Книги: "Genre canon"

1

Romanticism and the Gothic: Genre, reception, and canon formation. Cambridge [England]: Cambridge University Press, 2000.

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2

Lindenberger, Herbert. The historyin literature: On value, genre, institutions. New York: Columbia University Press, 1990.

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3

Lindenberger, Herbert. The history in literature: On value, genre, institutions. New York: Columbia U.P., 1992.

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4

Lindenberger, Herbert Samuel. The history in literature: On value, genre, institutions. New York: Columbia University Press, 1990.

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5

Gabriel, Daniel. Hart Crane and the Modernist Epic: Canon and Genre Formation in Crane, Pound, Eliot, and Williams. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-12207-0.

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6

Interpretation and genre: The role of generic perception in the study of narrative texts. Lewisburg [Pa.]: Bucknell University press, 1986.

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7

Studying the Old Testament from tradition to canon. Edinburgh: T. & T. Clark, 1985.

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8

De Zordo, Ornella, and Fiorenzo Fantaccini, eds. altri canoni / canoni altri. Florence: Firenze University Press, 2011. http://dx.doi.org/10.36253/978-88-6453-012-3.

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The concept of the literary canon is one of the most debated and controversial in the western intellectual tradition. This book offers ten contributions by Italian scholars of Anglo-American culture addressing the way in which the concept of the literary canon holds out against areas traditionally considered as external or extraneous to it. The essays range over different topics: the etymological analysis of the term "canon"; the relations between canon and performativity; paraliterature – a universe populated by non-hierarchic genres; the relations between post-colonial literature and the canon; postmodern biofiction; studies on translation and finally gay and lesbian literature. The book ends with a meditation on the innovations wrought on the Anglo-American canon by the virtual world of Internet and with a reading proposal originating from a different area of literary studies. Taken as a whole, the intention of the book is to pave the way to democratisation and pluralism in literary studies, going beyond the limitations set by the traditional scale of values of the "western canon". It proposes a frequentation of the geographical and cultural borderlines and hence of the areas of resistance that such borderlines pose to the dominant conceptual hierarchies within and around us, enabling us to glimpse an original future for literature and for western culture in a broader sense.

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9

Iraida, Vargas Arenas, ed. Gente de la canoa: Economía política de la antigua sociedad apropiadora del noreste de Venezuela. Caracas: Fondo Editorial Tropykos, 1995.

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10

Leimgruber, Walter. Il confine e la gente: Interrelazioni spaziali, sociali e politiche fra la Lombardia e il Canton Ticino. Varese: Edizioni Lativa, 1987.

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11

Turupa, Ngata Apirana. The songs: Scattered pieces from many canoe areas. 2nd ed. Auckland, N.Z: Auckland University Press, 2004.

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12

Classics and trash: Traditions and taboos in high literature and popular modern genres. Toronto: University of Toronto Press, 1990.

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13

Classics and trash: Traditions and taboos in high literature and popular modern genres. New York: Harvester Wheatsheaf, 1990.

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14

Grossman, Marshall. Aemilia Lanyer: Gender, Genre, and the Canon. University Press of Kentucky, 2009.

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15

Marshall, Grossman, ed. Aemilia Lanyer: Gender, genre, and the canon. Lexington: University Press of Kentucky, 1998.

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16

Mary, Depew, and Obbink Dirk, eds. Matrices of genre: Authors, canons, and society. Cambridge, Mass: Harvard University Press, 2000.

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17

Depew, Mary. Matrices of Genre: Authors, Canons, and Society. Harvard University Press, 2009.

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18

Alexander, Lisa Doris. Expanding the Black Film Canon: Race and Genre Across Six Decades. University Press of Kansas, 2019.

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19

Expanding the Black Film Canon: Race and Genre Across Six Decades. University Press of Kansas, 2019.

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20

Grossman, Marshall. Aemilia Lanyer: Gender, Genre, and the Canon (Studies in the English Renaissance). University Press of Kentucky, 1998.

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21

Netz, Reviel. The Greek Canon. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198818489.003.0008.

