"All over the world, satirists courageously stand up for democratic values, often under extremely difficult conditions. Through their art, they create spaces for freedom and challenge authorities. On the other hand, extremists use humour for their political purposes too: They ridicule those who diss
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ent and make fun of democratic values. It is not helpful that political debates are increasingly taking place in digital spaces that lack transparency and fair rules." (Publisher description)
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"Cartooning for Peace is an international network of committed press cartoonists who use humour to fight for respect for cultures and freedoms: 344 cartoonists in 78 countries [...]
Our values. Cartooning for Peace is attached to the respect for pluralism of cultures and opinions. In the events we
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organize, exhibitions, publications and international meetings, we are mindful to show the diversity of cartoonists’ perspectives on a given subject. Cartooning for Peace fights against prejudice and intellectual conformism. Towards extremism, we denounce the excesses, we mock the false certainties, counteract odium and strive to dismount impostures. Cartooning for Peace is respectful in disrespect. We do not seek to humiliate the beliefs and opinions. We circumvent interdicts with humour. Cartooning for Peace takes into account the risk that a cartoon published on the Web can appear out of context, within seconds, in every corner of the globe. Our organization is vigilant to prevent press cartoon from becoming an aggravating factor of conflicts. Cartooning for Peace offers editorial content. Convinced that cartoonists often foretell acutely before everyone, the stirrings of society which will make news tomorrow, we strive to bring forward debates that our societies are not even yet aware of.
Our actions. Cartooning for Peace allows cartoonists to interact with each other and to confront their different ideological opinions. Our network provides visibility and support for those who are unable to work freely or whose freedom is threatened. Cartooning for Peace uses the educational value of press cartoon to denounce intolerances. Our organization gives young people a voice and raises their awareness on major societal problems. Cartooning for Peace brings press cartoon closer to the public. We organize meetings between cartoonists and the public, and set up thematic exhibitions showing a critical look of society. We also publish press cartoons, in paper or digital form. Cartooning for Peace is a tool serving freedom of expression: a forum and a meeting place for all those who challenge intolerance and all forms of dogmatism." (https://www.cartooningforpeace.org/en/presentation)
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"El afrofuturismo se propone como clave de lectura para señalar Contos dos Orixás, de Hugo Canuto como expresión decolonial. La publicación asimila un elemento cultural – el estilo del dibujante de cómics Jack Kirby – para dibujar la mitología de los orixás en una perspectiva brasileña d
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e la cultura Yorùbá. La metodología aplica el “cruzo” de Simas y Rufino para articular Afrofuturismo, Diseño y Estudios Culturales en un análisis que aborda el conocimiento desde lo que Grosfoguel entiende como el lado subalternizado de la diferencia colonial. Se concluye que la iconografía Yorùbá fue actualizada en el cruzo con el diseño futurista de Kirby a partir de elementos afrobrasileños." (Resumo)
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"Neun Illustratorinnen und ein Illustrator der ukrainischen Organisation Pictoric zeigen in diesem Band politische Karikaturen und Illustrationen, in denen sie ihre Kriegseindrücke verarbeiten. Dabei überführen sie mit der Stärke ihres Berufsstandes anspruchsvolle Themen und Gefühle in eine lei
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cht verständliche Bildsprache und machen sie auf diese Weise zugänglich. Die Arbeiten sollen sowohl die Schrecken des Krieges festhalten als auch die Vielfalt der ukrainischen Gesellschaft abbilden, Hoffnung wecken und durch ironische Verzerrungen den Mut zum Durchhalten stärken." (Klappentext)
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"Es gibt kaum noch Zeitzeugen des Holocaust. Die letzten erzählen von ihrer Erinnerung als Kinder in den Konzentrationslagern der Nationalsozialisten und über die Verfolgung und Ermordung ihrer Familien. Um diese Erinnerungen vor dem Vergessen zu bewahren, haben die Zeichnerinnen Barara Yelin, Mir
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iam Libicki und der Zeichner Gilad Seliktar mit vier Holocaust-Überlebenden gesprochen und ihre schmerzvollen Kindheitserfahrungen von Flucht, Untergrund oder dem knappen Überleben in drei Graphic Novels fließen lassen. Gemeinsam ist allen Geschichten, dass das Erlebte das gesamte weitere Leben der Protagonisten geprägt hat und dass sie sich in der Folge dafür einsetzten, diese Erfahrungen an jüngere Generationen weiterzugeben. Gerade das Wissen um Genozide aus der Sicht der Überlebenden könne als Mahnmal für zukünftige Generationen fungieren und stellen ein Gegengewicht zu historischen Überlieferungen aus Tätersicht dar." (Verlagsbeschreibung)
