of young Egyptians. Connecting comics to other art forms such as music, graffiti, and political cartoons, I situate them within a critical cultural movement that came to the fore with the Egyptian uprising of 2011.
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Vera, Jose Manual. "Cultural resignifications: from the globalized image of the superhero to the image of the Chilean indigenous peoples in the editorials Mitomano comics and Nük Comics." Revista de Antropología Visual 5, no. 32 (June 1, 2024): 1–15. http://dx.doi.org/10.47725/rav.032.04.

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In the current context of comics in Chile, we observe that the superhero genre has acquired importance, to a large extent, by representing characters that take their identity and graphic narrative from cultures originating from the country. In this article, some of these visual representations are analyzed, based on the intersection between the editorial point of view, art and the narrative presented in each comic, to which a reflection is incorporated from concepts coming from both visual anthropology and of the visual economy. The latter allows us to give new readings to the theme, taking as examples the cases of the publishing house Mitomano Cómics and Nük Cómics, as they intertwine current social phenomena and the world of cartoons.
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Tembo, Kwasu. "Sons of Lilith: The Portrayal and Characterization of Women in the Apocryphal Comics of Neil Gaiman, Alan Moore, and Grant Morrison." Corpus Mundi 1, no. 2 (July 13, 2020): 88–121. http://dx.doi.org/10.46539/cmj.v1i2.14.

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This paper examines the treatment and characterization of women, sex, identity, and gender in the lesser known or studied comics of Alan Moore, Neil Gaiman, and Grant Morrison in order to discern what such an analysis tells us about each author's engagement with the issues and debates surrounding these sociopolitical and cultural phenomena. The purpose of this study is to discern how three of the most influential writers of contemporary comics books engage with themes of gender, identity, sexuality, and trauma and, in this way, set precedents that have come to be debated and critiqued in contemporary comics scholarship and fandom. It reveals that all three writers ostensibly engage with progressive imaginings of the self, sexuality, identity, and gender as mercurial, de-centred, and subject to play and change in each of the chosen case study characters. It finds that while ostensibly progressive, all three writers simultaneously recirculate certain conceptualizations of the relationships between identity, trauma, and sexuality by taking the histories in which they emerged as assumed.
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Vuorinne, Anna, and Ralf Kauranen. "Visions of Queer Places." European Comic Art 15, no. 1 (March 1, 2022): 26–45. http://dx.doi.org/10.3167/eca.2022.150103.

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This article discusses two queer comics from Finland in the 2010s, H-P Lehkonen’s Life Outside the Circle (2017–2018) and Edith Hammar’s Homo Line (2020), analysing them as identity work and acts of queer world-making. Both comics depict migration and foreground identity formation in relation to place. The analysis focuses on the intersectionality of queer identities, marked as minority positions with regard to power structures related to gender and sexuality—where a binary conception of gender and heteronormativity dominates, with systemic hierarchies related to place and different national and regional cultures. Utilising the genre conventions of romance and autobiography, the comics renegotiate hetero- and cis-normative identifications and envision alternative queer spatial formations.
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Cooper-Cunningham, Dean. "Drawing Fear of Difference: Race, Gender, and National Identity in Ms. Marvel Comics." Millennium: Journal of International Studies 48, no. 2 (December 22, 2019): 165–97. http://dx.doi.org/10.1177/0305829819889133.

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Feminist scholars have provided important analyses of the gendered and racialised discourses used to justify the Global War on Terror. They show how post-9/11 policies were made possible through particular binary constructions of race, gender, and national identity in official discourse. Turning to popular culture, this article uses a Queer feminist poststructuralist approach to look at the ways that Ms. Marvel comics destabilise and contest those racialised and gendered discourses. Specifically, it explores how Ms. Marvel provides a reading of race, gender, and national identity in post-9/11 USA that challenges gendered-racialised stereotypes. Providing a Queer reading of Ms. Marvel that undermines the coherence of Self/Other binaries, the article concludes that to write, draw, and circulate comics and the politics they depict is a way of intervening in international relations that imbues comics with the power to engage in dialogue with and (re)shape systems of racialised-gendered domination and counter discriminatory legislation. Dibujando miedo a la diferencia: raza, género e identidad nacional en Ms. Marvel Comics
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Jones, James W. "Cartoons and AIDS: Safer Sex, HIV, and AIDS in Ralf König's Comics." Journal of Homosexuality 60, no. 8 (August 2013): 1096–116. http://dx.doi.org/10.1080/00918369.2013.776422.

