A massacre in Boston. A tea party. A shot heard around the world. But who was the first casualty of the massacre? How did the tea get to Boston Harbor? What was the Battle of Concord like for a Minute Man? Colonial Comics: New England, 1750–1775 expands the frame of this important period of American history. Unconventional characters come to life, including gravedigging medical students, counterfeiters, female playwrights, instigators of civil disobedience, newspaper editors, college students, rum traders, freemen, and slaves.
A graphic novel collection of twenty stories focusing on the colonial period from 1620 through 1750 in New England. These illustrated stories focus on tales you cannot find in history books. Includes stories about free thinkers, Pequots, Jewish settlers, female business owners and dedicated school teachers, whales and livestock, slavery and frontiers, and many other aspects of colonial life.
Colonial Comics is a graphic novel collection of 20 stories focusing on the colonial period from 1620 through 1750 in New England. Stories about Puritans and free thinkers, Pequots and Jewish settlers, female business owners and dedicated school teachers, whales and livestock, slavery and frontiers, and many other aspects of colonial life.
This collection examines new comic-book cultures, graphic writing, and bande dessinée texts as they relate to postcolonialism in contemporary Anglophone and Francophone settings. The individual chapters are framed within a larger enquiry that considers definitive aspects of the postcolonial condition in twenty-first-century (con)texts. The authors demonstrate that the fields of comic-book production and circulation in various regional histories introduce new postcolonial vocabularies, reconstitute conventional "image-functions" in established social texts and political systems, and present competing narratives of resistance and rights. In this sense, postcolonial comic cultures are of particular significance in the context of a newly global and politically recomposed landscape. This volume introduces a timely intervention within current comic-book-area studies that remain firmly situated within the "U.S.-European and Japanese manga paradigms" and their reading publics. It will be of great interest to a wide variety of disciplines including postcolonial studies, comics-area studies, cultural studies, and gender studies.
Contributions by Dorian L. Alexander, Chris Bishop, David Budgen, Lewis Call, Lillian Céspedes González, Dominic Davies, Sean Eedy, Adam Fotos, Michael Goodrum, Simon Gough, David Hitchcock, Robert Hutton, Iain A. MacInnes, Małgorzata Olsza, Philip Smith, Edward Still, and Jing Zhang In Drawing the Past, Volume 2: Comics and the Historical Imagination in the World, contributors seek to examine the many ways in which history worldwide has been explored and (re)represented through comics and how history is a complex construction of imagination, reality, and manipulation. Through a close analysis of such works as V for Vendetta, Maus, and Persepolis, this volume contends that comics are a form of mediation between sources (both primary and secondary) and the reader. Historical comics are not drawn from memory but offer a nonliteral interpretation of an object (re)constructed in the creator’s mind. Indeed, when it comes to history, stretching the limits of the imagination only serves to aid in our understanding of the past and, through that understanding, shape ourselves and our futures. This volume, the second in a two-volume series, is divided into three sections: History and Form, Historical Trauma, and Mythic Histories. The first section considers the relationship between history and the comic book form. The second section engages academic scholarship on comics that has recurring interest in the representation of war and trauma. The final section looks at mythic histories that consciously play with events that did not occur but nonetheless inflect our understanding of history. Contributors to the volume also explore questions of diversity and relationality, addressing differences between nations and the cultural, historical, and economic threads that bind them together, however loosely, and however much those bonds might chafe. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world.
Stories and myths from ancient Greece have fueled our dreams and fired our imaginations for centuries. Step inside a time machine built by a collection of today's finest storytellers, and enter a range of futures where familiar tales are re-imagined in an astonishing variety of styles. "Ancient" Greece: the year 3016 AD. And 4079 AD. And 6060 AD. From the trials of Heracles to the love songs of Orpheus, the myths and gods of the past are reborn in wondrous and scarcely imaginable futures. Witness exciting new visions of the Greek tradition from the hands and minds of Ronald Wimberly (Prince of Cats), Toby Cypress (Rodd Racer), J. G. Jones (Wanted), Farel Dalrymple (The Wrenchies), and many more of today's most inventive creators. From the editors of the landmark Little Nemo: Dream Another Dream anthology, this follow up to the Harvey-nominated first volume of Once upon a Time Machine features a the comics debut of Hugo and Nebula Award-winning author Michael Swanwick (Stations of the Tide).
Although France has changed much in recent decades, colonial-era imagery continues to circulate widely in comics, in part because the colonial archives are easily accessible, and through the republication of colonial-era comics that are viewed as classics. The latter include the Tintin series of comic books, by the Belgian artist Herg , and the "Zig and Puce" series by Alain Saint-Ogan, a Frenchman. In this important new study Mark McKinney situates comics in debates about French colonialism, arguing that cartoonists still use representations of colonial history in their comics as a way of intervening in debates about contemporary France and its current relationships to its former colonies. McKinney argues that comics offer unique opportunities to both reproduce and thereby perpetuate colonial ideologies, images and discourses, as well as to deconstruct and contest them. The ways, and the degree to which, they do one or the other tell us a great deal about the heritage of imperialism and colonialism
Fairy tales have fueled our dreams and fired our imaginations for centuries. Step inside a time machine built by a collection of today's finest storytellers, and enter a range of futures where familiar tales are reimagined in an astonishing variety of styles. Editors Andrew Carl and Chris Stevens bring you the next wave of leading writers and illustrators working alongside superstar creators like Farel Dalrymple (Pop Gun War), Ryan Ottley (Invincible), Khoi Pham (Daredevil), and Brandon Graham (King City) to deliver a reading experience that will delight generations young and old. * Ageless stories become tales for a new age!
