Comics Studies

Toute reprise d'une oeuvre, adaptation, transposition, appropriation, interroge sa temporalité : pourquoi telle oeuvre a-t-elle traversé le temps ? D'où viennent le désir, l'urgence d'en raviver la présence ? Qu'est-ce qui se joue dans une telle remise en jeu ? Une traversée se déroule dans le temps autant que dans l'espace : c'est une invasion, ou encore un « [d]ispositif permettant à deux voies de se couper sans entraver la circulation sur l'une ou l'autre des voies », une « descente effectuée de biais », qui implique un décentrage, un écart autant qu'un renouveau, voire un raccourci, si l'on songe au chemin de traverse. Je voudrais ici observer selon quel « oblique » 1 « An excerpt from Virginia Woolf's Novel The Voyage Out illustrated by Caroline Picard » (2013, ci-dessous « The Voyage Out » et VO) croise The Voyage Out (1915). 2 Justement, il est question de traversée dans le premier roman de Virginia Woolf, dont le titre miroitant a été rendu en français par La Traversée des apparences (1948, trad. Ludmila Savitzky), Croisière (1952, trad. Armel Guerne) et, plus récemment dans l'édition des OEuvres romanesques complètes chez la Pléiade, par Traversées (2012, trad. Jacques Aubert). On a pu lire cette satire sociale comme une réponse à Heart of Darkness (1899) car la jeune « Chaos triumphant » : Traversées du Voyage Out (1915) de Virginia Woolf à « ...

Toute reprise d'une oeuvre, adaptation, transposition, appropriation, interroge sa temporalité : pourquoi telle oeuvre a-t-elle traversé le temps ? D'où viennent le désir, l'urgence d'en raviver la présence ? Qu'est-ce qui se joue dans une telle remise en jeu ? Une traversée se déroule dans le temps autant que dans l'espace : c'est une invasion, ou encore un « [d]ispositif permettant à deux voies de se couper sans entraver la circulation sur l'une ou l'autre des voies », une « descente effectuée de biais », qui implique un décentrage, un écart autant qu'un renouveau, voire un raccourci, si l'on songe au chemin de traverse. Je voudrais ici observer selon quel « oblique » 1 « An excerpt from Virginia Woolf's Novel The Voyage Out illustrated by Caroline Picard » (2013, ci-dessous « The Voyage Out » et VO) croise The Voyage Out (1915). 2 Justement, il est question de traversée dans le premier roman de Virginia Woolf, dont le titre miroitant a été rendu en français par La Traversée des apparences (1948, trad. Ludmila Savitzky), Croisière (1952, trad. Armel Guerne) et, plus récemment dans l'édition des OEuvres romanesques complètes chez la Pléiade, par Traversées (2012, trad. Jacques Aubert). On a pu lire cette satire sociale comme une réponse à Heart of Darkness (1899) car la jeune « Chaos triumphant » : Traversées du Voyage Out (1915) de Virginia Woolf à « ...

This curated anthology of Disney comics, edited by Giacomo Delbene and Mila Nikolić, brings together stories in which Scrooge McDuck’s Money Bin assumes a central narrative role through a series of extraordinary architectural transformations. Rather than functioning merely as a setting, the iconic building becomes an active protagonist, appearing as a twin tower, a pyramid, an underground bunker, an oceanic habitat, a mobile structure and even an orbital station. Featuring works by Carl Barks, Romano Scarpa, Rodolfo Cimino, Marco Rota, Giorgio Cavazzano, Guido Martina, Massimo De Vita, Giorgio Pezzin and Guido Scala, the volume explores the Money Bin as an architectural character whose continuous metamorphoses have made it one of the most distinctive buildings in comics, and popular culture in general. The accompanying introductory essay examines its iconicity, mutability and symbolic relationship with the personality of Scrooge McDuck.

La «terribile mutazione antropologica» di cui scriveva Pier Paolo Pasolini è evidente oggi nella uniformità dell'informazione e della comunicazione: schemi di valori e modelli di comportamento si sostituiscono all'esperienza vissuta. Le azioni attuate nella pratica quotidiana diventano il riflesso di una realtà immaginaria: le "opinioni" hanno sostituito le idee. E' possibile richiamare alla consapevolezza di sé e della propria responsabilità? Che la verità non sia un oggetto ma un'opera di costruzione a cui è indispensabile il contributo di ciascuno? E che proprio in questa condivisione consista una "cultura"? Da qui l'invito all'azione "hic et nunc" (Cremona Art Fair, 8-10 maggio 2026) senza i filtri della comunicazione mediatica: immagini e parole diverse che si incontrano a comporre un libro, solo una traccia per quanto indelebile, da moltiplicare se ancora è possibile.
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The "terrible anthropological mutation" Pier Paolo Pasolini wrote about, is evident today in the uniformity of information and communication: patterns of values ​​and behaviors are replacing lived experience. Daily actions become the reflection of an imaginary reality: "opinions" have replaced ideas. Is it possible to call for self-awareness and self-responsibility? That truth is not an object but a work of construction to which everyone's contribution is indispensable? And that precisely in this sharing a "culture" consists? Hence the call to action "here and now" (Cremona Art Fair, May 8-10-2026) without the filters of media communication: diverse images and words that come together to compose a book, just a trace, however indelible, to be multiplied if still possible.