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Bettaglio, Marina. "A Womb With a (Political) View: Reclaiming Reproductive Rights in Spanish Feminist Cartoons." Revista Lusófona de Estudos Culturais 10, no. 2 (December 20, 2023): 63–85. http://dx.doi.org/10.21814/rlec.4652.

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Drawing attention to the ways in which art activism can be mobilized “with the objective of achieving social and or political change” (Serafini, 2018, p. 3), in this article, I attend especially to the image of the womb as a powerful visual metaphor for political intervention. Analyzing the transformative potential of an embodied medium such as political cartoons, the present article focuses on Wombastic, a Tumblr-based initiative organized by the Spanish collective Autoras de Cómic in response to the restrictive abortion bill that the Spanish right-wing Partido Popular approved in the Council of Ministers on December 20, 2013. While right-wing legislators have turned women’s bodies into battlefields in their attempt to reinstate heteropatriarchal gender norms, feminist graphic interventions reclaim the body as a site of resistance to disrupt neoconservative propaganda. Studying the sociopolitical context in which it was launched, this article underlines the connection between the “repoliticization of Spanish social life” (Herrero, 2019, p. 127), and the resurgence of powerful feminist activism, centering on reproductive rights. Steeped in the post 11M social climate, this study reveals the discursive power of political cartoons at a time of renewed politicization of the body, increased social mobilizations, and powerful feminist activism. Socially engaged comics and cartoons such as the ones uploaded to Wombastic display feminist agency, reclaiming women’s creativity and ownership of their own sexuality and reproductive choices.
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Bell, Sarah A. "Serial Selves: Identity and Representation in Autobiographical Comics." Women's Studies in Communication 45, no. 1 (January 2, 2022): 113–14. http://dx.doi.org/10.1080/07491409.2022.2041952.

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Chambliss, Julian Carlos, Nicole Huff, Kate Topham, and Justin Wigard. "Days of Future Past: Why Race Matters in Metadata." Genealogy 6, no. 2 (May 26, 2022): 47. http://dx.doi.org/10.3390/genealogy6020047.

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While marginalized as a juvenile medium, comics serve as an archive of our collective experience. Emerging with the modern city and deeply affected by race, class, and gender norms, comics are a means to understand the changes linked to identity and power in the United States. For further investigation, we turn to one such collective archive: the MSU Library Comics Art Collection (CAC), which contains over 300,000 comics and comic artifacts dating as far back as 1840. As noted on the MSU Special Collections’ website, “the focus of the collection is on published work in an effort to present a complete picture of what the American comics readership has seen, especially since the middle of the 20th century”. As one of the world’s largest publicly accessible comics archives, a community of scholars and practitioners created the Comics as Data North America (CaDNA) dataset, which comprises library metadata from the CAC to explore the production, content, and creative communities linked to comics in North America. This essay will draw on the Comics as Data North America (CaDNA) dataset at Michigan State University to visualize patterns of racial depiction in North American comics from 1890–2018. Our visualizations highlight how comics serve as a visual record of representation and serve as a powerful marker of marginalization central to popular cultural narratives in the United States. By utilizing data visualization to explore the ways we codify and describe identity, we seek to call attention to the constructed nature of race in North America and the continuing work needed to imagine race beyond the confines of the established cultural legacy.
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Shaw, Adrienne. "Women on Women: Lesbian Identity, Lesbian Community, and Lesbian Comics." Journal of Lesbian Studies 13, no. 1 (January 13, 2009): 88–97. http://dx.doi.org/10.1080/07380560802314227.

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Dissertations / Theses on the topic "Gender identity – Cartoons and comics"

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Ludwig, Christian [Verfasser]. "The Construction of Gender Identities in Alison Bechdel’s (Autobio)graphic Writings : Rites de Passage / Christian Ludwig." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1180216326/34.

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Nicosia, Matthew. "Performing the Female Superhero: An Analysis of Identity Acquisition, Violence, and Hypersexuality in DC Comics." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1476751594815625.

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Lyn, Francesca. "Graphic Intimacies: Identity, Humor, and Trauma in Autobiographical Comics by Women of Color." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5904.