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Following the quantitative evidence where it may be found (papyri, marble portraits, ancient citations, medieval copies), the chapter studies the form of the ancient canon. This can be understood in terms of the libraries in which it was preserved (some authors, such as Homer and probably also Menander and Euripides, were owned by every reader, even the most modest book collector, others, such as Plato, would be preserved mostly in bigger libraries), and in terms of its genre: above all, this was the canon of performative literature. The key observation is the early date of the formation of the canon, its enormous stability thereafter, and the contrast between a stable performative canon and a fluid set of non-performative technical authors, in constant competition throughout antiquity, until, finally, the canon of technical literature is formed in late antiquity.

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22

Gamer, Michael. Romanticism and the Gothic: Genre, Reception, and Canon Formation (Cambridge Studies in Romanticism). Cambridge University Press, 2006.

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23

Kedra-Kardela, Anna, and Andrzej Slawomir Kowalczyk. Expanding the Gothic Canon: Studies in Literature, Film and New Media. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.

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24

Kedra-Kardela, Anna, and Andrzej Slawomir Kowalczyk. Expanding the Gothic Canon: Studies in Literature, Film and New Media. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.

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25

Expanding the Gothic Canon: Studies in Literature, Film and New Media. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.

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26

Kedra-Kardela, Anna. Expanding the Gothic Canon: Studies in Literature, Film and New Media. Lang Publishing, Incorporated, Peter, 2014.

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27

Kedra-Kardela, Anna, and Andrzej Slawomir Kowalczyk. Expanding the Gothic Canon: Studies in Literature, Film and New Media. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.

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28

Nijhawan, Shobna. Hindi Publishing in Colonial Lucknow: Gender, Genre, and Visuality in the Creation of a Literary 'Canon'. Oxford University Press, 2019.

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29

Gabriel, Daniel. Hart Crane and the Modernist Epic: Canon and Genre Formation in Crane, Pound, Eliot, and Williams. Palgrave Macmillan, 2007.

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30

Gulddal, Jesper, Alistair Rolls, and Stewart King, eds. Criminal Moves. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620580.001.0001.

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This book offers a major intervention into contemporary theoretical debates about crime fiction. Academic studies in the genre have historically been encumbered by a set of restrictive preconceptions, largely drawn from attitudes to popular fiction: that the genre does not warrant detailed critical analysis; that genre norms and conventions matter more than textual individuality; and that comparative or transnational perspectives are secondary to the study of the core British-American canon. This study challenges the distinction between literary and popular fiction and proposes that crime fiction, far from being static and staid, must be seen as a genre constantly violating its own boundaries. Centred on three axes of mobility, the essays present new, mobile reading practices that realize the genre’s full textual complexity, without being limited by the authoritative self-interpretations that crime narratives tend to provide. The book demonstrates how we can venture beyond the restrictive notions of ‘genre’, ‘formula’, ‘popular’ or ‘lowbrow’ to develop instead a concept of genre that acknowledges its mobility. Finally, it establishes a global and transnational perspective that challenges the centrality of the British-American tradition and recognizes that the global history of crime fiction is characterized, not by the existence of parallel, national traditions, but rather by processes of appropriation and transculturation.

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31

(Editor), Mary Depew, and Dirk Obbink (Editor), eds. Matrices of Genre : Authors, Canons, and Society. Harvard University Press, 2000.

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32

Corran, Emily. Lying and Perjury in Confessors’ Manuals. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828884.003.0005.

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Confessors’ manuals were the most important genre in which practical thought about lying and perjury was developed during the thirteenth century. This chapter argues that confessors’ manuals shared an interest in moral dilemmas with Peter the Chanter’s Summa. A comparison of the treatment of a famous dilemma concerning a lie to save a life in Robert of Courson, Raymond of Penafort, and Hostiensis reveals the similarities in their approach. The key difference between confessors’ manuals and the practical theologians of the late twelfth century was the degree to which they quoted material from canon law. This chapter investigates this influx of legal material into pastoral writings and explains the reasons for the change. It suggests that engagement with canon law did not mean that the ethics of lying and perjury became indistinguishable from canonical thought on the subject.