Showrunner Eric Kripke’s The Boys and its spin-off series Gen V present themselves as razor-sharp critiques of the Marvel Cinematic Universe superhero boom, and the celebrity culture of late-stage
capitalism. This essay argues that Kripke’s critique is tied to the two series’ visual language of violence. Kripke converts the ideologically aestheticized violence of the comic book superhero into the
nihilistically horrifying violence of the body horror monster. As a result, the superhero and the monster are revealed as one and the same, the salient difference between them their respective genre’s faith in
political power. A close reading of Gen V’s elements of body horror in relation to its deep cut references to the feminist iconography of Marvel Comics’ Uncanny X-Men series of the 1980s reveals a falling out
between minority subjects and the institutional frameworks of diversity, equity, and inclusion that purport to advance their prospects for equality.

Préface au livre Laurent Bihl, la grande mascarade parisienne, Nouveau monde éditions, 2026 Voici un livre sérieux sur un sujet qui, comme le titre semble l'indiquer, ne devrait pas l'être. Sa matière est fournie en eGet par la presse satirique à son apogée quantitatif (en termes de nombres de titres), sa diversité et sa diGusion pendant la période considérée. Cette fin de siècle fut plutôt un nouveau siècle en raison de l'eGervescence culturelle mais cette « Belle époque » de la presse satirique fut en même temps une triste époque du fait des multiples tensions et conflits qui la traversent. Cet ouvrage a été longtemps attendu puisque j'ai eu l'honneur de le diriger pendant près

„Es gibt keine deutsche Identität ohne Auschwitz“, so eine berühmte Formulierung des ehemaligen Bundespräsidenten Joachim Gauck. Wenn dem so ist, was ist mit den Deutschen, deren Familien später nach Deutschland gekommen sind und demnach eine ganz andere Geschichte erlebt und als Erbe hinterlassen haben? Muss man sich als (Post-)Migrant mit dem Holocaust auseinandersetzen, um Deutscher zu sein? Michael Rothberg und Yasemin Yildiz weisen dabei auf ein folgenschweres Paradox hin: Wird von Deutschen „mit Migrationshintergrund“ nämlich eine solche Auseinandersetzung verlangt, so wird ihr Beitrag zum kollektiven Gedenken weitgehend ignoriert. Können und dürfen in einer Zeit, in der die letzten Zeugen des Holocausts verschwinden, nur „Biodeutsche“ die Erinnerungsarbeit übernehmen? Demnach erscheint das Holocaust-Gedenken als Feld, auf dem die deutsche(n) Identität(en) neu verhandelt wird/werden.
In einer 2017 an der LMU gehaltenen Rede mit dem Titel „Auschwitz morgen“ erzählt Navid Kermani, deutscher Schriftsteller iranischer Herkunft, was er als Besucher der Gedenkstätte Auschwitz-Birkenau empfand, was es für „seine“ deutsche Identität bedeutet und was man daraus ziehen kann. Vier Jahre später verwebt die türkisch-deutsche Schriftstellerin Emine Sevgi Özdamar in ihrem Roman Ein von Schatten begrenzter Raum verschiedene traumatische Erinnerungsstränge, darunter auch die national-sozialistische Vergangenheit, was laut Maha El Hissy in der Rezeption des Romans meistens übersehen wurde. Auf verschiedene Arten und Weisen üben sowohl Kermani als auch Özdamar das aus, was Rothberg und Yildiz „memory citizenship“ nennen. Aufgezeigt werden soll, wie sich bei beiden Autor.innen „memory citizenship“ und Identität kombinieren lassen, wie und inwiefern sich im Zusammenhang mit dem Holocaust-Gedenken auch plurale deutsche Identitäten neu definieren können.

This paper is an expanded form of one which was produced nearly ten years ago. The very wide range of the press and other literature reflected the vibrant nature of Krakow's Jewish community. The newspapers and other publications, catered for the diversity of the readership, and not even the Holocaust stemmed the flow of creative writing which took several forms. These included diaries, testimonies, poems, prose and academic works

A obra traz as principais ideias de artigos e palestras proferidas por Yuval Harari sobre questões contemporâneas. O historiador aborda o nacionalismo, as mudanças climáticas, a imigração, a violência e a pós-verdade, só para citar alguns temas.

Em entrevistas, o historiador conta que o objetivo de "21 Lições Para o Século 21" é mostrar como as perspectivas de longo prazo de seus livros anteriores dão clareza aos debates políticos atuais. A obra, aliás, inspirou a superclass exclusiva de Yuval Noah Harari na Pós PUCPR Digital. 

O livro concentra-se no futuro da humanidade mais imediato, em um mundo onde informações irrelevantes são produzidas em massa. Clareza se tornou sinônimo de poder e, hoje, a censura se baseia em inundar a sociedade com desinformação e distrações.

Para Yuval Harari, se o seu livro conseguir fazer com que algumas pessoas participem do debate sobre o futuro da humanidade, ele terá cumprido sua missão.

Los artículos que forman parte de este volumen dan cuenta del
extraordinario apogeo del cómic en la escena cultural española en las
primeras dos décadas del siglo XXI. Dicho auge se traduce en el uso de la
remediation como mecanismo para reformular y al mismo tiempo celebrar
otros géneros como la novela, la crónica y el reportaje periodísticos, la
biografía, la fotografía o el testimonio. La remediation también se aplica a la
experimentación con diversas plataformas y formatos digitales, tendencia
que no solamente incide en los procesos de producción sino también en el
consumo y recepción de los cómics. En cuanto a la temática, sobresale la
memoria histórica, la migración y el empoderamiento femenino, entre
muchos otros. Esperamos que este volumen contribuya tanto a la difusión
como al estudio sistemático de la gran producción que ha tenido lugar en los
últimos veinticinco años.

