(Not) Lost in the Margins: Gender and Identity in Graphic Texts

Allison, Marjorie C.

doi:10.1353/mos.2014.0042

Cited by 13 publications

(3 citation statements)

References 9 publications

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“…Still, most importantly, it also tries to elevate the role of women and empower them through the use of graphic novels as a pedagogical tool in ESL classrooms. A number of studies are now looking into gender (mis) representations found in the narratives of graphic materials and have discovered both disturbing and hopeful observations when it comes to understanding gender or gender roles in society (e.g., Allison, 2014;Nayar, 2017), which findings and concerns are also shared by this study. By identifying and revealing what can be regarded as visual misrepresentations of or discrimination against women, it seeks to create awareness on these pertinent issues on both teachers and students in Malaysian contexts.…”

Section: Discussionmentioning

confidence: 66%

Appropriating Shakespearean graphic novels for Malaysian classrooms to create correct gender representations

et al. 2022

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Public awareness on gender education may not be easily translated in living classrooms, which prompts new alternatives. In this study, we explored Shakespearean graphic novels in exposing Malaysian school students to gender-related issues. The two-fold research entails tracing the female presence in eight selected images from digital graphic novels that define the gender and place social expectations across the globe; and secondly, gathering teachers’ perception of these selected graphic novels. The chosen images were divided into two categories—those published as the cover pages of graphic novels and those that were contested for the Graphic Shakespeare Competition established in 2016. These stereotypical images of women are inconsistent with the objective of achieving inclusivity and correct gender representations. The data analysed based on a semi-structured interview on six ESL teachers suggest that as much as the graphic novels are seen as valuable in pedagogical contexts and in exposing the students to learning English and gender representations through literature, the material selection, and pedagogical approaches, including determining the classroom activities must be cautiously considered in terms of their cultural appropriateness to ensure students’ readiness and effective outcomes. Discussing these pertinent issues, especially in addressing gender (mis)representations relevant to education, helps pave a new route within the UN SDG Goal 5 where gender nuances and phrases ought to be carefully constructed in a new narrative that shapes global perception towards women.

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Section: Discussionmentioning

confidence: 66%

Appropriating Shakespearean graphic novels for Malaysian classrooms to create correct gender representations

et al. 2022

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“…Women’s life writing in graphic form allows for the articulation/inscribing of multiple selves, permits the exploration of typically private subjects like the body, sexual trauma and taboo, vehemently makes visible what otherwise ought not to be, or cannot be, seen and instantiates an eversion of states of interiority (Allison, 2014; Basu, 2007; Chute, 2008; Nayar, 2015; Squier, 2008). Hillary Chute has argued for the appeal of the graphic form in service of a feminist methodology (Chute, 2008, 2010).…”

Section: Introductionmentioning

confidence: 99%

Graphic Bodies: Picturing Feminised Pathology, Narrating Resistance

Sundaram

2017

Indian Journal of Gender Studies

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This article studies three graphic memoirs by women, Marisa Acocella Marchetto’s Cancer Vixen, Sarah Leavitt’s Tangles and Leah Hayes’ Not Funny Ha-Ha, to explore the use of the graphic form in the narrating of an experience of illness. I argue here that these writers engage the graphic form to visualise female embodiment as always already pathologised, even prior to the onset of illness. By making explicit the medical and socio-cultural scrutiny of female bodily practices, these texts interrogate the unequal structural relationship between the sign of gender female and the healthy/sick binary set up by mainstream illness narratives. This article also proposes that these graphic memoirs of illness by women perform a resistant femininity in narrative by refusing a linear progression from diagnosis to cure. The texts instead make visible their myriad sources, in the form of incoherent speech, unedited data, photographs and letters among others, thus refusing unity and coherence in the narrating self.

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“…The centrality of the medium in representations of gender-in-crisis, gender-and-agency, gender-and-human-rights, gender-and-representation has attracted attention from commentators (Allison, 2014; Chute, 2010; Mandaville, 2009). Their writings point to the flexibility of language, both verbal and visual, in the form that enables the staging of the gender theme.…”

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confidence: 99%

Editor’s Introduction: Gender and the Graphic

Nayar

2017

Indian Journal of Gender Studies

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Popular culture has the power to deliver political messages. This truism is never more evidenced in the contemporary era than in the case of comic books and graphic novels. From Maus through Citizen 13660, Radioactive Forever, The Ukrainian and Russian Notebooks, Bhimayana, Hush and March, the graphic novel, much more serious than 'comics', has been instrumental in raising the critical literacy level about events in history and present-day issues: the Holocaust, Japanese internment in the USA after Pearl Harbour, child abuse, the caste system, civil rights movements, the Holodomor. Personal memoirs and accounts of illnessgraphic medicine or autopathographics-have attained near-cult status as well. The centrality of the medium in representations of gender-in-crisis, gender-and-agency, gender-and-human-rights, gender-and-representation has attracted attention from commentators (Allison, 2014; Chute, 2010; Mandaville, 2009). Their writings point to the flexibility of language, both verbal and visual, in the form that enables the staging of the gender theme. A feminist aesthetics, in their point of view, is enabled by the medium. One hastens to add that 'gender' as a theme or frame of reference in studies of comic books and graphic novels is not committed solely to one or other gender. Studies of masculinity in superheroes are as common as studies of the erotic and sexualised representations of women superheroes. In the present instance, however, the essays focus on the representations of women in the graphic novel. Traumatic events find new forms of representation in the graphic novel, as do hitherto taboo subjects such as lesbian sexuality, say, for instance, in Amruta Patil's Kari. In texts that are autobiographical and personal, the narrator-author is made visible in the frames. To take one instance, Joe Sacco's work famously positions him as a witness, often uncertain, to the events-such as war-that he is reporting, and thus renders the text an instance of self-witnessing: the storyteller watches herself watching herself. Illness and recovery, the subject of graphic medicine, are viewed through the prism of femininity, patriarchy and

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(Not) Lost in the Margins: Gender and Identity in Graphic Texts

Cited by 13 publications

References 9 publications

Appropriating Shakespearean graphic novels for Malaysian classrooms to create correct gender representations

Appropriating Shakespearean graphic novels for Malaysian classrooms to create correct gender representations

Graphic Bodies: Picturing Feminised Pathology, Narrating Resistance

Editor’s Introduction: Gender and the Graphic

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