In this Book

Graphic Subjects
summary

Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s Maus, David Beauchard’s Epileptic, Marjane Satrapi’s Persepolis, Alan Moore’s Watchmen, and Gene Yang’s American Born Chinese.

            These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.

Table of Contents

  1. Cover
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  1. Title Page
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  1. Copyright
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  1. Contents
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  1. Acknowledgments
  2. pp. ix-x
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  1. Introduction
  2. pp. 3-10
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  1. PART I. Art Spiegelman
  2. pp. 11-12
  1. 1. Reading Comics: Art Spiegelman on CD-Rom
  2. pp. 13-16
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  1. 2. Mourning and Postmemory
  2. pp. 17-44
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  1. 3. Art Spiegelman and AutobioGRAPHICal Re-Vision
  2. pp. 45-50
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  1. 4. Breakdowns and Breakthroughs: Looking for Art in Young Spiegelman
  2. pp. 51-58
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  1. PART II. The Global Scope of Autography
  2. pp. 59-60
  1. 5. Human Rights and Comics: Autobiographical Avatars, Crisis Witnessing, and Transnational Rescue Networks
  2. pp. 61-72
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  1. 6. Picturing Oneself as Another
  2. pp. 73-75
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  1. 7. Dominique Goblet: The List Principle and the Meaning of Form
  2. pp. 76-92
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  1. 8. The Animal Witness of the Rwandan Genocide
  2. pp. 93-100
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  1. 9. Autobiography as Discovery in Epileptic
  2. pp. 101-116
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  1. 10. Manga and the End of Japan’s 1960s
  2. pp. 117-120
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  1. PART III. Visualizing Women's Life Writing
  2. pp. 121-122
  1. 11. Autographic Disclosures and Genealogies of Desire in Alison Bechdel’s Fun Home
  2. pp. 123-156
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  1. 12. Witnessing Persepolis: Comics, Trauma, and Childhood Testimony
  2. pp. 157-164
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  1. 13. A Story Told in Flashback: Remediating Marjane Strapi's Persepolis
  2. pp. 164-177
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  1. 14. Autobiography: The Process Negates the Term
  2. pp. 178-179
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  1. 15. Up from Surgery: The Politics of Self-Representation in Women’s Graphic Memoirs of Illness
  2. pp. 180-194
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  1. 16. The Gutter Effect in Eve Kosofsky Sedgwick’s A Dialogue on Love
  2. pp. 195-199
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  1. 17. Photau(gyno)graphy: The Work of Joanne Leonard
  2. pp. 200-206
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  1. PART IV: Varieties of the Self
  2. pp. 207-208
  1. 18. The Diary Comic
  2. pp. 209-226
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  1. 19. Justin Green: Autobiography Meets the Comics
  2. pp. 227-230
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  1. 20. Narrative Worldmaking in Graphic Life Writing
  2. pp. 231-243
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  1. 21. In Praise of Joseph Witek’s Comic Books as History
  2. pp. 244-246
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  1. 22. Selective Mutual Reinforcement in the Comics of Chester Brown, Joe Matt, and Seth
  2. pp. 247-259
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  1. 23. Keeping it (Hyper) Real: Autobiographical Fiction in 3-D
  2. pp. 260-264
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  1. 24. Fictional Auto/Biography and Graphic Lives in Watchmen
  2. pp. 265-278
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  1. 25. American Born Chinese: Challenging the Stereotype
  2. pp. 279-281
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  1. 26. Materializing Memory: Lynda Barry's One Hundred Demons
  2. pp. 282-309
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  1. 27. Reflections on Lynda Barry
  2. pp. 310-314
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  1. Contributors
  2. pp. 315-322
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  1. Index
  2. pp. 323-339
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