Relevant bibliographies by topics / Confessional comics

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Confessional comics'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Confessional comics.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Confessional comics"

1

Shannon, Edward. "Shameful, Impure Art: Robert Crumb’s Autobiographical Comics and the Confessional Poets." Biography 35, no. 4 (2012): 627–49. http://dx.doi.org/10.1353/bio.2012.0045.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Pearlman, Corinne. "Graphic Details: Confessional Comics by Jewish Women. Communities of Experience? London Symposium Logo." Studies in Comics 6, no. 2 (December 1, 2015): 210–11. http://dx.doi.org/10.1386/stic.6.2.210_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Chute, Hillary. "Graphic Details Jewish Women’s Confessional Comics in Essays and Interviews, written by Sarah Lightman." Images 9, no. 1 (May 22, 2016): 176–78. http://dx.doi.org/10.1163/18718000-12340053.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

MacDonald, Katharine Polak. "Graphic Details: Confessional Comics by Jewish Women by Michael Kaminer and Sarah Lightman (review)." Journal of Jewish Identities 5, no. 2 (2012): 92–94. http://dx.doi.org/10.1353/jji.2012.0030.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

BRUNO, TIM. "Nat Turner after 9/11: Kyle Baker's Nat Turner." Journal of American Studies 50, no. 4 (September 10, 2015): 923–51. http://dx.doi.org/10.1017/s0021875815001243.

Full text
Abstract:
Scholars have questioned what Nat Turner meant to others in the past; in this article, I question what he means today. Reversing William Andrews's injunction to read “Prophet Nat's” 1831 insurrection through the US's encounter with religio-political terrorism on 9/11, I instead examine the effect September 11th has had on the rebel slave's contemporary afterlife. Ultimately this article asks what cultural work Nat Turner now performs, what his recent depictions tell us about the racial formations of the present. Drawing on comics theory, I parse the visual rhetoric of Kyle Baker's popular and increasingly studied comic Nat Turner, in which Baker tropes Nat Turner as Christ just as Nat Turner himself did in his Confessions. Baker produces an iconic black hero, one who is visually antithetical to racist images of “the terrorist” circulating in post-9/11 discourses. By doing so, Baker safeguards not only Nat Turner but US “blackness” from Islamophobia during the age of the global War on Terror. Finally, by reading Baker's comic alongside other recent, unexamined depictions of the rebel slave, this article updates the archive on Nat Turner and complicates the political possibilities that inhere in other sites of cultural memory.
APA, Harvard, Vancouver, ISO, and other styles
6

Eulenbach, Marcel, and Regina Soremski. "„Erwachsenwerden feiern“ – Zur performativen Herstellung von Übergängen im Jugendalter am Beispiel einer nicht-konfessionellen „Jugendfeier“." Jugendweihe & Co. – Übergangsrituale im Jugendalter 13, no. 3-2018 (September 10, 2018): 277–89. http://dx.doi.org/10.3224/diskurs.v13i3.02.

Full text
Abstract:
Übergangsrituale des Jugendalters haben ihre einstige Bedeutung der symbolischen Markierung eines Statuswechsels in der Gegenwartsgesellschaft weitgehend verloren. Darauf verweisen zahlreiche empirische Studien. Dennoch bestehen Übergangsrituale des Jugendalters in verschiedenen Veranstaltungsformaten fort. Offen bleibt vor diesem Hintergrund jedoch die Frage, wie der Übergang ins Erwachsenenalter jeweils gestaltet wird und welcher Sinn sich darüber symbolisch vermittelt. Unser Beitrag nähert sich diesen Fragen über die Analyse einer nicht-konfessionellen Jugendfeier des Deutschen Freidenker- Verbands.
APA, Harvard, Vancouver, ISO, and other styles
7

Ostby, Marie. "Graphics and Global Dissent: Marjane Satrapi's Persepolis, Persian Miniatures, and the Multifaceted Power of Comic Protest." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 558–79. http://dx.doi.org/10.1632/pmla.2017.132.3.558.