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Graphic Intimacies: Identity, Humor, and Trauma in Autobiographical Comics by Women of Color examines works of comics art about the lived experience of the comics’ creator. These graphic narratives address racialized difference and the construction of identity while also using humor to negotiate their narrations of traumatic events. I argue that these creators employ the structure of comics to replicate the fragmentary nature of memory. Comics allow for the representation of trauma as being intimately linked to corporeality. The comics medium allows creators to make visible and present fractured versions of the self, a product of traumatic fragmentation. Drawing traumatic memories becomes a symbolic enactment of transformation. Comics become a way of coping with the fragmentary nature of traumatic memory, permitting a consolidation of memory even when a totality is impossible. Graphic Intimacies examines representative texts by four autobiographical cartoonists: Lynda Barry, Belle Yang, MariNaomi, and Whit Taylor. Each of these cartoonists engages in critiques of social issues through the negotiation of a multilayered identity. For instance, Barry’s One Hundred Demons (2002) explores her identity as a white-passing Filipino American growing up in a low-income neighborhood. In Forget Sorrow: An Ancestral Tale (2011), Yang a Taiwanese born Chinese American artist, tells the story of her father’s family in order to heal from the trauma of intimate partner abuse. Biracial Japanese American artist MariNaomi explores her disconnection from her Japanese heritage while chronicling her experiences working in Japanese-style hostess bars in Turning Japanese (2016).
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Covich, Anna-Maria Ruth. "Alter/Ego: Superhero Comic Book Readers, Gender and Identities." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7262.

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The academic study of comic books - especially superhero comic books - has predominantly focused on the analysis of these books as texts, as teaching and learning resources, or on children as comic book readers. Very little has been written about adult superhero comic fans and their responses to superhero comics. This thesis explores how adult comic book readers in New Zealand engage with superhero comics. Individual interviews and group conversations, both online and face-to-face, provide insights into their responses to the comics and the characters as well as the relationships among fans. Analysis of fans’ talk about superhero comics includes their reflections on how masculinities are represented in these comics and the complex ways in which they identify with superheroes, including their alter egos. The thesis examines how superhero comic book readers present themselves in their interactions with other readers. Comics ‘geekdom’, fans’ interactions with one another and their negotiation of gendered norms of masculinity are discussed. The contrast between the fan body and the superhero body is an important theme. Readers’ discursive constitution and management of superheroes’ bodies, and their engagement with representations of superheroes are related to analyses of multiplicity in individual identities and current theories of audience reception and identification.
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Bryngelson, Elin, and Sanna Green. "Cool bollpistol eller glittrig sminkväska : En kvalitativ komparativ undersökning av tecknade serier för barn ur ett genusperspektiv." Thesis, University of Kalmar, School of Communication and Design, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2001.

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Our main purpose in this study was to identify the gender representations in comics and how these are presented to their readers. We focused on how comics, with six to ten year old children as their implied readers, represent male and female roles for identification. We also aimed to investigate differences and similarities in comics addressing boys or girls as implied readers.

The study was based on theories on gender, media and children in order to give some explanations to socialization and gendered identity processes in comics implied for young readers. We used qualitative methods, as discourse and semiotics, to analyze the chosen comics. According to these, in society media content also supports the male role as an unaware norm, and that media use during childhood have some effects on our identities as grown ups.

The result of our study shows that comics present young readers with stereotypical gender roles of male and female identities in society. The stories main characters are generally represented by men, while women often play the supporting parts to these male leading characters.

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Baney, Jennifer. "Poison Ivy's green screen debut: A rhetorical criticism on erasing identity on screen." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3630.

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This project investigates the loss of power on screen for female comic book characters. Specifically, I investigate how scenes create narratives using heteronormativity and over-sexualization of female characters. The artifact of analysis included in this project is Batman and Robin (1997). This text focuses on Poison Ivy, including the background of the character before dissecting her role in the film. Turning to Sonja J. Foss (2009) and her feminist critique as a guide to understanding the implications of this research. Using feminist criticism, I argue that Poison Ivy was put in a lesser position, removed of her power, and was made dependent on men more than she is in comics. Poison Ivy was created from the feminist movement, and Batman and Robin (1997) create tension between the comic book representation and the expectation of gender. Superheroes have skyrocketed in popularity over the past fifteen years, and their narratives are extending to individuals that are not necessarily comic readers. This cultural significance of superheroes suggests that comic books and therefore their characters appeal to a wide audience who has the potential to be influenced, even implicitly, by these messages.
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Van, Niekerk Tanya. "'N Feministiese analise van animasiekarakters vanuit 'n feministiese benadering." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-10122004-135247.

