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Journal articles on the topic 'Women in comics'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Shaker, Sara. "Gender Binaries and Sexual Violence in Adult Comics During Post-Revolutionary Egypt." Kohl: A Journal for Body and Gender Research 3, Winter (2017): 205–15. http://dx.doi.org/10.36583/20203211.

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This article examines whether the male-centric production of adult Egyptian comics in post-revolutionary Egypt challenges and subverts gender stereotypes and the binaries of femininity and masculinity, with a particular focus on two comic magazines, Al Shakmgia and TukTuk. It presents the work of some of Egypt’s comic artivists that attempt to fill an analytical gap when it comes to the visualization of women’s sexualities, whether in Egyptian adult comics or in media more generally. This article consists of four main sections. The first section elaborates on the importance of studying comics

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Candra Sari, Made Cindy. "Kekerasan Wanita dalam komik Azumi karya Yuu Koyama." Jurnal Sakura : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 2, no. 2 (2020): 74. http://dx.doi.org/10.24843/js.2020.v02.i02.p02.

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This research’s titled is "Women's Violence in Azumi Comics by Yuu Koyama". This research aims to find out how the forms of female violence in the comic Azumi by Yuu Koyama and what attitudes are shown by women towards violence. This research uses descriptive qualitative method. The research results are, there are five forms of violence against women such as, physical violence, rape, prostitution, sexual harassment and verbal harassment. Also, the attitudes shown by female characters in comics are the strong women and brave women.

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Lelek, Jadwiga, and Konrad Sierzputowski. ""Why so much noise?": Polish music comics." Kultura Popularna 60, no. 2 (2020): 218–29. http://dx.doi.org/10.5604/01.3001.0013.7345.

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This article is the result of research on the condition of Polish musical comics. The basis of considerations are the comics of Marcin Podolec: Smoke and Fugazi Music Club, two works of Krzysztof Owedyk: Blix and Żorżet and You will be frying in hell, as well as the worst comic of the year by Maciej Pałka and Only calmly Bartek Glazy. The text aims to show the relationships between Polish popular music and comics. Draws attention to the ways of presenting musical subcultures and individual portraits in comic culture. It also introduces the role of memory and nostalgia in the construction of il

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4

Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.

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Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses t

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Nixon, Mark. "Narrating Women in Comics." Gender and Language 8, no. 2 (2014): 269–80. http://dx.doi.org/10.1558/genl.v8i2.269.

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Żaglewski, Tomasz. "Supermoc dziewczęcej przyjaźni. Wokół wybranych komiksowych wizerunków girl power." Literatura i Kultura Popularna 25 (July 28, 2020): 407–28. http://dx.doi.org/10.19195/0867-7441.25.23.

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The main aim of the article is to confront the idea of “girl power” — as a popular culture variation of a feministic agenda — with selected comic book superheroines. For the general audi-ence mainstream superhero comics serve strictly as a graphic variation of a “male gaze” through over-sexualised depictions of super-women’s bodies and poses. However by analysing some cru-cial examples in the history of super-women-orientated titles, like “Wonder Woman”, “Superman’s Girlfriend Lois Lane” or “She-Hulk”, the author is trying to reconstruct the process of a slow ‘em-powering’ of women characters

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Robbins, Trina, and Jennifer K. Stuller. "Focus on Trina Robbins." Feminist Media Histories 4, no. 3 (2018): 119–34. http://dx.doi.org/10.1525/fmh.2018.4.3.119.

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This interview with Trina Robbins took place during a panel at the 2016 Comics Arts Conference conducted by Jennifer K. Stuller. Robbins, known both for her work as a groundbreaking cartoonist and for her histories of female comics creators, discusses her early days in New York during the 1960s, owning a clothing boutique and writing comics for the East Village Other; the creation of It Ain't Me, Babe, the first all-female comic compilation, and Wimmen's Comix, the long-running feminist underground comix series; and her work both as a “herstorian,” uncovering the overlooked role of women in co

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Kelp-Stebbins, Katherine. "Global Comics." Feminist Media Histories 4, no. 3 (2018): 135–56. http://dx.doi.org/10.1525/fmh.2018.4.3.135.