Full text
Abstract:
Marjane Satrapi's Persepolis has been embraced by critics and popular audiences alike as an accessible intercultural memoir-in-comics that challenges predominant Western stereotypes about Iran through the universality of its first-person narrator. But the text's global legibility goes beyond the familiarity of Satrapi's graphic avatar. In examining the surprising factors on which the text's globalism depends, I look closely at one of Persepolis's diverse inter-texts—the Persian miniature painting—and situate Satrapi in both Parisian bandes dessinées and Iranian diasporic artistic contexts to argue that the work's concurrent production of local, national, and global scales is inseparable from its connection to several genres and across several media, engaging its readers through multiple modes of perception. Persepolis draws on a global history of graphics as dissent by challenging preconceived notions about comics as a mass culture form, memoirs as limited confessionals, and Iranian women as silenced victims of an oppressive fundamentalist state. The global accessibility of this graphic novel exists not despite but because of porous categories of genre and culture, which are at once integral to its narrative structure and secondary to the aesthetic of protest that it ultimately embraces.
APA, Harvard, Vancouver, ISO, and other styles
8

Woods, Faye. "Too Close for Comfort: Direct Address and the Affective Pull of the Confessional Comic Woman in Chewing Gum and Fleabag." Communication, Culture and Critique 12, no. 2 (April 12, 2019): 194–212. http://dx.doi.org/10.1093/ccc/tcz014.

Full text
Abstract:
Abstract The 2010s saw a boom in television comedies, created by, written, and starring women, that explored the bawdy and chaotic lives of protagonists who were experiencing some form of arrested development. These comedies sought to build intimate connections with their imagined audiences by crossing boundaries—social, bodily, and physical—to produce comedies of discomfort. Drawing in part on Rebecca Wanzo’s consideration of “precarious-girl comedy” (2016) I examine how two British television comedies intensified these intimate connections through the use of direct address, binding the audience tightly to the sexual and social misadventures of their twenty-something female protagonists. Michaela Coel’s Chewing Gum (E4, 2015–2017) follows naïve and desperately horny black working-class Londoner Tracey in her quest for sexual experience, and Phoebe-Waller Bridges’ Fleabag (BBC Three, 2016–) documents an unnamed upper-middle-class white woman’s sharply misanthropic journey through grief. In both programmes direct address serves to intensify the embrace of bodily affect and intimate access to interiority found in the “precarious-girl comedy” (Wanzo, 2016), producing moments of comic and emotional repulsion. Each program uses direct address’s blend of directness and distance to different ends, but both draw audiences at times uncomfortably close to the singular perspective of their protagonists, creating an intensely affective comic intimacy.
APA, Harvard, Vancouver, ISO, and other styles
9

Mihăilescu, Dana. "A bundle of confessions in Jewish women’s comics: Reconstructing Eastern European Jewish American life in Liana Finck’s A Bintel Brief." Studies in Comics 6, no. 2 (December 1, 2015): 271–90. http://dx.doi.org/10.1386/stic.6.2.271_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Medvedeva, Natal’ya A. "Genre features of the play “Guilty without Fault” by Alexander Ostrovsky." Vestnik of Kostroma State University 26, no. 4 (January 28, 2021): 94–99. http://dx.doi.org/10.34216/1998-0817-2020-26-4-94-99.

Full text
Abstract:
The article is devoted to the features of the genre structure of the comedy “Guilty without Fault”, which includes elements of other dramatic (melodrama, tragedy) and epic genres. The subject of a detailed analysis was such features of the comedy as the successful ending of the play, comic characters. Melodramatic motifs and techniques are highlighted – hyperbolism, sharpness of feelings and emotions, confession, a motive for recognition. The author concludes that the play “Guilty without Fault” is close to melodrama, but it is not in its full sense, and the images of the heroes are devoid of conventionality and schematism. In this regard, special attention was paid to the images of Lyubov’ Otradina AKA Yelena Kruchinina and Grigoriy Neznamov. During the research, materials are drawn from letters addressed to the playwright as well as notes in which Alexander Ostrovsky expresses his position, attitude towards theatre and dramatic art. For that reason, the question of how the theatre theme, intimate to Alexander Ostrovsky, is realised in the play and how the meaning of the words “actor”, “actress”, “performer” is interpreted in the context of the play , is quite topical.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Confessional comics"

1

Dycus, Dallas. "Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/47.

