"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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"This Handbook presents a transnational and interdisciplinary study of refugee narratives, broadly defined. Interrogating who can be considered a refugee and what constitutes a narrative, the thirty-eight chapters included in this collection encompass a range of forcibly displaced subjects, a mix of
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geographical and historical contexts, and a variety of storytelling modalities. Analyzing novels, poetry, memoirs, comics, films, photography, music, social media, data, graffiti, letters, reports, eco-design, video games, archival remnants, and ethnography, the individual chapters counter dominant representations of refugees as voiceless victims. Addressing key characteristics and thematics of refugee narratives, this Handbook examines how refugee cultural productions are shaped by and in turn shape socio-political landscapes." (Publisher description)
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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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"Global Sceptical Publics is the first major study of the significance of different media for the (re)production of non-religious publics and publicity. While much work has documented how religious subjectivities are shaped by media, until now the crucial role of diverse media for producing and part
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icipating in religion-sceptical publics and debates has remained under-researched. With some chapters focusing on locations hitherto barely considered by scholarship on non-religion, the book places in comparative perspective how atheists, secularists and humanists engage with media – as means of communication and forming non-religious publics, but also on occasion as something to be resisted. Its conceptually rich interdisciplinary chapters thereby contribute important new insights to the growing field of non-religion studies and to scholarship on media and materiality more generally." (uclpress.co.uk)
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"Media representations of ageing play a role in stereotype formation and even reinforce them. Encountering these stereotypes can negatively impact the self-esteem, health status, physical wellbeing and cognitive performance of older people. This international collection examines different dimensions
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of ageing and ageism in a range of media. Chapters include explorations of the UK media during the COVID-19 pandemic; age, gender and mental health in Ghana; advertising in Brazil; magazines in Canada; Taiwanese newspapers; comics, graphic novels and more." (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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"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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"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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"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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"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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"The Routledge Handbook to the Culture and Media of the Americas charts the pervasive, asymmetrical flows of cultural products and capital and their importance in the development of the Americas. The volume offers a comprehensive understanding of how inter-American communication is constituted, fram
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ed and structured, and covers the artistic and political dimensions that have shaped literature, art and popular culture in the region. Forty-six chapters cover a range of inter-American key concepts and dynamics, divided into two parts: 'Literature and Music' deals with inter-American entanglements of artistic expressions in the Western Hemisphere, including music, dance, literary genres and developments. 'Media and Visual Cultures' explores the inter-American dimension of media production in the hemisphere, including cinema and television, photography and art, journalism, radio, digital culture and issues such as freedom of expression and intellectual property." (Publisher description)
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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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"La primera edición de 'Para hacer historietas' es de 1978 y nació de la experiencia de los talleres que Juan Acevedo impartió en el entonces naciente Villa El Salvador. El libro alcanzó repercusión internacional gracias a sus ediciones españolas, alemanas y brasileñas. Agotado hace más de 2
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0 años, se publica ahora en su octava edición, nuevamente en el Perú; no obstante haber sido revisado y ampliado por su autor, conserva el espíritu original cuyo método y propósito es democratizar el lenguaje de la historieta." (Publisher description)
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"Several scholars have raised concerns that the institutional mechanisms through which transitional justice is commonly promoted in post-conflict societies can alienate affected populations. Practitioners have looked to bridge this gap by developing ‘outreach’ programmes, in some instances commi
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ssioning comic books in order to communicate their findings to the people they seek to serve. In this article, we interrogate the ways in which post-conflict comics produce meaning about truth, reconciliation, and the possibilities of peace, focusing in particular on a comic strip published in 2005 as part of the Sierra Leone Truth and Reconciliation Commission Report into the causes and crimes of the 1991– 2002 Civil War. Aimed at Sierra Leonean teenagers, the Report tells the story of ‘Sierrarat’, a peaceful nation of rats whose idyllic lifestyle is disrupted by an invasion of cats. Although the Report displays striking formal similarities with Art Spiegelman’s Maus (a text also intimately concerned with reconciliation, in its own way), it does so to very different ends. The article brings these two texts into dialogue in order to explore the aesthetic politics of truth and reconciliation, and to ask what role popular visual media like comics can play in their practice and (re)conceptualisation." (Abstract)
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"Con el presente volumen quisimos reunir trabajos que presentan diversos aspectos tanto de la producción historietística en la América hispanohablante, como de la representación de la Historia en este medio. Tan diversos como los países son los cómics aquí analizados, lo cual demuestra a nues
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tro parecer la diversidad de la producción cultural en el continente." (Página 15)
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"In both visual and linguistic forms, graphic narratives reveal representational strategies to encounter the sacred in all its ambivalence. Through close readings and critical inquiry, these essays contemplate the intersections between religion and comics in ways that critically expand our ability t
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o think about religious landscapes, rhetorical practices, pictorial representation, and the everyday experiences of the uncanny. Organized into four sections--Seeing the Sacred in Comics; Reimagining Sacred Texts through Comics; Transfigured Comic Selves, Monsters, and the Body; and The Everyday Sacred in Comics--the essays explore comics and graphic novels ranging from Craig Thompson's Habibi and Marvel's X-Men and Captain America to graphic adaptions of religious texts such as 1 Samuel and the Gospel of Mark." (Publisher description)
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