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This article examines the critical reception of works by comic artists Zeina Abirached and Marjane Satrapi, and specifically articulations of likeness and contrast between them. Surveying the frequent comparisons of Abirached's A Game for Swallows (2007, 2012) to Satrapi's Persepolis (2000–2004) provides a methodological framework by which to reconsider the cultural and capital economies of world literature and global comics. This analysis is guided by questions regarding global comics as an emergent textual form that complicates world literature as a system of cultural recognition. What role

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9

Tolmie, Jane. "Woman, Life, Freedom, and the Comics Classroom After Mahsa Amini." Humanities 14, no. 2 (2025): 35. https://doi.org/10.3390/h14020035.

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Since the 2022 death of Mahsa Jina Amini in custody of the Guidance Patrol or morality police in Tehran, Iran, Persepolis by Marjane Satrapi can also function in the classroom as a comics touching point for human rights discourses around the world and in particular—though not exclusively—those that impact women. Kimberlé Crenshaw, who brought intersectionality to the forefront of cultural and political discourses in 1989, has used the phrase “say her name” to draw attention to the deaths of women and children, especially Black women and children, at the hands of law enforcement officers. Chant

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10

Roberts, Jude. "Girly porno comics: contemporary US pornographic comics for women." Journal of Graphic Novels and Comics 6, no. 3 (2015): 214–29. http://dx.doi.org/10.1080/21504857.2015.1011398.

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Bauer, Heike, Andrea Greenbaum, and Sarah Lightman. "Contemporary comics by Jewish women." Studies in Comics 6, no. 2 (2015): 201–8. http://dx.doi.org/10.1386/stic.6.2.201_7.

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GUPTA, Dr ARCHITA. "DECODING PATRIARCHAL BIASES AT WORK IN COMICS: A STUDY OF THE CODIFICATION OF FEMININITY THROUGH THE IMAGE-TEXT COMBINE WITH SPECIAL REFERENCE TO POPULAR VERNACULAR COMICS NONTE FONTE AND HANDA BHONDA." International Journal of Research in Education Humanities and Commerce 05, no. 04 (2024): 295–310. http://dx.doi.org/10.37602/ijrehc.2024.5425.

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Any image accompanies with it two concepts viz. communication and representation. Both these concepts are potent tools to be analysed from the perspective of study of signs or semiotics. But the monolithic study of signs or codes embedded in representation or communication curbs the scholarly or multidimensional spaces in which a representation/image representation can be analysed, examined or investigated. If we consider a pictorial representation only as an image choosen/preferred randomly, we will miss the ideological bias in which it is produced. Therefore image representation of women/ fe

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Paparozzi, Ellen T. "Formal Networks For Women Professionals." HortScience 22, no. 2 (1987): 195–96. http://dx.doi.org/10.21273/hortsci.22.2.195.

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Abstract To start such a topic as this, one could turn to a dictionary to define “networking.” Personally, I like to refer to the comics—in this instance the comic strip “Nancy”. The first frame finds Nancy, in class, turned around in her seat earnestly talking to another young colleague. In the next frame Nancy has turned in response to the teacher asking her if she was talking. Nancy replies, “Talking? No Ma'am, I'm not talking. I'm establishing contacts and exchanging information with my peers.” The middle frame shows Nancy grumbling, “OK, whatever you say… ” and the final frame of the comi

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Ebtesam M., El-Shokrofy, and Asmaa Awad Ahmed. "Black Women Comics: Sensuality and Intersectionality." Interdisciplinary Literary Studies 24, no. 1 (2021): 33–53. http://dx.doi.org/10.5325/intelitestud.24.1.0033.