In this chapter I draw attention to the common ground between Nietzsche and the Laozi 老子 on the all-important and ever-widening discrepancy between human hubris and cosmic humility. Since there has been little to no direct influence of classical Chinese sources on the development of Nietzsche's philosophy, the debate has to be simulated. This will be done by invoking the modern phenomena of transhumanism and posthumanism. A meaningful dialogue then takes shape between Nietzsche and the Laozi on the future of humankind as it trails the meanders of the dialectic between human hubris and cosmic humility. Although the status of Nietzsche as intellectual godfather of the transhumanist movement can be disputed, a fresh look at scholarship on the topic unearths important congruities between his philosophy and contemporary transhumanism. At the same time, the link between the Laozi and what we now call posthumanism is not yet fully appreciated in contemporary academic discourse. The present chapter therefore seeks to explore both key affinities between Nietzsche's work and various transhumanist pursuits as well as the contemporary relevance of the Laozi for posthumanism. The functional-but often overlookeddivide between trans-and posthumanism that this study reveals, contributes to a welcome critique of the twenty-first century Mass Media Human.

Cet ouvrage présente huit nouvelles études empiriques sur diverses traditions discursives entre oral, oralité mise en scène et écrit. Elles couvrent une large gamme de médias audio-visuels (presse, bande dessinée, radio, télévision, film et chanson) et tous les niveaux linguistiques (phonologie, morphologie, syntaxe, sémantique, pragmatique), en tenant compte du contact de langues et de variétés. La perspective est toujours diachronique, couvrant l'époque du XIXème au XXIème siècle. L'ouvrage constitue ainsi une contribution importante à l'écriture du chapitre actuel de l'histoire de la langue française et à une connaissance plus détaillée des concepts d’une linguistique de médias.

El Instituto Franklin-UAH, la Sociedad Académica de Estudios de Cómic y el proyecto europeo COST Action CA24160 COS-MICs (Comics and Sciences through Multidisciplinary Investigation and Collaboration) organizan el II Congreso Internacional de la SAEC en conjunción con la III International Conference Teaching with Comics con la colaboración de la Cátedra UAH de Investigación y Cultura del Cómic y la Cátedra de Estudios del Cómic FSM-UV.

El objetivo de este congreso es mostrar y profundizar en las líneas de investigación que se están realizando sobre cómic con el objetivo de contribuir al avance del conocimiento en el campo de estudio, generar sinergias entre los investigadores y explorar líneas de trabajo futuras, con un énfasis especial en el potencial del cómic como herramienta educativa. Las líneas de investigación principales del congreso, sin ser en ningún caso excluyentes, serán:

•    El cómic como objeto de estudio.
•    El cómic y sus relaciones con las otras disciplinas artísticas: cine, literatura, teatro, pintura.
•    Cómic y traducción.
•    El cómic como producto de una época: diversidades, feminismo, sostenibilidad.
•    La representación de la historia a través del cómic: del cómic histórico al periodismo en cómic.
•    Dibujar palabras, escribir dibujos.  Cómic, multimodalidad y alfabetización visual.
•    Nuevas tendencias del cómic: de la poesía gráfica a la abstracción.
•    Teaching with Comics: Cómic y educación: experiencias y buenas prácticas
•    Teaching with Comics: Sostenibilidad a través del cómic
•    Teaching with Comics: El cómic como metodología para el aula
•    Teaching with Comics: El cómic en la enseñanza universitaria
•    Teaching with Comics: Cómic y educación inclusiva
•    Teaching with Comics: El cómic y educación lectora y literaria
•    Teaching with Comics: El cómic en el aula: investigaciones y propuestas.
•    Teaching with Comics: la conciencia ecológica y medioambiental en el cómic.
•    Teaching with Comics: cómic y ciencia. Aproximaciones comparatistas.

Información sobre envío de propuestas

Las propuestas de comunicación contendrán un resumen de un máximo de 300 palabras y una nota biográfica de 150 palabras y deberán incluir palabras clave y adscripción a una línea temática. Las propuestas serán redactadas en castellano o inglés, no contendrán ningún dato relativo a la autoría y deberán ser enviadas a través del formulario a través de la página web del Instituto Franklin-UAH. También se aceptan paneles completos que estarán compuestos por 3 o 4 comunicaciones. En ese caso, la persona coordinadora deberá enviar el resumen de todas las comunicaciones que forman el panel y el CV de las y los autores. Cada comunicación individual seguirá las normas indicadas en el párrafo anterior.

El plazo para el envío finalizará el 31 de mayo de 2026. La aceptación de la comunicación se notificará antes del 10 de septiembre de 2026.