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"Die Medienlandschaft behandelt täglich die Motive Sterben, Tod und Jenseits. Bilderbücher und Graphic Novels stehen bei diesen Themen meist nicht im Fokus, doch die Anzahl an entsprechenden Veröffentlichungen steigt stetig. Welche Bilder nutzen sie zur Darstellung der komplexen Thematik? Wie wir
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d die größtenteils junge Zielgruppe dabei berücksichtigt? Birte Svea Philippi zeigt anhand einer quantitativen Erhebung sowie qualitativ an Fallbeispielen, welche gemeinsamen Bildideen die Autor*innen von Bilderbüchern und Graphic Novels aufgreifen. Mit ihrem kunstpädagogischen Ansatz fokussiert sie auf Mittel, Motive und Metaphern, die zur Ansprache von Kindern und Jugendlichen genutzt werden." (Verlagsbeschreibung)
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"Superheld*innen sind in der Krise: Gut und Böse, Richtig und Falsch sind nach starken sozialen und politischen Umbrüchen längst nicht mehr klar und eindeutig. Für das Genre ein eklatantes Problem. Religion und Glaube könnten hier Orientierung bieten, verlieren aber - so der gängige Vorwurf -
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ihrerseits immer stärker an Bedeutung in einer säkularen Welt. Die Beiträger*innen des Bandes bieten einen ersten Zugang zu diesem Phänomen und kommen zu dem erstaunlichen Befund, dass religiöse Motivik dagegen ungebrochene Hochkonjunktur in der superheroischen Popkultur feiert. Figuren, Themen, Ikonographie, Symbole: Das religiöse Spielfeld des Superheroismus ist mannigfaltig." (Verlagsbeschreibung)
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"In 2016, Cartoonists Rights Network International (CRNI) published the extremely helpful “Safety Manual for Political Cartoonists in Trouble”— the only one of its kind to this day. Thanks to the support of the European Union, Cartooning for Peace presents this guide which we hope will expand
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on the work done by CRNI. In publishing this guide, CFP aspires to help you foresee or respond to a one-off or persistent attack on your work or integrity. We have taken up the support provided by the Global Media Defense Fund, administered by UNESCO , to update this guide. The reasons of the update lie in the increase in threats and censorship through the courts, especially since the beginning of the COVID-19 pandemic, and because cartoonists have been seeking more information on what supranational legal protections exist for freedom of expression. In that purpose, Media Defense has produced practical sheets on how freedom of expression is protected in various regions and what institutions are responsible for ensuring its enforcement. These are added in the appendix. While they may be more helpful to the lawyer who is defending you, they can shed some light on the matter that you come up against. We have tried to be exhaustive in this publication; however, this guidebook might not give you the solution to your problem, which may be unique and have several appropriate answers. Nevertheless, it has been written to be a tool that can drive you to the solution matching your need, as well as direct you to those who will be able to help you. And because the world changes quickly, we will carry out frequent updates to avoid this guidebook becoming outdated. The document and the updates will be available on the Cartooning for Peace website." (Caveat, page 7)
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"A diverse range of international and interdisciplinary scholars take a closer look at how gender and sexuality have been essential in the evolution of comics, and how gender and sexuality in comics demand that we re-frame and re-view comics history. Essays cover a wide array of intersectional topic
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s including Queer Underground and Alternative comics, Feminist Autobiography, Re-drawing disability, Latina testimony, and re-evaluating the critical whiteness and masculinity of superheroes in this first truly global reference text to gender and sexuality in comics." (Publisher description)
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"Frames and Framing in Documentary Comics explores how graphic narratives reframe global crises while also interrogating practices of fact-finding. An analog print phenomenon in an era shaped by digitalization, documentary comics formulates a distinct counterapproach to conventional journalism. In w
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hat ways are 'facts' being presented and framed? What is documentary honesty in a world of fake news and post-truth politics? How can the stories of marginalized peoples and neglected crises be told? The author investigates documentary comics in its unique relationship to framing: graphic narratives are essentially shaped by a reciprocal relationship between the manifest frames on the page and the attention to the cognitive frames that they generate. To account for both the textuality of comics and its strategic use as rhetoric, the author combines theories of framing analysis and cognitive narratology with comics studies and its attention toward the medium's visual frames." (Publisher description)
