- What Kind of Studies Is Comics Studies?
- Why There Is No “Language of Comics”
- In Box: Rethinking Text in the Digital Age
- What Else Is a Comic? Between Bayeux and <i>Beano</i>
- Reading Spaces: The Politics of Page Layout
- Comics as Art
- The Cartoon on the Comics Page: A Phenomenology
- All By Myself: Single-Panel Comics and the Question of Genre
- Drawing, Redrawing, and Undrawing
- Bakhtinian Laughter and Recent Political Editorial Cartoons
- Columbia and the Editorial Cartoon
- Efficacy of Social Commentary through Cartooning
- Radical Graphics: Australian Second-Phase Comics
- Self-Regulation and Self-Censorship: Comics Creators in Czechoslovakia and Communist Eastern Bloc
- This Is Who I Am: Hybridity and Materiality in Comics Memoir
- Auto/biographics and Graphic Histories Made for the Classroom: <i>Logicomix</i> and <i>Abina and the Important Men</i>
- Ambiguity in Parallel: Visualizing History in <i>Boxers</i> and <i>Saints</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- Animals in Graphic Narrative
- Disco, Derby, and Drag: The Queer Politics of Marvel’s Dazzler
- The Replacements: Ethnicity, Gender, and Legacy Heroes in Marvel Comics
- Hammer in Hand: Feminist Community Building in Jason Aaron’s <i>Thor</i>
- When Feminism Went to Market: Issues in Feminist Anthology Comics of the 1980s and ’90s
- Children in Comics: Between Education and Entertainment, Conformity and Agency
- I’m Not a Kid; I’m a Shark!: Identity Fluidity in Noelle Stevenson’s Young-Adult Graphic Novels
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- <i>My Favorite Thing Is Monsters</i>: The Socially Engaged Graphic Novel as a Platform for Intersectional Feminism
- Paper or Plastic? Mapping the Transmedial Intersections of Comics and Action Figures
- Transformative Architectures in Postcolonial Hong Kong Comics
- Adaptation and Racial Representation in Dell/Gold Key TV Tie-ins
- Candy and Drugs for Dinner: <i>Rat Queens</i>, Genre, and Our Aesthetic Categories
- Non-Compliants, Brimpers, and She-Romps: <i>Bitch Planet, Sex Criminals</i>, and Their Publics
- Literary Adaptations in Comics and Graphic Novels
- Comics Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
Abstract and Keywords
Animal representation in graphic narrative has figured in many of the medium’s important developments and anchored one of its most popular genres, funny-animal comics. Since the modern emergence of the form sometime around the end of the nineteenth century, major figures such a Richard Outcault, Winsor McCay, George Herriman, Edwina Dumm, Carl Barks, Robert Crumb, and Jim Woodring have made extensive use of the animal figure, in both highly and minimally anthropomorphized forms. As argued by John Berger, David Herman, and other scholars, the animal’s lack of human speech renders it vulnerable to a brand of representational colonialism whereby its in-itself existence is emptied in favor of other symbolic, metaphorical, or ideological functions. Many works since the 1980s by Grant Morrison, Steven Murphy and Michael Zulli, and Nicole Georges have striven for less anthropomorphized depictions, in a bid to address the ethics involved in representing the animal subject.
Department of College of Slavic Languages & Literatures, University of Washington
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.