The Annual Conference of the German Studies Association
October 1-4, 2020
The GSA Comics Studies Network is soliciting submissions for two panels at this year’s German Studies Association Conference in Washington, D.C. Please direct submissions to the panel organizers by January 30, 2020.
Additionally, information on the GSA Comics Studies Network Seminar can be found here: https://www.thegsa.org/blog/cfa-gsa-seminar-participation-applications#04.%20Comics%20-%20A%20Transgressive%20Art. The deadline for submissions to the seminar is January 27, 2020.
Comics Studies I: Comics and Graphic Novels in a Transnational Perspective
National literatures are not isolated from artistic production in other areas of the world, and graphic narratives are no exception. Either directly through personal relations (transnational artist collectives, teacher-student influences) or through indirect intertextual correspondence (“trends”), graphic narratives register developments beyond their national borders. Books like Stein, Denson, and Meyer’s Transnational Perspectives on Graphic Narratives as well as recent transnational comic panels and conferences testify to an emerging scholarly interest in this field. German graphic narratives, however, are underrepresented within these comparisons.
This panel looks at German-language comics and graphic novels within a transnational framework. It welcomes papers that consider transnational comparisons of works or other transnational connections (circulation, personal connections etc.) with at least one German-language example. The panel thus seeks to trace influences, similarities, and differences in comics beyond the confines of the German language or comics market. The analysis can focus on various aspects of the works such as a common genre (e.g. memoir; steam-punk; manga), a common theme (e.g. immigration, women’s representation, history), as well as formal elements (e.g. wordless graphic art; drawing styles). Alternatively, the papers can speak to other forms of transnational resonance, for example by tracing personal, stylistic, or generic influences across borders.
Possible lines of inquiry include, but are not limited to the following questions:
- How are these works similar or different and which role does language and nationality play in explaining these?
- In which ways did and do German-language comic artists partake in a transnational dialogue?
- How do the comparisons question the alignment of language and nationality in the first place?
- Which models of intertextuality do the given works support or complicate?
- How do trends move through different national (comics) markets?
- How does translation or adaptation of comics work across national boundaries?
The panel is intended to add to a growing body of inquiries that explore how transnational perspectives enrich Comics Studies, particularly in German Studies. It surveys the existing body of artifacts and traces the influences, but also differences between sequential narratives in the German-speaking world and elsewhere.
Please send a 350-600 word abstract and short bio by January 31st, 2020, to Julia Ludewig (email@example.com).
Comics Studies II: German-language Comics Journalism
Comics journalism, also referred to as graphic journalism or comic reportage, uses the comic form to cover news or nonfiction events. It has been an important genre for comics and graphic novels since the publication of Joe Sacco’s Palestine (1993), but the genre also evokes earlier forms of news illustration as well as the tradition of the editorial cartoon. While many examples of comics journalism are published online in forums such as The Nib, Graphic News, and Symbolia (2012-2014), comics journalism has also been appearing in the international press in the last decade, with popular news outlets, such as The New York Times, regularly featuring examples of comic reportage. Similarly, in German-speaking Europe, comics journalism has emerged as an essential forum for comics artists, including Reinhard Kleist, Birgit Weyhe, and Barbara Yelin, looking to publish in newspapers and journals, such as the Frankfurter Allgemeine Zeitung and Tagesspiegel. This is particularly true for coverage on contemporary global migration, which includes graphic novels such as Peter Eickmeyer’s Liebe deinen Nächsten: Auf Rettungsfahrt im Mittelmeer an Bord der Aquarius (2017) and Olivier Kugler’s Dem Krieg entronnen: Begegnungen mit Syrern auf der Flucht (2017) as well as shorter projects such as Reinhard Kleist’s “Kawergosk - 5 Sterne” published in arte online, Barbara Yelin’s “Es passiert” in the Frankfurter Allgemeine Zeitung, and Birgit Weyhe’s “Lebenslinien” in the Tagesspiegel.
However, comics art’s ability to capture real-life events for news organizations, publications or publishers (in graphic novel format) continues to be perceived as fraught. With the rules for comics journalism not yet codified, many examples of graphic journalism do not even cite their sources, while others demonstrate a great commitment to journalistic transparency. Furthermore, while some comics artists work independently on their pieces of comic reportage, others collaborate with journalists who contribute fact-based expertise on the topics chosen (Alphabet des Ankommens, 2017). Yet even while the public continues to debate the validity of comics journalism, it is unequivocal that, as a genre, it is at an all-time high.
This panel seeks presentations on the efficacy and complexity of German-language graphic journalism. How does the genre of comics journalism mimic, contradict, or augment the strategies of more traditional forms of news journalism? What role does comic journalism play in discourses on the politics of media representation? What interventions is comics journalism making in the contemporary media landscape? And how does comics journalism create or increase awareness of pressing current issues?
Potential texts include:
- Peter Eickmeyer’s Liebe deinen Nächsten: Auf Rettungsfahrt im Mittelmeer an Bord der Aquarius (2017)
- Olivier Kugler’s Dem Krieg entronnen: Begegnungen mit Syrern auf der Flucht (2017)
- Ulli Lust’s Fashionvictims.Trendverächter: Bildkolumnen und Minireportagen aus Berlin (2008)
- Tim Dinter’s Cargo: Comic Journalism: Israel, Germany (2005)
- Reinhard Kleist’s “Kawergosk - 5 Sterne” published in arte online
- Barbara Yelin’s “Es passiert” in the Frankfurter Allgemeine Zeitung
- Birgit Weyhe’s “Lebenslinien” in the Tagesspiegel.
- Deutscher Comicverein e.V.’s Alphabet des Ankommens (2017)
- David Schraven & Vincent Burmeister’s Kriegszeiten (2012)
- David Schraven & Jan Feindt’s Weiße Wölfe: Eine grafische Reportage über rechten Terror (2015)
- El Marto & Frederik Richter’s Made in Germany: Ein Massaker im Kongo (2018)
Please send a 350-600 word abstract and short bio by January 31st, 2020, to Biz Nijdam (firstname.lastname@example.org).
Redaktion: Constanze Baum – Lukas Büsse – Mark-Georg Dehrmann – Nils Gelker – Markus Malo – Alexander Nebrig – Johannes Schmidt
Diese Ankündigung wurde von H-GERMANISTIK [Nils Gelker] betreut – email@example.com