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"Un livre évènement qui réunit les plus grands dessinateurs et dessinatrices de presse issus de tous les horizons du continent africain et qui luttent dans leurs pays respectifs pour ce droit fondamental qu'est la liberté de la presse. Plantu et Cartooning for Peace ont réuni une sélection de
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leurs dessins les plus marquants, dont l'ensemble constitue un recueil unique. Une cinquantaine de caricaturistes dont Zapiro, Gado, Glez, Dilem, Alaa Satir, Sherif Arafa, Zohoré, ou encore Willis from Tunis représentent une vingtaine de pays. Certains ont commencé à exercer leur métier dans des conditions souvent difficiles. D'autres y sont venus au monde. Tous ont en commun d'avoir compris que le dessin constitue l'arme idéale pour écrire leur société et fustiger ses maux, et ce malgré les intimidations et, pour certains, les incarcérations, dont ils sont victimes. L'Afrique, c'est depuis toujours le pays de la palabre et du dialogue entre cousins de plaisanteries qui savent pousser très loin la raillerie et l'autocritique. Ces dessins forment les marqueurs de l'histoire contemporaine de l'Afrique. Mais ces artistes ne se privent pas pour décocher certaines de leurs flèches à l'échelle planétaire. Ils nous voient autant que nous les regardons, et leur vision de force, de pertinence et de vérité, répond à un seul mot d'ordre qui se répète de planche à dessin en salle de rédaction : "Dessine-moi la liberté". (Description de la maison d'édition)
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"Taking a broadly global approach, Harriet Earle discusses the history and development of the form internationally, as well as how to navigate comics as a new way of reading. Earle also pushes beyond the book to lay out the ways that fans engage with their comics of choice – and how this can impac
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t the industry. She also analyses how Comics can work for social change and political comment. Discussing journalism and life writing, she examines how the coming together of word and image gives us new ways to discuss our world and ourselves." (Publisher description)
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"In den Comicgeschichten werden drei Generationen antikolonialen Widerstands in Kamerun skizziert. Das zentralafrikanische Land war 35 Jahre lang deutsche Kolonie. Die Geschichten des kamerunischen Königs Duala Manga Bell, der Anlu-Rebellion der Kom-Frauen sowie des Aktivisten André Blaise Essama
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ermöglichen historisches Lernen aus einer antirassistischen Perspektive. Hier schreiben die Kolonialisierten Geschichte und wehren sich gegen das System von Unterdrückung, Gewalt und Ausbeutung. Ihre Kämpfe machen das Ausmaß der kolonialen Gewaltherrschaft deutlich und bieten einen Ausgangspunkt dafür, über das koloniale Erbe ins Gespräch zu kommen." (Verlagsbeschreibung)
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"Why are so many contemporary comics and graphic narratives written as memoirs or documentaries of traumatic events? Is there a specific relationship between the comics form and the documentation and reportage of trauma? How do the interpretive demands made on comics readers shape their relationship
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s with traumatic events? And how does comics' documentation of traumatic pasts operate across national borders and in different cultural, political, and politicised contexts? The sixteen chapters and three comics included in Documenting Trauma in Comics set out to answer exactly these questions. Drawing on a range of historically and geographically expansive examples, the contributors bring their different perspectives to bear on the tangled and often fraught intersections between trauma studies, comics studies, and theories of documentary practices and processes. The result is a collection that shows how comics is not simply related to trauma, but a generative force that has become central to its remembrance, documentation, and study." (Publisher description)
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"Despite lack of funding and institutional support, not since the mid-twentieth century have comics in the region been so dynamic, so diverse and so engaged with pressing social and cultural issues. Comics are being used as essential tools in debates about, for example, digital cultures, gender iden
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tities and political disenfranchisement. Rather than analysing the current boom in comics by focusing just on the printed text, however, this book looks at diverse manifestations of comics ‘beyond the page’. Contributors explore digital comics and social media networks; comics as graffiti and stencil art in public spaces; comics as a tool for teaching architecture or processing social trauma; and the consumption and publishing of comics as forms of shaping national, social and political identities. Bringing together authors from across Latin America and beyond, and covering examples from Argentina, Brazil, Colombia, Mexico, Peru and Uruguay, the book sets out a panoramic vision of Latin American comics, whether in terms of scholarly contribution, geographical diversity or interdisciplinary methodologies." (Publisher description)
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