Full text
Abstract:
The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society’s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre. My primary focus is on Chris Ware, whom I introduce in chapter three, a brilliant creator who has garnered widespread recognition and respect. His magnum opus is Jimmy Corrigan: The Smartest Kid on Earth, the story of four generations of Corrigan men, most of whom have been negligent in raising their children. Jimmy Corrigan, as a result, is an introverted, insecure thirty–something–year–old man. Among comics creators Ware is unusual in that his story does not address socio–political issues, like most of his peers, which I discuss in chapter four. Jimmy Corrigan is an isolated tale with a very specific focus. Ware’s narrative is somewhat like those of William Faulkner, whose stories have a narrow focus, revolving around the lives of the inhabitants of Yoknapatawpha county, rather than encompassing the vast landscape of national socio–political concerns. Also, in chapter five I explore the intriguing combination of realist and Gothic elements––normally at opposite ends of the generic continuum––that Ware merges in Jimmy Corrigan. This feature is especially interesting because it is another way that his work explores aspects of hybridity. Finally, in my conclusion I examine the current state of comics in American culture and its future prospects for development and success, as well as the potential for future comics criticism.
APA, Harvard, Vancouver, ISO, and other styles
2

Schubauer, Allison. "From Screen to Paper to the Gallery Walls: Comic and Confessional Drawing in the Digital Age." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/581.

Full text
Abstract:
In the last half-century, a number of artists have chosen to abandon notions of good taste, skill, and aesthetics in the field of drawing in order to investigate and critique our social and cultural landscape. Two very different approaches have been taken to accomplish this – the use of humor, borrowing from the format of comics; and confessional art, in which the artist ostensibly lays themselves bare in order to act as a mirror for the viewer. In my senior thesis project, I explored these two forms of drawing in relation to my own life and identified institutional (within the Claremont Colleges) and larger cultural threads within my work.
APA, Harvard, Vancouver, ISO, and other styles
3

van, Tol Jonas. "Germany and the coming of the French Wars of Religion : confession, identity, and transnational relations." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/13100/.

Full text
Abstract:
From its inception, the French Wars of Religion was a European phenomenon. The internationality of the conflict is most clearly illustrated by the Protestant princes who engaged militarily in France between 1567 and 1569. Due to the historiographical convention of approaching the French Wars of Religion as a national event, studied almost entirely separate from the history of the German Reformation, its transnational dimension has largely been ignored or misinterpreted. Using ten German Protestant princes as a case study, this thesis investigates the variety of factors that shaped German understandings of the French Wars of Religion and by extension German involvement in France. The princes’ rich and international network of correspondence together with the many German-language pamphlets about the Wars in France provide an insight into the ways in which the conflict was explained, debated, and interpreted. Applying a transnational interpretive framework, this thesis unravels the complex interplay between the personal, local, national, and international influences that together formed an individual’s understanding of the Wars of Religion. These interpretations were rooted in the longstanding personal and cultural connections between France and the Rhineland and strongly influenced by French diplomacy and propaganda. Moreover, they were conditioned by one’s precise position in a number of key religious debates, most notably the question of Lutheran-Reformed relations. These understandings changed as a result of a number pivotal European events that took place in 1566 and 1567 and the conspiracy theories they inspired. This combination of influences created a spectrum of individual interpretations of the French Wars of Religion. The military campaigns of the years 1567-69, far from being motivated by political or financial opportunism, were the product of these individual interpretations.
APA, Harvard, Vancouver, ISO, and other styles
4

Lee, Bethany Tyler. "The Museum of Coming Apart." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11000/.

Full text
Abstract:
This dissertation comprises two parts: Part I, which discusses use of second person pronoun in contemporary American poetry; and Part II, The Museum of Coming Apart, which is a collection of poems. As confessional verse became a dominant mode in American poetry in the late 1950s and early 60s, so too did the use of the first-person pronoun. Due in part to the excesses of later confessionalism, however, many contemporary poets hesitate to use first person for fear that their work might be read as autobiography. The poetry of the 1990s and early 2000s has thus been characterized by distance, dissociation, and fracture as poets attempt to remove themselves from the overtly emotional and intimate style of the confessionals. However, other contemporary poets have sought to straddle the line between the earnestness and linearity of confessionalism and the intellectually playful yet emotionally detached poetry of the moment. One method for striking this balance is to employ the second person pronoun. Because "you" in English is ambiguous, it allows the poet to toy with the level of distance in a poem and create evolving relationships between the speaker and reader. Through the analysis of poems by C. Dale Young, Paul Guest, Richard Hugo, Nick Flynn, Carrie St. George Comer, and Moira Egan, this essay examines five common ways second person is employed in contemporary American poetry-the use of "you" in reference to a specific individual, the epistolary form, the direct address to the reader, the imperative voice, and the use of "you" as a substitute for "I"-and the ways that the second-person pronoun allows these poems to take the best of both the confessional and dissociative modes.
APA, Harvard, Vancouver, ISO, and other styles
5

CHEN, YU-CHI, and 陳雨琦. "Self-Confession Scene - An Analysis of the Comic Formation as Apparel Design." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ru77c5.