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ABSTRACT Can sexual jokes and raunchy routines of black women be used to address serious social, religious, and political issues? This article attempts to answer these questions by applying Patricia Collins’s intersectional theory to some selected works by these American actresses and comedians: La Wanda Page, Thea Vidale, Sheryl Underwood, Amanda Seales, Hope Flood, and Simply Marvellous. In an attempt to gain power, self-assertion, and liberty, these comedians employ vulgarity and sexual allusions to openly reveal the three taboos of the society. Being openly performed using the bodies as a

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Larabee, Ann. "Editorial: Teaching Young Women the Comics." Journal of Popular Culture 49, no. 2 (2016): 247–49. http://dx.doi.org/10.1111/jpcu.12412.

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McNicol, Sarah. "Using participant-created comics as a research method." Qualitative Research Journal 19, no. 3 (2019): 236–47. http://dx.doi.org/10.1108/qrj-d-18-00054.

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Purpose The purpose of this paper is to explore the potential of participant-created comics as a research method through a project to investigate the life stories of British–Bangladeshi women. Design/methodology/approach The author worked with a group of ten women through a series of workshops exploring their personal and community histories. Each of the women produced a digital comic that represented her story using text in any languages, photographs and drawings. Findings The experiences of the Graphic Lives project suggest there is considerable unexplored potential for the use of comics cre

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Gupta, Rounak. "DRAWING IS A WAY OF FIGHTING: THE COMICS OF THE INDIGENOUS INDIA." EXPRESSIO: BSSS Journal of English Language and Literature 01, no. 01 (2023): 179–98. http://dx.doi.org/10.51767/jen010113.

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The tribal arts of India have traditionally held a significant cultural and historical place. Despite the unique visual languages seen in contemporary American or Franco-Belgian BD and Japanese manga, the Indian tribal art, predominantly created by tribal women for generations, is often neglected in the context of Indian comics. This study aims to examine the visual language inherent in tribal art and how it has been employed in two specific comics: Sita`s Ramayana and Bhimayana. Both comics are drawn by tribal women, Moyna Chitrakar and Durga Bai Vyam, respectively, and showcase a unique visu

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Kućma, Natalia. "SHŌJO. GIRLS, CULTURE AND COMICS." Kultura Popularna 60, no. 2 (2020): 126–35. http://dx.doi.org/10.5604/01.3001.0013.7339.

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This article analyzes shōjo culture and shōjo girls as a participants and creators of this culture. The first part of the article presents the history of girls&#39; schools from the beginning of the 20th century and the ideal of a good wife and wise mother (ryōsai kenbo). The second part focuses on the issue of the &quot;privileged body&quot; of shōjo (girl), which is on the edge between the body of a child and a woman, a boy and a girl. Shōjo manga, as comics addressed to girls, have evolved since the 70s, when women began to create them. At the end I examine aesthetic traits and

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Oksman, T. "Graphic Women: Life Narrative and Contemporary Comics." Contemporary Women's Writing 5, no. 3 (2011): 258–60. http://dx.doi.org/10.1093/cww/vpr006.

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Chairil, Augustin Mustika, Roziana Febrianita, Kusnarto Kusnarto, and Dwimas Rina. "#WomanWorld Post-Feminism?" JCommsci - Journal of Media and Communication Science 6, no. 2 (2023): 29–42. http://dx.doi.org/10.29303/jcommsci.v6i2.207.

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#WomanWorld is an instagram comic series created by @aminder_d with the sci-fi comedy genre by presenting the lives of a group of women who struggle for their survival in the post-extinction world of men. The #WomanWorld comic presents a series of characters who represent freedom of expression by carrying the feminist concept from the first wave to the post-feminist phase. With technology and social media networks, as well as the fourth wave feminism movement has been started, this study examines the extent of the content of feminism and post-feminism in this comic. Netnography and Textual Ana

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Shaw, Adrienne. "Women on Women: Lesbian Identity, Lesbian Community, and Lesbian Comics." Journal of Lesbian Studies 13, no. 1 (2009): 88–97. http://dx.doi.org/10.1080/07380560802314227.