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Books on the topic "Gender identity – Cartoons and comics"

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Karis, Page, ed. The bride was a boy. Los Angeles, California]: Seven Seas Entertainment, LLC, 2018.

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Sardine, Mr. Twinks for sale: A humble comics zine. Brooklyn, NY: The author, 2011.

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Labelle, Sophie. Down with the Cis-tem: Comics. [Brooklyn, NY]: The artist, 2014.

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Hubbell, Justin. In a word: trans: A transitioning collection of comics. Rochester, New York]: Divergent Press, 2019.

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Transposes. [Seattle, Wash.]: Northwest Press, 2012.

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Donner, Rebecca. Burnout. New York: Minx, 2008.

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Costa, Ben. Rickety Stitch and the gelatinous Goo: The middle-route run. New York: Alfred A. Knopf, 2018.

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Cabot, Meg. Homecoming. Hamburg: TokyoPop, 2008.

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Cabot, Meg. Homecoming. Hamburg: TokyoPop, 2008.

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Cabot, Patricia. Homecoming. Hamburg: TokyoPop, 2008.

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Book chapters on the topic "Gender identity – Cartoons and comics"

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Frank, S. E., and Jac Dellaria. "Navigating the Binary: A Visual Narrative of Trans and Genderqueer Menstruation." In The Palgrave Handbook of Critical Menstruation Studies, 69–76. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_7.

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Abstract Menstruation is often categorized as a function of the female body that affects women. Trans and genderqueer people contest this biological function as a social signal of gender/sex identity. The comics illustrate the gendered interactions trans and genderqueer people must navigate in their daily lives and visually explore four gendered/ sexed social spheres: (1) gender/sex identity, (2) public bathroom attendance, (3) product marketing and messaging, and (4) healthcare. Each of these arenas is permeated by the biologically and socially constructed gender/sex binary, and as a result trans and genderqueer menstruators confront preexisting constraints ranging from social interactions to the built environment. These micro social symbols of gender/sex distinction are symptoms of a larger gender regime in which gender/sex are interpreted, regulatd, and policed.
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Feu, Montse. "Damned Cartoons! Workers’ Identity and Resistance." In Fighting Fascist Spain, 159–70. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043246.003.0010.

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Varied visual strategies were showcased in España Libre. Some authors ridiculed fascists in gendered terms while others sought compassion for refugees. Comic art grew awareness of the threat of fascism and exposed the state of terror perpetrated by Hitler and Franco. When Sergio Aragonés translated the Spanish underground resistance reports into visual language on the front page of España Libre, he perceptively counteracted the Franco regime’s propaganda. Similarly, Josep Bartolí i Guiu’s illustrations humanized political prisoners for readers. As visual discursive spaces, cartoons endorsed emotions brought forth by belonging to a transnational, antifascist, and proletarian community and asked readers to think collectively about the need for solidarity and protection of the working-class culture both in exile and under fascism. Cartoons delivered España Libre’s message powerfully until the last issue of the periodical, even after many founders had passed away.
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Warren, Jonathan. "Reading Comics Queerly." In The LGBTQ+ Comics Studies Reader, edited by Alison Halsall and Jonathan Warren, 265–76. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841346.003.0020.

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As the emotional and creative responses of fan cultures demonstrate, comics that lack overt LGBTQ+ representation certainly shaped queer modes of appreciation among readers. Riverdale’s sexually-charged teen community in early Archie comics, the scopophilic excitement offered by Golden Age superheroes, the gender-fluid homoerotic tension governing Krazy and Ignatz’s turbulent relationship (in comics and animated cartoons), and the weirdly unsentimental gender performance of “Little Orphan Annie” (on page and stage) contribute to a fully queer reader experience even in the absence of flagged LGBTQ+ representation.
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"Chapter 7 Gender Identity in Transgender Comics." In Beyond Binaries, edited by John C. Lamothe, Rachel Friedman, and Mike Perez, 95–108. Lexington Books, 2021. http://dx.doi.org/10.5771/9781498593663-95.

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Crist-Wagner, Keri. "Horrible Victorians: Interrogating Power, Sex, and Gender in InSEXts." In Monstrous Women in Comics, 99–112. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827623.003.0007.