Full text
Abstract:
碩士
實踐大學
服裝設計學系碩士班
104
This paper is about how the artist combines the interests that she closely fallowed with her works. The type of her works, Comic, has a name, "The Ninth Art", which she tried to connect clothing design in her comic. The artist grew up in the culture of animas and manga which influenced her daily, taste, esthetic conception. Animas and manga can be used in various design, art and crafts to increase visual and extend the express of art and life. Her works, which describes the changing of emotions, is a way of mental healing. This paper tried to analyze the color, contour, structure and idea of her comic works with the constituent elements of visual art and how she combining her ideas in apparel design. Writing about and sorting emotions is a way of mental recovering, and simultaneously re-spirit oneself.
APA, Harvard, Vancouver, ISO, and other styles
6

Kotze, Ella Susanna Gertruida. "Lesbians' coming-out stories as confessional practices : liberatory politics or an incitement to discourse?" Thesis, 2012. http://hdl.handle.net/10539/11257.

Full text
Abstract:
For homosexuals, “coming out” or disclosing one’s sexual orientation has come to be seen as a marker of self-acceptance, actualisation and the imperative first step in the authentication of a liberated subjectivity and social identity. This popular construction of “coming out” has been supported by a range of feminist and queer theory. However, other critical schools of thought, largely informed by Foucault’s middle writings, have argued that “coming-out” is merely a confessional response to an incitement to discourse about sex. Confessions of this kind form important relays in modern forms of power. Thus while homosexual subjects may experience “coming-out” as a form of liberatory identity politics that challenges the repressive power of the heteronormative, this rite of passage may also be viewed as forming an insidious entry into nets of self and social surveillance that are characteristic of disciplinary and biopower in modern societies. Against this backdrop, this study aimed to explore constructions of coming-out by a group of self-identified lesbians in South Africa. Data was collected via eight semi-structured interviews and then subjected to a discourse analysis. While coming-out stories appear to conform to some of the discursive practices characterising confessional modes of response to incitements to speak, they are also deemphasised as central to the constitution of selfhood. The changing conditions of possibility for the production of sexual subjectivity in contemporary South Africa thus seem to disrupt understandings of coming-out as either solely a confessional or liberatory practice. Ultimately, the study holds important implications for the way that coming-out stories are understood and activated by both homosexual subjects and a sexually “liberated” society in general.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Confessional comics"

1

Graphic details: Jewish women's confessional comics in essays and interviews. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

illustrator, Anderson Brent Eric, Roshell John illustrator, Blyberg Will illustrator, Sinclair Alex illustrator, and Ross Alex 1970 illustrator, eds. Astro City: Confession. New York: DC Comics/Vertigo, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Eric, Anderson Brent, ed. Kurt Busiek's Astro City: Confession. La Jolla, CA: Homage Comics, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

John, Benson, and Dutch Dana E, eds. Confessions, romances, secrets and temptations. Seattle, Wash: Fantagraphics, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Bo, Hampton, ed. Confessions of a cereal eater! New York: Comics Lit, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Maisch, Rob. Confessions of a cereal eater. New York: Comics Lit, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Haverluck, Bob. Confessions of a jailbird: The anti-racism comic book. [Winnipeg, MB: Comic, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Steve, Ellis, ed. Confessions of a teenage vampire: The turning. New York: Scholastic Inc., 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Confidential confessions. London: Tokyopop, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Momochi, Reiko. Confidential confessions. London: Tokyopop, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Confessional comics"

1

Bloom, James D. "Coming Clean: Readings, Confessions, Shortcuts." In Reading the Male Gaze in Literature and Culture, 11–62. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59945-8_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Seely, Stephen D. "Coming Out of the (Confessional) Closet: Christian Performatives, Queer Performativities." In Performing Religion in Public, 219–36. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137338631_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Pucill, Sarah. "“Coming to Life” and Intermediality in the Tableaux Vivants in Magic Mirror (Pucill, 2013) and Confessions to the Mirror (Pucill, 2016)." In Experimental and Expanded Animation, 231–55. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Cardell, Kylie. "Drawn to Life." In The Comics of Julie Doucet and Gabrielle Bell, 122–42. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820570.003.0006.