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22

Romu, Leena. "Smashing the Ideals of Docile Femininity." European Comic Art 15, no. 1 (2022): 7–25. http://dx.doi.org/10.3167/eca.2022.150102.

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In the 1990s and 2000s, three Finnish comics magazines were established for comics made by women. Drawing from a multidisciplinary framework of studies on feminism, gender and humour, this article argues that the magazines used the comics form to discuss feminist issues and to disrupt essentialist conceptions and expectations about gender. The common denominator for the magazines was the use of humour as a tool, although humoristic strategies and understandings of gender varied. This article gives an overview of the development of Finnish feminist comics by situating the magazines within the d

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23

Kirby, Dianne. "Michael Goodrum and Philip Smith, Printing Terror. American Horror Comics as Cold War Commentary and Critique." Twentieth Century Communism 24, no. 24 (2023): 143. http://dx.doi.org/10.3898/175864323837280490.

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In 1944 America, 41 per cent of men and 28 per cent of women read comics, plus 91 per cent of American children. By 1950, 'the comics industry generated an annual profit of almost $41 million dollars and published 50 million comics a month: everyone read comics' (pp 17-18). Resistance to the industry came from groups such as church and parental organisations that assumed children read the texts seriously. 1954 witnessed the adoption of the Comics Code Authority (CCA), a self-regulatory body that prohibited certain content. It dealt a huge blow to the horror genre, although it did not destroy i

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Hopkins, Stephen. "Gavin Bowd, Les communismes britannique et français, 1920-1991. Un conte de deux partis; Marco Di Maggio, The Rise and Fall of Communist Parties in France and Italy. Entangled Historical Approaches." Twentieth Century Communism 24, no. 24 (2023): 138–43. http://dx.doi.org/10.3898/175864323837280472.

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In 1944 America, 41 per cent of men and 28 per cent of women read comics, plus 91 per cent of American children. By 1950, 'the comics industry generated an annual profit of almost $41 million dollars and published 50 million comics a month: everyone read comics' (pp 17-18). Resistance to the industry came from groups such as church and parental organisations that assumed children read the texts seriously. 1954 witnessed the adoption of the Comics Code Authority (CCA), a self-regulatory body that prohibited certain content. It dealt a huge blow to the horror genre, although it did not destroy i

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25

Yani Anggarawati, Made, Silvia Damayanti, and Ni Made Andry Anita Dewi. "Kritik Sastra Feminis dalam Komik Kaich? wa Meido-Sama! Karya Hiro Fujiwara." Humanis 24, no. 1 (2020): 100. http://dx.doi.org/10.24843/jh.2020.v24.i01.p13.

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The title of this research is “The Feminist Literary Criticism in Kaich? wa Meido-Sama! by Hiro Fujiwara”. This research focuses on two problems: how the feminism is shown in Kaich? wa Meido-Sama! by Hiro Fujiwara and how is the main character’s feminism ideology influence another character in the comic. Methods used in this research is descriptive analysis method and the informal method. The theories used are feminism theory by Lorber (1997) and semiotics by Danesi (2011). The analysis result shows that feminisms ideology that revealed in the comics is liberal feminism, such as women also can

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Larew, Karl G. "Planet Women: The Image of Women in Planet Comics, 1940–1953." Historian 59, no. 3 (1997): 591–612. http://dx.doi.org/10.1111/j.1540-6563.1997.tb01007.x.

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Syaiful, Yuanita, Lilis Fatmawati, and Sheintia Prihastuti. "Pendidikan Kesehatan Melalui Media Video dan Komik untuk Pencegahan Anemia pada Remaja Putri." ABDIMASKU : JURNAL PENGABDIAN MASYARAKAT 5, no. 1 (2022): 53. http://dx.doi.org/10.33633/ja.v5i1.370.

