Feminism and Comics Studies

A special issue of Humanities (ISSN 2076-0787).

Deadline for manuscript submissions: closed (30 November 2024) | Viewed by 3365

Special Issue Editor


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Guest Editor
Department of English, Queen's University, Kingston, ON K7L 3N6, Canada
Interests: comics studies; feminism; graphic novels; feminist theory and politics; queer theory; comics and politics; literary criticism; reproductive justice; disability studies

Special Issue Information

Dear Colleagues,

Feminist studies, always already a (inter)disciplinary challenge, has so much to say around creative forms of resistance, around comics as crisis witnessing, around memoir and self-revelation, around superherodom studies and posthumanism.  In 2023, comics studies is established enough to offer (a few) tenure-track jobs and graduate programs, but is still finding itself in many ways, ways that continue to challenge traditional disciplinarity.  Back in 2010, in “Indiscipline, or, The Condition of Comics Studies,” Charles Hatfield characterized comics studies as “a nascent academic field of great productivity and promise” (Transatlantica, 1, 2010).  This Special Issue asks us, at this particular time, to bring these interdisciplinary challenges together productively:  What can these fields say and do for one another, to start new critical dialogues about the relevance of comics studies to feminist scholarship, and the relevance of critical feminism(s), to comics studies? Feminism is not a unified body, and just saying so is step 1 towards an acknowledgement of shared “indisciplinarity” with comics studies.  What can or should feminist scholarship be doing with reproductive justice in comic art? With disability studies in comic art? What interventions from Black feminism, Indigenous feminism, transfeminism can be brought into the indiscipline of comics studies?   I turn to bell hooks to bring us together with love and mutual respect: “Without an ethic of love shaping the direction of our political vision and our radical aspirations, we are often seduced, in one way or the other, into continued allegiance to systems of domination—imperialism, sexism, racism, classism” (from “Love as the Practice of Freedom”). Feminism can and does fail as a critical tool set, can be imposed where it is not wanted and is not part of the artistic creator’s self-identification.  Where that happens, it needs to be talked about and through, and become part of feminist scholarship’s work towards better criticism and self-awareness.  So this Special Issue is about both doing and undoing, and about love within both feminist scholarship and comics studies.

Dr. Jane Tolmie
Guest Editor

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Keywords

  • comics studies
  • comics
  • feminist studies
  • feminism
  • reproductive justice
  • (dis)ability
  • bodymind
  • comics and human rights

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Published Papers (2 papers)

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Research

19 pages, 1996 KiB  
Article
Falling Back in Love with Trans-Inclusive Feminism: Canadian Creative Artists Re-Story Death and Choose Transformation
by Devon Harvey
Humanities 2025, 14(1), 4; https://doi.org/10.3390/h14010004 - 8 Jan 2025
Viewed by 416
Abstract
Prevailing political and popular narratives often treat the issue of trans death as an inevitability and reduce complex stories of trans life to their endings. This paper investigates the transformative potential of creative forms of resistance—specifically a selection of Canadian poetry, personal essays, [...] Read more.
Prevailing political and popular narratives often treat the issue of trans death as an inevitability and reduce complex stories of trans life to their endings. This paper investigates the transformative potential of creative forms of resistance—specifically a selection of Canadian poetry, personal essays, and comics—and how their artistic affordances engage with transfeminism as an approach to narratives of trans existence. Rooted in Canadian author Kai Cheng Thom’s reckoning with the shortcomings of trans-exclusionary feminist thought, and informed by Chinua Achebe’s conceptualization of re-storying, this article explores how I Hope We Choose Love and Falling Back in Love with Being Human by Kai Cheng Thom, Death Threat by Canadian creatives Vivek Shraya and Ness Lee, and comics from Assigned Male by trans activist and Canadian comic artist Sophie Labelle re-story “necessary” trans death to orient queer death spaces around a trans-for-trans (t4t) praxis of narrativization. Addressing the (inter)disciplinary possibilities of trans-inclusive feminism and comics studies, this article celebrates how these texts disavow and re-story the “Good” Trans Character, who dies to satisfy transmisogynistic ideologies, and theorizes the T4t Dead Trans Character, who dies to reclaim instances of trans death and recodify trans personhood as a site of hope, agency, and self-determination. In their re-storying, these texts recognize the transformative potential of trans existence and echo Thom in their urging of trans-inclusive feminism to renounce narratives of disposability and invest in the dignity of all human life. Full article
(This article belongs to the Special Issue Feminism and Comics Studies)
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22 pages, 15197 KiB  
Article
Thrown to the (Were)Wolves: Sisterhood, Vengeance, and Liberal Feminism in Maggie Tokuda-Hall and Lisa Sterle’s Squad
by Jessica Caravaggio
Humanities 2025, 14(1), 3; https://doi.org/10.3390/h14010003 - 8 Jan 2025
Viewed by 707
Abstract
In Maggie Tokuda-Hall and Lisa Sterle’s graphic novel Squad, protagonist Becca and her new friends at Piedmont High are not human adolescents but a pack of werewolves who must kill to stay alive and select teenage boys—“the WORST ones” (70)—as their meal [...] Read more.
In Maggie Tokuda-Hall and Lisa Sterle’s graphic novel Squad, protagonist Becca and her new friends at Piedmont High are not human adolescents but a pack of werewolves who must kill to stay alive and select teenage boys—“the WORST ones” (70)—as their meal of choice. The power of the pack’s “monstrous” bodies is a dangerous privilege and responsibility that Squad suggests is often misused to victimize innocents. The book critiques individualistic Western/liberal feminism—an ideology also critiqued by contemporary feminist writers—that encourages women and girls to gain power for themselves and then use it to perpetuate hierarchies of domination. Through an analysis of the figure of the werewolf and fantasies of revenge, this article suggests that both Squad’s narrative and its comic images guide readers toward an understanding of how liberal feminist ideology impedes collective empowerment. This article ultimately argues that Squad can be wielded as a potential feminist consciousness-raising tool for teaching about the ethics of different feminist ideologies. Full article
(This article belongs to the Special Issue Feminism and Comics Studies)
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