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33

Peterson, Anna. Laughter on the Fringes. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190697099.001.0001.

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This book examines the impact that Athenian Old Comedy had on Greek writers of the Imperial era. It is generally acknowledged that Imperial-era Greeks responded to Athenian Old Comedy in one of two ways: either as a treasure trove of Atticisms, or as a genre defined by and repudiated for its aggressive humor. Worthy of further consideration, however, is how both approaches, and particularly the latter one that relegated Old Comedy to the fringes of the literary canon, led authors to engage with the ironic and self-reflexive humor of Aristophanes, Eupolis, and Cratinus. Authors ranging from serious moralizers (Plutarch and Aelius Aristides) to comic writers in their own right (Lucian, Alciphron), to other figures not often associated with Old Comedy (Libanius) adopted aspects of the genre to negotiate power struggles, facilitate literary and sophistic rivalries, and provide a model for autobiographical writing. To varying degrees, these writers wove recognizable features of the genre (e.g., the parabasis, its agonistic language, the stage biographies of the individual poets) into their writings. The image of Old Comedy that emerges from this time is that of a genre in transition. It was, on the one hand, with the exception of Aristophanes’s extant plays, on the verge of being almost completely lost; on the other hand, its reputation and several of its most characteristic elements were being renegotiated and reinvented.

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34

Gamer, Michael. Oeuvre-Making and Canon-Formation. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.29.

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During the eighteenth century, the activities of oeuvre-making and canon-formation unquestionably—and increasingly—fed off one another. Much of the reason had to do with changing intellectual property regimes, which made the Statute of Anne law in Scotland by 1751 and in England by 1774. After these dates, publishers in each country could reprint the works of given authors both as stand-alone sets (oeuvres) and as parts of larger, national collections (canons). Between 1774 and 1824, enterprising booksellers did just that, with sales registering in the millions of copies. These publishers’ canons shaped how writers of the Romantic period thought about canonicity. In addition, their publications verify fundamental assumptions about the relative prestige of genres and the rivalries that exist between them, with poetry garnering the most cultural status, followed by drama, and then prose fiction.

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35

Strohm, Paul, ed. Middle English. Oxford University Press, 2007. http://dx.doi.org/10.1093/oxfordhb/9780199287666.001.0001.

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This title is part of the the Oxford Twenty-First Century Approaches to Literature series, edited by Paul Strohm. This book evaluates different approaches to Middle English literature, with special emphasis on the new, promising, and previously unexplored. It focuses on works of “major authors” such as Geoffrey Chaucer and William Langland, but also on many little-known and neglected texts. It looks at general conditions of textual production and reception, and explores how medieval processes of textual transmission have affected the reception and interpretation of medieval literature. It also discusses the relationship, both symbiotic and challenging, between medieval manuscripts and the modern canon, covering such subjects as multilinguality, the role of audience, translation, transmission, and periodization itself in considering the literature of previous eras. The book is organized into four sections: Conditions and Contexts, Vantage Points, Textual Kinds and Categories, and Writing and the World. Each essay focuses on a theme ranging through such matters as authority, form, imaginative theory, liturgy, drama, incarnational (auto)biography, vernacular theology, heresy, gossip, authorship, and humanism. Contributors tackle topics such as form, genre, the movement from script to print, the orality and aurality of medieval culture, and relationships between beauty, aesthetics, and literary genre.

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36

Studying the Old Testament from Tradition to Canon. T. & T. Clark Publishers, 1989.

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37

Spelman, Henry. The Epinician Present. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0009.

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Chapter VII discusses epinician as a living social practice in Pindar’s day. By assembling clues from across his corpus one can see further into a cultural and literary context which shapes the meaning of many passages and indeed the significance of Pindar’s authorial project as a whole. The texts themselves provide our best evidence for the contours of that context. This chapter analyses different sorts of references and draws conclusions from each type. Five sections treat, in order, the epinician genre, Pindar’s career, patrons’ history of patronage, other eulogists, and revels at the site of the games. Section 6 offers an interpretation of Nemean 6, an ode that situates itself both within traditional social practices and a poetic canon. A conclusion then synthesizes preceding arguments and offers a reconstruction of the literary culture surrounding fifth-century epinician.