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Anemia is a major health problem in adolescent girls. The provision of health education through video and comic media is an alternative to improve behavior. Adolescents who are members of the IPNU of Leran Manyar Gresik Village have less knowledge so that they affect attitudes and actions to prevent anemia. The village midwife has tried to provide counseling about anemia through lectures but the results have not been efficient, the young women have not heeded the problem of nutritional intake. So that adolescent health problems are quite a big problem. Therefore, it takes health education to p

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Precup, Mihaela. "Of monsters and women: Gender, sexual violence and the logic of familiarity in Drawing Power." Studies in Comics 15, no. 1 (2025): 55–72. https://doi.org/10.1386/stic_00118_1.

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This article examines Drawing Power, a collection of autobiographical comics about ‘sexual violence, harassment, and survival’, with contributions from more than sixty comics creators from a variety of racial, sexual, cultural and social backgrounds, edited by American underground cartoonist Diane Noomin and published by Abrams Comic Arts in 2019. I argue that the accumulation of stories from Drawing Power seems to rely on a logic of familiarity – as the attackers are familiar figures such as family members, friends, neighbours and co-workers, who assault women in familiar environments such as

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Diego, Diego. "FEMINISME DALAM COVER KOMIK SRI ASIH SEBAGAI KOMIK KLASIK PERTAMA INDONESIA." TINGKAP 12, no. 2 (2016): 136. http://dx.doi.org/10.24036/tingkap.v12i2.7553.

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Comic is one of the mass media product that is very popular in the 1950s. Indonesian Comic at beginning was only in form of strip comic in a newspaper and then came on demand from the public for the compiled strip comic. Then, up to the merged comic of Sri Asih, written by RA. Kosasih, and later known as the first comic indonesia which was written and painted by Indonesian native.Before the comic of sri asih arouse, the community were introduced by translated foreign comic that had been popular in their origin country. This research aims to define feminism originate in Sri Asih comic that desc

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Mandolini, Nicoletta. "Re-appropriating Abjection: Feminism, Comics and the Macabre Coming-of-Age." Feminist Encounters: A Journal of Critical Studies in Culture and Politics 7, no. 2 (2023): 32. http://dx.doi.org/10.20897/femenc/13560.

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Julia Kristeva’s theories on the abject have proven fruitful for feminist criticism, which has produced a huge body of research on the representation of motherhood and femininity as macabre. More recently, the concept of abjection has been blamed for supposedly legitimising, instead of questioning, hetero-patriarchal erasure of women’s subjectivity. Despite this theoretical controversy, a growing number of comics and graphic novels, where the abject is used as a technique to illustrate the formation of women and girls’ gendered identity, have been published in the last decade. This article con

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Nordenstam, Anna, and Margareta Wallin Wictorin. "Women's Liberation." European Comic Art 12, no. 2 (2019): 77–105. http://dx.doi.org/10.3167/eca.2019.120205.

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In Sweden, publication of original feminist comics started in the 1970s and increased during the following decade. This article describes and analyses the Swedish feminist comics published in the Swedish radical journals Kvinnobulletinen and Vi Mänskor, as well as in the Fnitter anthologies. These comics, representing radical feminism, played an important role as forums for debate in a time when feminist comics were considered avant-garde. The most prominent themes were, first, the body, love and sexualities and, second, the labour market and legal rights. The most frequent visual style was a

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Galeeva, Olga, Teresa Lousa, and Flávio Almeida. "Guido Crepax – Valentina – The Shape of Her Time." Art&Sensorium 5, no. 2 (2018): 49–58. http://dx.doi.org/10.33871/23580437.2018.5.2.49-58.