Durante la mostra, presso il tavolo de L'Arengario S.B., si svolgerà l'azione «HIC ET NUNC Qualcosa che mi affascina qualcosa che mi spaventa / Something that enchants me something that scares me». L'azione consiste nella creazione di un libro d'artista collettivo: ogni persona interessata avrà a disposizione un foglio prestampato: redigendolo diventerà una pagina/opera che andrà a comporre il libro. La pubblicazione è prevista entro la fine di luglio 2026, scaricabile gratuitamente dal sito www.arengario.it.<br>
L'idea non è nuova: risale almeno al 1967, quando i fratelli Adriano, Maurizio e Tiziano Spatola realizzarono il primo volume della rivista/antologia GEIGER, costituito da fogli A4 redatti e inviati per posta da vari artisti e composto a mano. Non c'era una "linea editoriale" ma una semplice considerazione, dichiarata espressamente nel terzo numero pubblicato: "Il poeta-pittore-musicista-architetto-scultore-attore-grafico-regista […] non può più accettare le rigide delimitazioni culturali del passato, né accontentarsi di un’esperienza dell’arte che non sia quotidiana, in ogni gesto-parola-segno-vibrazione-suono, che non sia intervento concreto sull’ambiente che lo circonda, strumento di modificazione «continua» della realtà, per un linguaggio universale non codificato inventato giorno per giorno: un’arte totale”.
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During the exhibition, at the table of L'Arengario S.B., the action «HIC ET NUNC Qualcosa che mi affascina qualcosa che mi spaventa / Something that enchants me something that scares me» will take place. The action consists of the creation of a collective artist’s book. Each person interested in this project will be provided with a pre-printed sheet: by filling it in, it will become a page/work that will contribute to the composition of the book.<br><br>
This idea is not new: it dates back at least to 1967, when the brothers Adriano, Maurizio, and Tiziano Spatola created the first volume of the magazine/anthology GEIGER, made up of A4 sheets prepared and sent by mail by various artists and assembled by hand. There was no «editorial line» but rather a simple consideration, explicitly stated in the third issue published: «The poet-painter-musician-architect-sculptor-actor-graphic designer-director […] can no longer accept the rigid cultural boundaries of the past, nor be satisfied with an experience of art that is not daily—present in every gesture-word-sign-vibration-sound—that is not a concrete intervention in the surrounding environment, a tool for the ‘continuous’ transformation of reality, toward a universal, uncodified language invented day by day: a total art».

El presente trabajo fue desarrollado a fin de proveer herramientas innovadoras de ensenanza para el desarrollo de las destrezas de escritura. Considerando que la tecnologia, en este caso el internet, esta tomando un rol mas importante en la educacion, fue clave buscar nuevas herramientas que este recurso ofrece. Como resultado, las aplicaciones digitales comicas fueron seleccionadas para el proceso de ensenanza-aprendizaje, especialmente para el area de escritura. Para esta presente investigacion, cinco aplicaciones digitales comicas fueron seleccionadas:Storybird, Toondoo, BitstripsforSchools, Digital Storytelling y Boomwriter. Como la principal meta fue proveer hechos sobre las ventajas y limitacionesdel uso de estas aplicaciones en el desarrollo de las destrezas de escritura basado en diferentes estudios aplicados, fue importante hacer un analisis exhaustivo de cada uno. Tomando esto en cuenta, se utilizo el metodo de investigacion bibliografica para escoger una de ellas como la ...

This collection introduces the transnational dimensions of contemporary Italian comics to the predominantly Anglophone arena of comics studies. The volume explores how Italian comics culture transcends geographical and linguistic borders, revealing the mobility and multilingualism that characterise this dynamic field in the 21st century.

Drawing on interdisciplinary perspectives from comics studies, Italian studies, and migration research, the collection examines key narrative themes including memory, migration, and transformation in contemporary Italian comics production. Contributors analyse diverse forms from autobiographical narratives and historical comics to graphic journalism and feminist artivism, demonstrating how Italian creators engage with complex social and political issues through sequential art. The book features research on iconic works such as Dylan Dog, contemporary graphic memoirs, and comics journalism addressing Mediterranean border crossings. Through case studies of collective biographies, transnational histories, and activist comics, the volume reveals how Italian comics serve as powerful vehicles for exploring identity, displacement, and social justice in an increasingly connected world.

This collection will be essential reading for scholars of comics studies, Italian literature and culture, media studies, and migration research, offering new insights into the global circulation of Italian popular culture. This book was originally published as a special issue of Journal of Graphic Novels and Comics.

Aucun domaine n’échappe désormais à l’augmentation du nombre de prix culturels, qui croisent des intérêts esthétiques, économiques, sociaux et politiques.
À travers une pluralité d’approches (littérature, histoire de l’art, études cinématographiques et théâtrales, arts plastiques, sociologie, économie, sciences de l’information et de la communication), cet ouvrage propose une analyse comparée des prix littéraires et artistiques dans l’espace francophone, en examinant tant leurs modalités d’institutionnalisation que leurs effets sur les carrières, les œuvres, les publics et leur rôle dans la définition des normes.

Guzel Jahinan esikoiskirjan Suleika avaa silmänsä (2015, suom. 2016) saamat arvostelut Venäjällä muistuttavat Sofi Oksasen vastaanottoa: aloitteleva, suurelle yleisölle tuntematon – tässä tapauksessa venäjäksi kirjoittava tataaritaustainen kirjailija – julkaisee naisen elämästä romaanin, joka kertoo Neuvostoliiton synkänraskaista historian tapahtumista ja traumaattisista kokemuksista, minkä jälkeen hän herää yllättäen kuuluisana ja voittaa useita arvostettuja kirjallisuuspalkintoja.