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38

-M, Seillan J., Ballestra-Puech Sylvie, and Université de Nice-Sophia Antipolis. Centre transdisciplinaire d'épistémologie de la littérature., eds. Les genres littéraires émergents. Paris, France: Harmattan, 2005.

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39

Keymer, Thomas. Fictions of the Union. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0023.

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This chapter looks at the fictions of the Union. At the culmination of her influential essay ‘On the Origin and Progress of Novel-Writing’, originally prefixed to her multi-volume anthology The British Novelists (1810), Anna Laetitia Barbauld makes an arresting claim for the nation-building potential of the novel genre. Where Jane Austen focuses on generalities and universals, Barbauld emphasizes instead the public function of novels, and of the canon enshrined in her anthology. She does so a century after the British nation had been formally inaugurated by the 1707 Act of Union between England and Scotland, and just a decade after union with Ireland had taken effect. Her clear message is that in creating and sustaining a sense of overarching united nationhood, the ‘systems’ binding these composite entities—the principles and mechanisms underlying these unions—might be less efficacious than works of fiction, with their vivid and compelling dramatizations of shared interests, affiliations, and histories.

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40

Falvey, Eddie. Re-Animator. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859401.001.0001.

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Since its release at the mid-point of the 1980s American horror boom, Stuart Gordon's Re-Animator (1985) has endured as one of the most beloved cult horror films of that era. Greeted by enthusiastic early reviews, Re-Animator has maintained a spot at the periphery of the classic horror film canon. While it has not entirely gone without critical attention, Re-Animator has often been overshadowed in horror studies by more familiar titles from the period. This book, which represents the first book-length study of the film, repositions Re-Animator as one of the more significant American horror films of its era. For Falvey, Re-Animator epitomises various developments that were taking place within the context of 1980s American horror. He uses Re-Animator to explore the rise and fall of Charles Band's Empire Pictures, a prolific if short-lived studio specialising in genre B-movies, the revival of the mad science sub-genre, the emergent popularity of both gore aesthetics and horror-comedies, as well as a new appetite for the works of H.P. Lovecraft in adaptation. This book tracks the film's various legacies, observing not only how Re-Animator's success gave rise to a new Lovecraftian cycle initiated by Gordon’s success here, but also how its cult status has continued to grow, marked by sequels, spin-offs, parodies and re-releases. As such, this book is both about Re-Animator itself and about the various contexts that birthed it and continue to reflect its influence.

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41

Newton, Michael, ed. Victorian Fairy Tales. Oxford University Press, 2016. http://dx.doi.org/10.1093/owc/9780198737599.001.0001.

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The Queen and the bat had been talking a good deal that afternoon...' The Victorian fascination with fairyland vivified the literature of the period, and led to some of the most imaginative fairy tales ever written. They offer the shortest path to the age's dreams, desires, and wishes. Authors central to the nineteenth-century canon such as W. M. Thackeray, Oscar Wilde, Ford Madox Ford, and Rudyard Kipling wrote fairy tales, and authors primarily famous for their work in the genre include George MacDonald, Juliana Ewing, Mary De Morgan, and Andrew Lang. This anthology brings together fourteen of the best stories, by these and other outstanding practitioners, to show the vibrancy and variety of the form and its abilities to reflect our deepest concerns. In tales of whimsy and romance, witty satire and uncanny mystery, love, suffering, family and the travails of identity are imaginatively explored. Michael Newton's introduction and notes provide illuminating contextual and biographical information about the authors and the development of the literary fairy tale. A selection of original illustrations is also included.

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42

Clare, David, Fiona McDonagh, and Justine Nakase, eds. The Golden Thread. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859463.001.0001.