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The paper will focus on the analysis of Guido Crepax revolutionary comic book character Valentina that belongs to the golden age of the Italian comic-book genre fumetto. The aim is to explore whether Guido Crepax Valentina character was a "living doll" filling male fantasies of her creator or she was a woman empowered by her author struggling for many of the values of the women's culture that feminists today are trying to introduce into the mainstream. It also addresses research questions that focus on comic books and gender and empowerment at the decade of sexual liberation.Through Valentina

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Wiele, Eva Van de, and Dana Mihăilescu. "Book Reviews." European Comic Art 16, no. 2 (2023): 125–31. http://dx.doi.org/10.3167/eca.2023.160206.

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Ewa Stánczyk, Comics and Nation: Power, Pop Culture, and Political Transformation in Poland (Columbus: The Ohio State University Press 2022). 200 pp. ISBN: 978-0-8142-5838-5 ($34.95) Heike Bauer, Andrea Greenbaum and Sarah Lightman, eds, Jewish Women in Comics: Bodies and Borders (Syracuse, NY: Syracuse University Press, 2023), 296 pp., ISBN: 978-0-8156-3781-3 ($39.95)

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Abellán, Hernández María. "¿Deseando amar? Una aproximación a la diferencia de género en el relato de cómic amoroso." Prisma social, no. 7 (December 5, 2011): 120–44. https://doi.org/10.5281/zenodo.10494149.

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Gender differences are socially constructed and they are reflected in the cultural products that a determinate context produces. The taxonomy in different targets that industry and institutions produce in order to build their messages elicit the fact that this difference exists. Comic as consumption object inserted in a mass culture system (re) produce and (re) invent the gender differences constructions in their pages. Romance comics designates a target, women, as the most suitable audience, and present the idea of" romantic love" as the essential theme of their stories reintroducing paternal

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Gardner, Jared. "A Nice Neighborhood." Publications of the Modern Language Association of America 134, no. 3 (2019): 595–600. http://dx.doi.org/10.1632/pmla.2019.134.3.595.

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Why Comics? is a celebration of all that has changed both in comics and for comics over the last generation, written by the person most qualified to host the party. Indeed, our being where we are today owes a good deal to Hillary Chute, who began her career writing some of the field's most intelligent and informative reviews and interviews and went on to write two of the most influential books in comics studies, Graphic Women (2010) and Disaster Drawn (2016). I first met Chute when she was working on her dissertation, and although the decade between us placed me in the role of outside reader o

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Round, Julia. "Disrupting the gaze: An interview with Anna F. Peppard." Studies in Comics 15, no. 1 (2025): 161–73. https://doi.org/10.1386/stic_00123_7.

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Dr Anna F. Peppard is an award-winning researcher and public scholar. Her work on representations of gender and sexuality in comics and pop culture is widely published in academic books and journals and on websites such as Shelfdust, Women Write about Comics and ComicsXF. She is the co-project lead of the social media research project ‘Sequential Scholars’, co-host of the podcast Oh Gosh, Oh Golly, Oh Wow! and editor of the anthology Supersex: Sexuality, Fantasy, and the Superhero, which won the 2021 Comics Studies Society Prize for Best Edited Collection. In this interview, Dr Peppard talks a

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Brown, Stephanie. "Open Mic?" Feminist Media Histories 6, no. 4 (2020): 42–67. http://dx.doi.org/10.1525/fmh.2020.6.4.42.

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This article draws on ethnographic interviews conducted between May 2016 and May 2017 with stand-up comics in Chicago and Urbana-Champaign, Illinois, all of whom described the experience of being marked as, or associated with, women within the historically masculine comedic space. Drawing on feminist comedy studies, production studies, and fan studies, the article explores the cultural logics of comedic authenticity and their material effects on embodied performances of marked comics in local live comedy. It argues that marked bodies are rarely able to achieve the ideal performance of “authent

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Wood. "Making the Invisible Visible: Lesbian Romance Comics for Women." Feminist Studies 41, no. 2 (2015): 293. http://dx.doi.org/10.15767/feministstudies.41.2.293.