Mental Health and Social Worlds in Indian Digital Comics
Monesha L. and Sathyaraj Venkatesan examine how Indian digital comics
frame mental health as a shared social condition, extending health humanities beyond the clinic and into the textures of everyday life.

El vecino. Historias (2019) es una novela gráfica de Santiago García y Pepo Pérez. Forma parte de la serie El vecino (2004-hoy), desarrollada en formatos y tonos narrativos variables; su argumento parte del contraste entre dos mundos, el cotidiano (la vida corriente de unos vecinos) y el fantástico (uno de ellos es un superhéroe). El vecino. Historias recopila historias cortas cuyas estrategias artísticas son analizadas en este ensayo. Cada una plantea diferentes juegos formales y tonales, a menudo desde perspectivas metalingüísticas que cuestionan las convenciones y formatos del cómic. También se exploran los significados ideológicos implícitos en los códigos de superhéroes.  

En 2009 Robert Crumb publicaba una adaptación al cómic del Génesis que era objeto de una amplia atención mediática internacional. En 1968, Crumb vendía por las calles del San Francisco hippie Zap Comix, un tebeo irreverente que le convirtió en icono y modelo del comix underground, un movimiento de historietistas norteamericanos asociado a la contracultura de los sesenta. Crumb sobrevivió al underground y ha seguido dibujando hasta hoy. Su novela gráfica Génesis ilustrado ejemplifica el camino recorrido por el cómic desde la marginalidad cultural al prestigio recientemente adquirido. Entender la trayectoria de Crumb desde el comix underground a la novela gráfica -el cómic artístico y adulto actual- es el tema de este artículo

Cet article propose un retour réflexif sur la production d’une bande dessinée sociologique consacrée à l’enfermement des jeunes délinquants à Montréal (Se battre contre les murs. Un sociologue en centre jeunesse). Il pointe, pour cela, un constat simple : plus qu’un travail d’illustration, la traduction dessinée de la recherche exige un travail de scénarisation qui peut être assumé par les personnes qui illustrent, mais aussi par d’autres personnes (éditeurs ou éditrices, responsables de collection, etc.). À un premier niveau de lecture, l’article met alors en évidence les rouages concrets de la sociologie dessinée et de la division du travail qu’elle implique, au-delà du seul duo formé par le chercheur et l’illustratrice. Il décrypte, ce faisant, les choix d’écriture — toujours discutables — qu’a exigés ce travail de scénarisation : quel livre cherchions-nous à produire, et avec quelles intentions (analytiques, sinon éthiques et politiques) l’avons-nous fait ? L’article pose dès lors, à un second niveau de lecture, des questions plus générales sur le métier de sociologue, en explicitant les choix, les intentions et, in fine, le rapport à la critique qu’implique toute écriture de la sociologie, de la plus académique à la plus vulgarisée.

This article offers a reflexive review on the production of a sociological comic book examining the detention of juvenile offenders in Montréal (Se battre contre les murs. Un sociologue en centre jeunesse). It starts from a simple premise : the translation of research into the visual language of drawing goes beyond mere illustration into storyboarding, which could be taken on by the illustrators or complemented by other people (editors, those responsible for data collection, etc.). The first level of the article describes the concrete details of illustrated sociology and the division of labour involved in this act, beyond the duo formed by the researcher and the illustrator. In so doing, it deciphers the—always subjective—writing choices that this storyboarding work requires : what book are we trying to create and with what intentions (analytic ? ethical ? political ?) have we created it ? At a second level, the article poses broader questions about the work of sociology, by explaining the choices, intentions and, ultimately, the relationship to the critical that any sociology writing involves, from the most academic to the most simplified.

W połowie V wieku p.n.e., podczas jednej ze swych wędrówek, do Egiptu dotarł grecki podróżnik. Był nim Herodot, którego relacje zawarte w Dziejach nie tylko przysporzyły mu sławy, lecz nadały miano "ojca historii". Obraz przekazany przez niego, na długo ukształtował wizerunek nadnilowej krainy w oczach świata. Oprócz innych, Herodot odnotował także opowieść ukazującą zmagania faraona Rampsynita, usiłującego pojmać sprytnego rabusia, naruszającego zasoby jego skarbca. Postać egipskiego faraona Rampsynita można identyfikować z jednym z władców okresu Nowego Państwa, najprawdopodobniej Ramzesa II lub Ramzesa III (około 1300-1200 p.n.e.). Historia ta stała się niezwykle bliska i atrakcyjna także dla współczesnego czytelnika i wkrótce zajęła odpowiednie miejsce w bogatym skarbcu wyobrażeń i motywów ludowych. Pod wrażeniem opowieści Herodota znalazł się także Carl Maria Seyppel (1847-1913), niemiecki malarz i rysownik, który zilustrował ją w swoistym stylu i opatrzył własnym, żartobliwym tekstem rozmieszczonym na sposób przypominający ujęcia komiksowe, zyskujące wówczas coraz większą popularność. Humoreska Seyppela ukazała się drukiem w roku 1882 w specjalnej edytorskiej szacie, mającej wyraźnie wskazywać, iż jest to "księga wygrzebana z ziemi". Wkrótce po edycji niemieckiej ukazały się tłumaczenia Skarbca faraona na języki angielski (1885) i francuski (1886). Po wielu latach doczekaliśmy się także wydania w języku polskim w znakomitej adaptacji Tadeusza Kwinty, artysty i współzałożyciela krakowskiego kabaretu "Piwnica pod Baranami".