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This chapter gives Marguerite Bennett’s InSEXts comic a run through the author’s own systematic “Diamond of Violence” and “Queerness Score” tools to study how violence against queer bodies works. By tracking precisely how these monstrously insectoid women who claim their sexual power are punished or rewarded, she shows the way embodied queer identity and pleasure transgresses patriarchal violence even in an era with repressive ideals of sexuality and explicitly restrictive gender roles. Violence, queerness, and power are all linked in the monstrous bodies of InSEXts protagonists.
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Halsall, Alison. "Canadian LGBTQ+ Comics." In The LGBTQ+ Comics Studies Reader, edited by Alison Halsall and Jonathan Warren, 213–30. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841346.003.0015.

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As Alison Halsall’s chapter explores, the Canadian LGBTQ+ comics scene features perspectives from many different communities—Cherokee and Two-Spirited; Japanese Canadian and queer-questioning; Hindu, transgender, and non-binary—all showcasing the personal experiences of intersectional insight and agency that queer characters encounter. The particular visual formats of Daniel Heath Justice’s comics parable, Vivek Shraya’s comic Death Threat (illustrated by Ness Lee), and Mariko and Jillian Tamaki’s young adult graphic novel, Skim, consider queerness as an aspect of gender identity, race or ethnicity, and spirituality. In these Canadian LGBTQ+ comics, queerness is at work at the interstices of other modes of accounting for selfhood, as their brightening and invigorating feature.
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Jackson, Remus. "“Better a Man Than Dead?”." In The LGBTQ+ Comics Studies Reader, edited by Alison Halsall and Jonathan Warren, 277–92. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841346.003.0021.

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Community networks shape the contemporary comics scene in self-published or produced, DIY (do-it-yourself) zines by queer people who use the comics format to articulate a non-hegemonic experience of masculinity. Victor Martins’ and Higu Rose’s comics highlight a fragmentary positioning of identity, enabling stories of transness that go beyond archetypal tales of bodily becoming that end with a “complete” transition from one gender to another. Instead, they evoke gender identity through tensions between cisgender constructions of masculinity and a trans* sense of self.
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Knopf, Christina M. "UFO (Unusual Female Other) Sightings in Saucer Country/State: Metaphors of Identity and Presidential Politics." In Monstrous Women in Comics, 257–74. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827623.003.0016.

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This final chapter shows us how a strong female lead might resist monstrosity in the pursuit of political power. As an abused, divorced, Mexican-American woman, Arcadia Alvarado, is solidly situated in the margins of the fictional US society depicted in Saucer Country. Despite being marked as monstrous because of her race and gender, Alvarado finds her strength in resisting the monstrous political norms that dominate her U.S. context, rather than embracing them. I In this science-fictional world (which reveals the real intersectional failings of the American political world), Alvarado transgresses her assigned role as marginalized “other” by powerfully performing as a political leader without becoming a monster.
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Richey, Jeffrey L. "“Honor the Power Within”." In Comics and Sacred Texts, 172–92. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819215.003.0010.

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This chapter describes and analyzes the ways in which Japanese youth interest in onmyōji—particularly the disproportionate interest shown by young Japanese women—engages the social realities of contemporary Japanese life., where feelings of uncertainty and precariousness abound. By utilizing a variety of disciplinary approaches to culture—among them those of anthropology, gender theory, history, literary criticism, and religious studies—it seeks to produce a fresh look at how the onmyōji “boom,” now some thirty years in duration with apparently enduring appeal, is relevant to contemporary concerns about cultural authenticity and identity, gender and sexuality, and spirituality and religion in Japan.
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"Global Crossings and Intersections." In The LGBTQ+ Comics Studies Reader, edited by Alison Halsall, Jonathan Warren, Alison Halsall, and Jonathan Warren, 107–13. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841346.003.0007.

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This chapter introduces scholarship from North America, Asia, Europe, and Oceania focusing on LGBTQ+ comics’ representation of LGBTQ+ identity, sexuality, gender, politics, and desire across geographical and cultural contexts, reckoning with the effects of transcultural circulation and local specificities on their legibility. This introduction reflects on key comics histories and conceptual achievements within specific regional contexts (the United States, Germany, and Japan, for example) while registering the valences of reception and appreciation by audiences outside of those to suggest that the scholarship in this section proposes a global network of LGBTQ+ sequential art in which varieties of storytelling engage with one another transculturally and transnationally thanks to the accessibility and adaptability of comics.
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