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Wood, Andrea. "Making the Invisible Visible: Lesbian Romance Comics for Women." Feminist Studies 41, no. 2 (2015): 293–334. http://dx.doi.org/10.1353/fem.2015.0007.

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Moura, Pedro. "Webs of Self, Webs of Meaning. Three Female Fragmentary Portraits in Post-Digital Print Comics." Revista Lusófona de Estudos Culturais 10, no. 2 (2023): 113–42. http://dx.doi.org/10.21814/rlec.4644.

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The present paper analyses the work of three contemporary, independent women artists active in the Portuguese comics scene: Hetamoé, Joana Mosi, and Ana Margarida Matos. It provides a close formal reading of their work by following Peter Wollen's seminal article on counter-cinema. Despite the caveats of adopting whole cloth and in a clearcut manner notions from different media, there are enough commonalities and narratological features that provide stimulating comparisons. As in cinema, comics also have a broadly accepted normative understanding of comics' way of creating meaning, against whic

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Tegan, Mary Beth, and Matthew Costello. "A Woman is Being Side-Kicked: Gothic Superheroes and the Suppression of Female Autonomy Amid Feminism’s Second Wave." Gothic Studies 25, no. 3 (2023): 261–79. http://dx.doi.org/10.3366/gothic.2023.0175.

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This essay examines the treatment of women in the Gothic superhero comics of the 1970s through the lens of Michelle Massé’s In the Name of Love: Women, Masochism and the Gothic (1992). While superhero texts generally neglected women even at the height of second-wave feminism, the Gothic superhero sub-genre goes even further, drawing on the regressive trope of the suffering woman to ‘side-kick’ female characters and deny their agency and autonomy. Exploring four female characters who share this fate, we examine their different responses to the Freudian beating fantasy enacted in their narrative

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Fraser, Benjamin. "Las ciudades que somos (‘The cities we are’): A review of three Latin American comics by women creators." Journal of Urban Cultural Studies 9, no. 2 (2022): 285–94. http://dx.doi.org/10.1386/jucs_00059_1.

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This short-form article reviews three texts by women comics artists published with publishing house Sexto Piso. María Luque’s graphic novel, titled Casa transparente (‘Transparent house’) (2017), won the first Premio Novela Gráfica Ciudades Iberoamericanas (Ibero-American Cities Graphic Novel Prize) and captures her travels to Bariloche, Rosario, Buenos Aires, Cusco and Mexico City. The volume Las ciudades que somos (‘The cities we are’) (2018), authored by Chicks on Comics, won the second Premio Novela Gráfica Ciudades Iberoamericanas (Ibero-American Cities Graphic Novel Prize). It contains c

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Høigilt, Jacob. "EGYPTIAN COMICS AND THE CHALLENGE TO PATRIARCHAL AUTHORITARIANISM." International Journal of Middle East Studies 49, no. 1 (2017): 111–31. http://dx.doi.org/10.1017/s0020743816001161.

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AbstractAdult comics are a new medium in the Arab world. This article is the first in-depth study of their emergence and role within Arab societies. Focused on Egypt, it shows how adult comics have boldly addressed political and social questions. Seeing them as part of a broader cultural efflorescence in Egypt, I argue that, against patriarchal authoritarianism, adult comics have expressed an alternative ideology of tolerance, civic rights and duties, individualism, creativity, and criticism of power. Specifically, they present a damning critique of Egypt's authoritarian order, as well as of t

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Miers, John. "Frederik Byrn Køhlert, Serial Selves: Identity and Representation in Autobiographical Comics." European Journal of Life Writing 9 (April 10, 2020): R1—R5. http://dx.doi.org/10.21827/ejlw.9.36079.