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This two-volume edited collection illuminates the valuable counter-canon of Irish women’s playwriting with forty-two chapters written by leading and emerging Irish theatre scholars and practitioners. Covering three hundred years of Irish theatre history from 1716 to 2016, it is the most comprehensive study of plays written by Irish women to date. These short chapters provide both a valuable introduction and innovative analysis of key playtexts, bringing renewed attention to scripts and writers that continue to be under-represented in theatre criticism and performance. Volume One covers plays by Irish women playwrights written between 1716 to 1992, and seeks to address and redress the historic absence of Irish female playwrights in theatre histories. Highlighting the work of nine women playwrights from the eighteenth and nineteenth centuries, as well as thirteen of the twentieth century’s key writers, the chapters in this volume explore such varied themes as the impact of space and place on identity, women’s strategic use of genre, and theatrical responses to shifts in Irish politics and culture.

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43

Hadjimichael, Theodora A. The Emergence of the Lyric Canon. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810865.001.0001.

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This book explores the process of canonization of Greek lyric, as well as the textual transmission, and preservation of the lyric poems from the archaic period through to their emergence from the Library at Alexandria as edited texts. It takes into account a broad range of primary material, and focuses on specific genres, authors, philosophical schools, and scholarly activities that played a critical role in the survival and canonization of lyric poetry: comedy, Plato, Aristotle’s Peripatos, and the Hellenistic scholars. It explores therefore the way in which fifth- and fourth-century sources received and interpreted lyric material, and the role they played both in the scholarly work of the Alexandrians and in the creation of what we conventionally call the Hellenistic Lyric Canon by considering the changing contexts within which lyric songs and texts operated. With the exception of Bacchylides, whose reception and Hellenistic reputation is analysed separately, it becomes clear that the canonization of the lyric poets follows a pattern of transmission and reception. The overall analysis demonstrates that the process of canonization was already at work in the fifth- and fourth-centuries BC and that the Lyric Canon remained stable and unchanged up to the Hellenistic era, when it was inherited by the Hellenistic scholars.

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44

Owens, Patricia, Katharina Rietzler, Kimberly Hutchings, and Sarah C. Dunstan, eds. Women's International Thought: Towards a New Canon. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781009004978.

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This first anthology of women's international thought explores how women transformed the practice of international relations, from the early to middle twentieth century. Revealing a major distortion in current understandings of the history and theory of international relations, this anthology offers an alternative 'archive' of international thought. By including women as international thinkers it demonstrates their centrality to early international relations discourses in and on the Anglo-American world order and how they were excluded from its history and conceptualization. Encompassing 104 selections by 92 different thinkers, including Anna Julia Cooper, Margaret Sanger, Rosa Luxemburg, Judith Shklar, Hannah Arendt, Merze Tate, Susan Strange, Lucy P. Mair and Claudia Jones, it covers the widest possible range of subject matter, genres, ideological and political positions, and professional contexts. Organized into thirteen thematic sections, each with a substantial introductory essay, the anthology provides intellectual, political and biographical context, and original arguments, showing women's significance in international thought.

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45

Intorno agli Induno: Pittura e scultura tra genere e storia nel Canton Ticino. Milano: Skira, 2002.

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46

Intorno agli Induno: Pittura e scultura tra genere e storia nel Canton Ticino. Milano: Skira, 2002.

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47

Newark, Cormac, and William Weber, eds. The Oxford Handbook of the Operatic Canon. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190224202.001.0001.

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This collection examines the phenomenon of the operatic canon: its formation, history, current ontology and practical influence, and future. It does so by taking an international and interdisciplinary view: the workshops from which it was derived included the participation of critics, producers, artistic directors, stage directors, opera company CEOs, and even economists, from the United Kingdom, the United States, France, Italy, Ireland, Germany, the Netherlands, Denmark, and Canada. The volume is structured as a series of dialogues: each subtopic is addressed by two essays, introduced jointly by the authors, and followed by a jointly compiled list of further reading. These paired essays complement each other in different ways, for example by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting milieus. Part I consists of a selection of surveys of operatic production and consumption contexts in France, Italy, Germany, England, Russia, and the Americas, arranged in rough order from the late seventeenth century to the late nineteenth century. Part II is a (necessarily) limited sample of subjects that illuminate the operatic canon from different—sometimes intentionally oblique—angles, ranging from the influence of singers to the contiguous genres of operetta and musical theater, and the effects of recording and broadcast over almost 150 years. The volume concludes with two essays written by prominent figures from the opera industry who give their sense of the operatic canon’s evolution and prospects.