Full text
Abstract:
As forms of auto biography, diaries are of ten framed as secret, private, and confessional genres–they are presumed to be (desired as) an unfiltered and uncensored mode. In popular culture, diaries are frequently used to connote the image or experience of a teenage girl and are connected to expectations for emotionally heightened and subjective or unfiltered narration. This chapter explore show the contemporary comics artists Gabrielle Bell and Julie Doucet use diary as a both a methodology (a structural device) and a symbolic mode: in a body of diary comics, these artists respectively narrate autobiographical stories that center on the mundane, banal, and ephemeral, in away that both heightens and contests the voyeuristic frame of diary point of view.
APA, Harvard, Vancouver, ISO, and other styles
5

Machabée, Stéphanie. "Life and Death, Confession and Denial:." In Coming Back to Life, 287–308. McGill University Library, 2017. http://dx.doi.org/10.2307/j.ctvmx3k11.18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Niehaus, Isak. "‘I Don’t Want to Hear’." In Strings Attached. British Academy, 2014. http://dx.doi.org/10.5871/bacad/9780197265680.003.0009.

Full text
Abstract:
In recent years confessional technologies have become an important means of confronting the HIV/AIDS pandemic. These include ‘coming out’ with HIV positivity, and providing public testimony about sickness and the transformative effects of antiretroviral medication. In South Africa, the urban-based Treatment Action Campaign (TAC) has effectively deployed speech as a means of overcoming pathos. Drawing upon ongoing fieldwork in Bushbuckridge, I point to various forms of resistance against the imported cosmopolitan practice of confession, and show how silence is frequently a more prominent response to the pandemic. Residents of Bushbuckridge have refrained from undergoing testing for HIV antibodies and hardly ever speak about their condition in public domains. I argue that silence was not merely a means of avoiding stigma, but also reflected a fear of hearing potentially dangerous and deadly words. In local knowledge, pronouncements that one is ‘HIV-positive’ could crystallise sickness, invoke negative emotions associated with pending death, and thereby worsen suffering.
APA, Harvard, Vancouver, ISO, and other styles
7

"Book One: The Coming Christ and Church Traditions: Essays for the Dialogue among the Separated Churches." In Ecumenical and Confessional Writings, 45–336. Göttingen: Vandenhoeck & Ruprecht, 2016. http://dx.doi.org/10.13109/9783666560286.45.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Bornstein, Brian H., and Jeffrey S. Neuschatz. "Untrue Confessions." In Hugo Münsterberg's Psychology and Law, 137–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190696344.003.0007.

Full text
Abstract:
Münsterberg frames this chapter by discussing a notorious Chicago case where he received considerable criticism for arguing that the defendant—who was subsequently convicted and executed—had confessed falsely. He presents a number of reasons why suspects might confess to crimes they did not commit, such as instrumental efforts to obtain promised rewards or avoid punishment, or genuinely coming to believe that one did indeed commit the crime. It is yet another example of Münsterberg’s prescience in including this topic, as there is a growing awareness of the false confession phenomenon in both the psychological and legal communities. The last decade or so has seen an explosion of research and policy statements that examine the factors embedded in American criminal procedure, especially interrogation techniques, that may lead innocent people to implicate themselves in crimes they did not commit.
APA, Harvard, Vancouver, ISO, and other styles
9

"One: Coming of Age in Brooklyn." In Confessions of a secular Jew, 1–46. Routledge, 2017. http://dx.doi.org/10.4324/9781315080680-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"‘Perseveration on Detail’: Shame and Confession in Memoir Comics." In Cultural Excavation and Formal Expression in the Graphic Novel, 149–58. BRILL, 2013. http://dx.doi.org/10.1163/9781848881990_016.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Confessional comics"

1

Fedorova, Marina V., and Mira B. Rotanova. "Digital Society and Ethno-Confessional Conflicts." In 2020 IEEE Communication Strategies in Digital Society Seminar (ComSDS). IEEE, 2020. http://dx.doi.org/10.1109/comsds49898.2020.9101330.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Confessional comics' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography