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- Copyright Page
- Contributors
- Our World Republic of Comics: An Introduction
- 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 and Saints</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- Animals in Graphic Narrative
- The Diversionary Art of Zeina Abirached in <i>Le Piano Oriental</i>
- Disco, Derby, and Drag The Queer Politics of Marvel’s <i>Dazzler</i>
- 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’sYoung-Adult Graphic Novels
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- My Favorite Thing Is Monsters: 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 andGraphic Novels
- Comics Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
- Comics Studies <i>as</i> Practitioner-Scholar
- Index
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- Copyright Page
- Contributors
- Our World Republic of Comics: An Introduction
- 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 and Saints</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- Animals in Graphic Narrative
- The Diversionary Art of Zeina Abirached in <i>Le Piano Oriental</i>
- Disco, Derby, and Drag The Queer Politics of Marvel’s <i>Dazzler</i>
- 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’sYoung-Adult Graphic Novels
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- My Favorite Thing Is Monsters: 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 andGraphic Novels
- Comics Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
- Comics Studies <i>as</i> Practitioner-Scholar
- Index