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48

Lindberg, Julianne. Pal Joey. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051204.001.0001.

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The History of a Heel chronicles the genesis, influence, and significance of Rodgers and Hart’s classic musical comedy Pal Joey (1940). When Pal Joey opened at the Barrymore on Christmas day, 1940, it flew in the face of musical comedy convention. The characters and situation were depraved. The setting was caustically realistic. Its female lead was frankly sexual and yet not purely comic. A narratively-driven dream ballet closed the first act, begging audiences to take seriously the inner life and desires of a confirmed heel. Although the show appears on many top-ten lists surveying the so-called “Golden Age,” it is a controversial classic; its legacy is tied both to the fashionable scandal that it provoked, and, retrospectively, to the uncommon attention it paid to characterization and narrative cohesion. Through an archive-driven investigation of the show and its music, History of a Heel offers insight into the historical moment during which Joey was born, and to the process of genre classification, canon formation, and the ensuing critical debates related to musical and theatrical maturity. More broadly, I argue that the critique and commentary on class and gender conventions in Pal Joey reveals a uniquely American concern over status, class mobility, and progressive gender roles in the pre-war era.

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49

Lennartz, Norbert, ed. Byron and Marginality. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474439411.001.0001.

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The collection of essays intends to show that everything about Byron’s poetic work baffles the scholarly desire for neat categorisations. Various attempts at re-mapping Romanticism have given ample evidence of the fact that, as one of the ‘big six’ in the Romantic canon, Byron outgrows Romanticism and epitomises the fallacious character of a period that has always been compared to a dangerous quicksand. In his self-incurred marginality, Byron subjects the entire genre of poetry to a severe process of deconstruction: his œuvre ranges from verse tale to “epic narratives”, versified romances and poems which subvert the rigorous metrical and formal requirements and turn poetic forms into leaky vessels of incoherent quotations, intertextual reference and Molly Bloomian soliloquies.Taking to his role as a cultural fence-sitter, scoffer and outsider who watches his literary ambience from the stern perspective of a Neo-Classicist, Byron unveils and lays bare the repressed strata of human savagery which Romantic poetry normally glosses over and ignores.Doing the exact opposite of what Novalis and others circumscribed as the ‘poeticisation’ of prosaic 19^th-century reality, Byron subscribes to the idea that man is irretrievably a bête humaine, much more akin to the liver-devouring vulture than to Prometheus. It is this premise of ontological marginality that is eventually reflected in all aspects of Byron’s textual, generic, thematic and topographical marginality.

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Oksman, Tahneer, and Seamus O'Malley, eds. The Comics of Julie Doucet and Gabrielle Bell. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820570.001.0001.

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Julie Doucet, who started publishing in the late 1980s, is a cartoonist and artist best known for her semi-auto biographical works, as depicted in her Dirty Plotte series as well as My New York Diary. Coming into her own in the late 1990s, when she first started self-publishing her comics, Gabrielle Bell rose to prominence with her 2009 book of short story comics, Cecil and Jordan in New York, as well as her diary comics, which have been recurrently collected in full-length books. While each artist has a unique perspective, style, and world view, the essays in this book investigate these artists' shared investments informal innovation and experimentation and in playing with question soft he auto biographical, the fantastic, and the spaces in between. This volume brings to gether eight original essays, including an extensive introduction, in addition to five republished interviews with the artists. Utilizing a variety of methodologies (archival work, gender theory, genre theory, etc.), the engagements in this book reflect how, despite the importance of finding “a place in side yourself” in order to create, this space is always, for better or worse, also as hared space, culled from, and subject to, surrounding lives, experiences, and subjectivities. Both the world of comics and its critics have been male-dominated for too long. The essays in this volume allow us to think about women’s place in the comics canon, while also appreciating Doucet and Bell as unique artists with powerful personal visions.

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