At this techno-utopian world technology is the only thing that needs advancements. The 4 th industrial revolution enabled the rise of data and connectivity, analytics, human-machine interaction, and improvements in robotics. The Artificial Intelligence and machine learning have become more important to technological revolution of this modern world than ever before. For the students of engineering or any other technical subjects, they need to learn machine learning and the indispensability of an AI.

This hybrid research article explores how comics function as both research methodology and pedagogical intervention for decolonising educational practice in schools in England. Structured through six panels that perform sequential art principles within academic argumentation, the piece draws on conversations with educators, publishers, and comics creators, alongside workshop observations and recent scholarship, to demonstrate how visual storytelling disrupts traditional epistemologies and challenges what counts as legitimate knowledge production. Through a methodology I term panel-based analytical reading-interpreting conversation transcripts through comics' grammatical structures-I argue that comics-based research offers unique affordances for addressing educational inequities, representing intersectional identities, and developing critical consciousness. The article examines structural barriers across publishing, policy, and institutional assessment that perpetuate epistemic exclusion, while documenting how alternative models-from indie publishing to digital platforms-circumvent traditional gatekeeping. Attending to comics' particular accessibility for neurodiverse learners and their capacity for multimodal meaning-making, I propose concrete implementation strategies for embedding visual literacy across educational and research contexts. Writing from my position as a non-drawing advocate for visual methods, this piece contributes to growing institutional recognition of creative research methodologies while foregrounding the urgent decolonial work that remains: challenging curriculum violence, resisting epistemicide, and creating space for all ways of knowing to be valued. Keywords comics-based research • decolonial pedagogy • visual literacy • creative research methods • multimodal analysis

Lovecraft’s The Call of Cthulhu, published in 1928 and classed within a series of stories labelled the “Cthulhu Mythology,” exemplifies the modern Gothic and Lovecraftian or cosmic horror. This article explores Call of Cthulhu: The Official Video Game, released in 2018 by Cyanide Studios, as an artifact of the Lovecraftian transmedia storyworld. This storyworld contributes to the reader-player’s knowledge of quintessential Lovecraftian themes, tropes, and motifs as they occur in game; these can be evidenced as consistently woven between the ludic and narrative elements of the role-playing horror game by drawing upon literary discourse and game studies analysis. The Call of Cthulhu story (intradiegetic plot) exists both within the wider narrative structure of the Lovecraftian transmedia storyworld, as well being emergent through the system and mechanics of the gameplay. The story and gameplay operate within this frame of reference to draw upon Gothic themes, tropes, and motifs to create the player experience. In doing so, the reader-player’s affective expectations of both the narrative and ludic elements of the game align to this broader framework, situating the playspace within the storyworld; consequently, the game achieves a harmonious ludonarrative primarily through the reader-player hermeneutic dynamic. The culmination of this analysis is an interpretation of Call of Cthulhu as an intertextual and multimodal instance of Gothic media that utilises its interactive medium to offer an authentic and affective experience of cosmic horror.

The animated series Mézga Aladár különös kalandjai [The Strange
Adventures of Aladár Mézga (henceforth Strange Adventures)], created
and directed by József Nepp, was first broadcast by Hungarian Television
(henceforth: MTV, short for “Magyar Televízió”) in January of 1973. The
characters of the series, which was rich in sci-fi elements, were not unknown  to Hungarian viewers, as they had already been introduced to them in the 1970 series Üzenet a jövőből—A Mézga család különös kalandjai [Message from the Future—The Strange Adventures of the Mézga Family (henceforth Message from the Future]. The Mézga films have not only won the heartsof Hungarian audiences to this day, and have unanimously been acclaimed by Hungarian filmmakers and film scholars, but they have also been a hit with viewers in other countries of the socialist camp (Czechoslovakia, East Germany, Bulgaria, and Cuba) and even in the “West” (West Germany,
France, and Italy).
The subject of the present chapter is The Strange Adventures of Aladár
Mézga, which has been little studied in the literature. After a general
overview of socialist television, I will take a close look at this Swift-, Verne
and Lem-inspired Gulliverian cartoon tele series, and address the following
questions: (i) In the context of what cultural mission was the series born in
the Hungarian socialist media of the time, and how did television relate to
the themes of science fiction? (ii) Based on what characteristics can Strange Adventures be classified as science fiction? (iii) What adventures take place on the planets? (iv) What are the sociopolitical, systemic anomalies, and dystopian features of the planets? In connection with the latter: (v) What are the situations in which the protagonist feels the need to intervene? (vi) Can the living conditions depicted on the planets be associated with the structural characteristics of socialism-capitalism? And finally: (vii) What other SF stories can the protagonist’s adventures be compared to? Rather than addressing the above questions individually, they will be discussed jointly in the relevant sections, following the internal logic of the construction of the paper.

Le classi delle scuole primarie di Rotzo e Roana (Vicenza) hanno lavorato fianco a fianco con gli archeologi dell’Università che da anni studiano il villaggio del Bostel, trasformando le loro ricerche in storie illustrate. Così sono nati Agostina e Pitanme, due protagonisti pronti a guidarti in un’avventura straordinaria che attraversa il tempo. Le strisce a fumetti in questo libro mostrano sovrapposti il presente e il passato: in alto, gli archeologi al lavoro; in basso, la vita quotidiana di oltre duemila anni fa. Strato dopo strato, pagina dopo pagina, il lettore scopre che la terra custodisce memorie preziose e racconta storie che aspettano solo di essere ascoltate... Il font ad alta leggibilità facilita la lettura anche a persone con dislessia o difficoltà visive.