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Frederick Byrn Køhlert’s monograph on autobiographical comics argues that ‘the form’s self-reflective engagement with autobiographical representations […] might matter politically, especially for people on the social and cultural margins’. He thus places his work explicitly in a tradition of scholarship that frames comics autobiography as a vehicle through which marginalised voices can be given a platform, developing works such as Hilary Chute’s Graphic Women and standing alongside more recent scholarship such as Elisabeth El Refaie’s Visual Metaphor and Embodiment in Graphic Illness Narrative

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Austin, Hailey J. "Monstrous Women in Comics, Samantha Langsdale and Elizabeth Rae Coody (eds) 2020." Studies in Comics 11, no. 2 (2020): 454–57. http://dx.doi.org/10.1386/stic_00042_5.

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Review of: Monstrous Women in Comics, Samantha Langsdale and Elizabeth Rae Coody (eds) (2020)Jackson, MS: University Press of Mississippi, 295 pp., 35 b&w illustrationsISBN 978-1-49682-763-0, p/bk, $30

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Restu Ayu Eka Pustika Dewi, Catur Retno Lestari, and Daffa Kusuma. "The Effectiveness of Digital Comic Modification of Golden Cucumber Folklore on Breast Cancer Prevention Behavior with Herbal Plants in Gen Z." Jurnal Ilmiah Kesehatan 17, no. 1 (2025): 1–13. https://doi.org/10.37012/jik.v17i1.2543.

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Breast cancer has a high incidence rate, particularly among women. Early prevention efforts are essential, especially through educational media that appeal to Generation Z. This study aims to analyze the effectiveness of a modified folklore timun emas digital comic on breast cancer prevention behavior using herbal plants in generation z. the research employed a pre-experimental one-group pretest-posttest design, conducted in RW 02 Lamper Krajan, Lamper Lor Village, South Semarang District. The study population consisted of all Generation Z individuals in the area, totaling 87 people. The sampl

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Galvan, Margaret. "Making Lesbians Visible: Recovering the Social History of the 1990s Lesbian Comics Boom." Feminist Formations 37, no. 1 (2025): 178–205. https://doi.org/10.1353/ff.2025.a962235.

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Abstract: In the early 1990s, young feminists and queer individuals embraced zines, a DIY self-publishing format with no editorial rules or restrictions, building epistolary networks which spread the word about the riot grrrl and queercore subcultures and formed them into internationally known movements. Paralleling but also independent of these movements, lesbian and bisexual women cartoonists also formed a tight-knit community through zines, expanding their publishing opportunities and facilitating an unprecedented but little-remembered boom in lesbian comics publishing. This article traces

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Precup, Mihaela. "Graphic Women: Life Narrative and Contemporary Comics (review)." Biography 34, no. 3 (2011): 545–48. http://dx.doi.org/10.1353/bio.2011.0038.

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Davirova, Xurshida. "ERKIN VAHIDOV'S THEME OF WOMEN IN THE COMICS OF THE PERIOD OF INDEPENDENCE." MODERN SCIENCE AND RESEARCH 2, no. 10 (2023): 807–10. https://doi.org/10.5281/zenodo.10043674.

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<i>This article discusses the topic of women in Erkin Vahidov's comics. In this regard, the author's poems "Karashma", "Hazrat Xizr va zamon ayoli", "Qo'lingni pardalar qilding…", "Yomon deb bo'lmas" were referred to.</i>

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Oshiyama, Michiko, and Kohki Watabe. "Interpretative negotiation with gender norms in shōjo manga adaptations of The Changelings." Journal of Adaptation in Film & Performance 12, no. 3 (2019): 179–93. http://dx.doi.org/10.1386/jafp_00005_1.

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Abstract The Changelings is a classic work of traditional Japanese literature. In the modern era, it has been adapted into Japanese comics repeatedly. This article examines three shōjo manga, or girls' comics, adaptations of The Changelings published between 1984 and 2018. Taken together, the three manga evidence the different situations in which women were embedded in the 1980s and the 2010s and provide different interpretative alternatives to female readers. Manga adaptations of The Changelings crystallized gender norms in Japanese society and women's responses to and struggles with those no

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