This study explores how the growing dominance of digital platforms has reshaped creative labour in South Korea's webtoon industry. Drawing on interviews with 20 industry participants, including creators, producers, platform staff, and experts, it examines how the rise of content providers, studio-based mass production, and algorithmic control have transformed working conditions and occupational identities. These dynamics have produced a pyramidal industry structure in which creators are repositioned from artists or entrepreneurs into managed workers or risk-bearing contractors, stripped of artistic autonomy and labour protections. Although Korean webtoons are often celebrated as a creatorfriendly alternative model of cultural production, this study reveals structural tensions in which the vast majority of creators are increasingly treated as disposable labour. Drawing on the concept of platform-mediated creative labour, it further advances a theoretical framework for analysing how platform governance reorganises creative work across cultural industries. Ultimately, this study examines whether the current platform-based system can support sustainable working conditions in the long term.

Unhappy is the land that needs an antihero for it is a land in crisis, without a clear morality, without truths. The antihero embodies competing values: on the one hand, antiheroes and antiheroines are born of a crisis; on the other, they exasperate it. Antiheroes could not exist without a crisis of values and worldviews. They reveal it through their very existence. To be an antihero, it is fundamental that the heroic model remains present, even in its absence. Brombert states: ‘the antihero can exist only if the heroic model remains present in absentia, by preterition’ (Brombert 1999: 66). Antiheroes are still heroes, but decayed and controversial: while the heroes embody and defend their society’s values, antiheroes question them. Antiheroes would be heroes in a different kind of society, but the one in which they live rejects them, because they embody, show, and call into question its contradictions and controversies. Through Nietzschean concepts, such as the mask (Apollonian and Dionysian) and the Übermensch, the purpose of this chapter is to distinguish superheroes and antiheroes, with respect to their relationship to the concept of the mask, their society and their morality.
The contemporary superhero’s reconfiguration will be traced and compared to similar events in The Dark Age of Comics of the mid-1980s. Comparing Dark Age antiheroes (Frank Miller’s Batman, Watchmen’s Rorschach) with contemporary films and comics like Marvel’s Civil War (2009 [2006-7]) and Christopher Nolan’s Dark Knight trilogy (2005-12), it will be analysed how the perception of antiheroes and superheroes has changed.

https://doi.org/10.1386/9781835952535_8

, written and illustrated by Sriram Jagannathan , is a graphic narrative based on the life of Malvika Iyer, a disability rights activist, motivational speaker, and survivor of a devastating explosion that occurred during her adolescence. This paper interrogates the different ways in which trauma and suffering have been visually represented in the graphic narrative Mai (2018). In recent years, India has witnessed a notable rise in the production of graphic novels. As the medium gains recognition as a legitimate and sophisticated art form, its thematic focus has gradually shifted from traditional subjects such as mythology and war to more personal narratives that probe the psychological and emotional dimensions of individual experience. Contemporary graphic narratives increasingly employ a testimonial mode of expression to explore the origins and repercussions of both personal and collective trauma. By integrating visual imagery with textual narration, these works capture the intricate layers of traumatic experience-dimensions that often elude representation through language alone. By situating Mai within the broader discourse of graphic testimony, the paper argues that Jagannathan's work exemplifies how the Indian graphic narrative can humanise history and represent trauma.

Resumo: O álbum em quadrinhos Oráculos reuniu 10 histórias em quadrinhos (HQs) curtas criadas pelo quadrinhista Edgar Franco (Ciberpajé) ao longo de 20 anos e publicadas inicialmente em revistas alternativas e fanzines. Essas HQs foram desenvolvidas inspiradas em 2 oráculos, 4 delas tendo como base hexagramas do oráculo milenar chinês I Ching, e 6 delas baseadas em arcanos maiores do Tarô. As HQs publicadas no álbum incluem as características basais do gênero poético-filosófico dos quadrinhos e um processo criativo peculiar. A unicidade de cada uma delas diz respeito à forma com que foram criadas unindo a resposta do Oráculo -após a sua consulta -, a relação de significado percebida pelo autor a partir de sua experiência de vida naquele momento -, e a geração de uma breve narrativa metafórica que conectou o sentido do oráculo com a transformação da realidade ordinária desejada pelo criador. Esse processo criativo diferenciado transforma a criação em um ato para além de catártico, um ato de autotransformação, caracterizando essas HQs como Quadrinhos Expandidos (FRANCO, 2017). Esse artigo conceitua os quadrinhos poéticofilosóficos e apresenta os processos criativos das 4 HQs inspiradas no I Ching publicadas em Oráculos.

Resumo: O artigo conceitua brevemente transmídia, problematiza a segmentação da criação artística no âmbito da academia e da sociedade e propõe uma revisão do conceito de artista criador "compartimentado"que teme experimentar outras linguagens -ao trazer o contexto da criação transmidiática para o campo das artes, tomando como referência o pensamento de R. Buckminster Fuller. Propõe a possibilidade do uso da transmídia como espaço para a criação artística autoral e apresenta o universo ficcional transmídia da "Aurora Pós-humana", criado pelo artista Edgar Franco, destacando suas bases fundamentais e os referenciais teóricos para o seu desenvolvimento. Finalmente apresenta algumas das criações em múltiplas mídias e suportes produzidas no contexto da "Aurora Pós-humana" como: histórias em quadrinhos, -com destaque para o álbum BioCyberDrama Saga e a revista periódica Artlectos e Pós-humanos-, HQtrônicas, Web arte, Gamearte, instalações interativas, música, performances cíbridas, aforismos e HQforismos.

Em seminário sobre a teoria da imagem publicado em 2010 por James Elkins, W. J. Thomas Mitchell propõe um duplo movimento como método para lidar com imagens: historicizar e anacronizar, contextualizar e descontextualizar. Partindo desta referência, o presente artigo busca analisar Fealdade de Fabiano Gorila, história em quadrinhos de Marcello Quintanilha. Para além disso, através das duas edições desta obra, pretende-se pensar a própria narrativa quadrinística no campo da Cultura Visual.

Em seminario sobre a teoria da imagem publicado em 2010 por James Elkins, W. J. Thomas Mitchell propoe um duplo movimento como metodo para lidar com imagens: historicizar e anacronizar, contextualizar e descontextualizar. Partindo desta referencia, o presente artigo busca analisar Fealdade de Fabiano Gorila, historia em quadrinhos de Marcello Quintanilha. Para alem disso, atraves das duas edicoes desta obra, pretende-se pensar a propria narrativa quadrinistica no campo da Cultura Visual.

This article presents a philological and phenomenological analysis of the key phrase Dare demo Nai Otoko (誰でもない男) as articulated within the narrative of Naruto Chapter 564. Employing a textual hermeneutic approach, this study dissects the syntactic structure of the phrase to distinguish it from the concept of spatial absence (dare mo inai), illuminating an ontological paradox wherein the presence of bodily facticity (otoko) coexists with the negation of subjective essence (nai). The research primarily focuses on how this linguistic construction facilitates the subject's transition from a historically bound social entity into an anonymous "operational mechanism." This analysis posits that such identity negation is not mere rhetoric of self-defense, but a structural prerequisite for the subject to attain systemic immunity and enact a radical intervention against an order of reality deemed to have lost its epistemological validity. These findings offer a novel theoretical framework for understanding the dynamics of self-dissolution as a strategy of agency within conditions of a meaning crisis.

During Anthropocene epoch, understanding the ecosystem and the socio-cultural interactions of humans is essential for sustainable development. Ecoliteracy provides a social infrastructure to understand the natural and human environment with sustainability as its major focus. In addition to that, it addresses the environmental issues like climate change and commodification and overexploitation of water and its impacts on humans. Moving towards a participatory action, ecoliteracy needs a tool of representation to convey the environmental awareness inclusive of its complex multifaceted social and cultural structure. Hence, the article positions graphic novel as an effective means for disseminating ecoliteracy through the visual and verbal medium of storytelling to engage the readers and to sustain their interests. Hence, this article aims to study the significance of graphic novels in generating eco literacy through analysing Sarnath Banerjee's Corridor (2004) and All Quiet in Vikaspuri (2015).

Trata da censura nas bibliotecas universitárias brasileiras durante a ditadura Civil-Militar (1964-1985). Contextualiza historicamente a censura e seus aparatos do ponto de vista governamental. Destaca as Constituições brasileiras no que tange a censura e liberdade de expressão. Pontua a censura a livros no governo militar e a censura no desempenho profissional do bibliotecário. Relaciona o papel do bibliotecário de aquisição com o do censor. Evidencia as mudanças no ambiente universitário e os reflexos sentidos nas bibliotecas. Identifica o posicionamento profissional ao agrupar excertos de relatos de profissionais atuantes na ditadura. Apresenta pesquisa de campo para cotejamento entre o acervo de uma biblioteca universitária e a listagem de livros censurados. Compara com o resultado de outros trabalhos em diferentes bibliotecas universitárias do estado do Rio de Janeiro (RJ).

Research shows that, there is has been a dramatic drop in how much students are reading as they move up in grade levels. The goal of this research is to find ways that teachers can provide variety for reading material in classrooms and strategies to promote student interest in reading. A survey of English teachers was conducted in order to understand teachers’ perspectives of strategies to engage students in reading. The survey also explored reasons why some teachers have been unable to use strategies that can provide variety in reading material to engage their students. This research provides tools and information to new and veteran teachers on how to motivate students and help them to be more engaged readers in the classroom. USING NEW WAYS TO KEEP STUDENTS ENGAGED IN READING 4

Partendo dalla lettura di Italo Calvino, che individuava nella Naturalis Historia una tensione costante tra l'ossessione enciclopedica e il mistero, questo contributo analizza il manga Plinius di Mari Yamazaki e Miki Tori. L’opera giapponese viene esplorata come un trattato figurato sul limite della conoscenza, dove il rigore scientifico si fonde con il destino tragico dell'autore. Il saggio si concentra sulla figura dell'ape, dalla sua apparizione come insetto morto tra le rovine fino alla sua epifania vitale nel finale della serie. Richiamando il mito virgiliano della bugonia, l'ape diventa l'emblema di una conoscenza che si rigenera attraverso la perdita. In questa prospettiva, la morte di Plinio non è un semplice annientamento, ma una viva testimonianza intellettuale. Una bugonia contemporanea in cui il sacrificio del saggio trasforma l'incomprensibilità del cosmo in un lascito di sapere.