2000
DOI: 10.1080/13688790050001318
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The medieval in manga

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Cited by 3 publications
(7 citation statements)
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“…The Subaltern Studies Collective founding member and contributor Gyanendra Pandey (2013) has used the ways in which we think about colonialism and madness, to help us reapproach questions of subaltern experience and record. This helps us go beyond classic Subaltern Studies propositions regarding the need to read colonial archives against their grain to extract evidence of subaltern consciousness or the impossibility or recovering subaltern voice (Guha and Spivak, 1988; Jazeel and Legg, 2019).…”
Section: Carceral Mobility Madness and Un-archived Colonial Homesmentioning
confidence: 99%
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“…The Subaltern Studies Collective founding member and contributor Gyanendra Pandey (2013) has used the ways in which we think about colonialism and madness, to help us reapproach questions of subaltern experience and record. This helps us go beyond classic Subaltern Studies propositions regarding the need to read colonial archives against their grain to extract evidence of subaltern consciousness or the impossibility or recovering subaltern voice (Guha and Spivak, 1988; Jazeel and Legg, 2019).…”
Section: Carceral Mobility Madness and Un-archived Colonial Homesmentioning
confidence: 99%
“…This helps us go beyond classic Subaltern Studies propositions regarding the need to read colonial archives against their grain to extract evidence of subaltern consciousness or the impossibility or recovering subaltern voice (Guha and Spivak, 1988; Jazeel and Legg, 2019). Pandey (2013) suggests that we consider “unarchived histories”, which are not histories without archives but histories that were un-archived or disenfranchised in the process of archiving, being deemed beyond the register of “reason”. These are forms of life and types of space deemed unworthy of remembering and recording, or those whose memories and records are suppressed.…”
Section: Carceral Mobility Madness and Un-archived Colonial Homesmentioning
confidence: 99%
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“…Studies so far have discussed the way the stories are constructed: representations of character types, themes, visual codes, parallels between cinema and manga (e.g., Berndt, 2001Berndt, , 2004Berndt, , 2007Brau, 2004;Bryce, 2004;Couch, 2000;Hahn Aquila, 2007;Hand, 2004;Krebs, 2006;Nakar, 2003;Natsume, 2006;Pandey, 2000;Phillipps, 2001;Rommens, 2000;Toku, 2001;Tsuji, 2001). Others have discussed genres of manga (Ito, 2002a(Ito, , 2002bPandey, 2008), the collected works of specific authors and/or artists (MacWilliams, 2000(MacWilliams, , 2002Onoda, 2003;Pandey, 2001;Phillipps, 2008;Shamoon, 2003), the history of manga (Ito, 2002(Ito, , 2005Kinsella, 1999Kinsella, , 2006, and the dynamics of sexuality and gender within manga (e.g., Ogi, 2000Ogi, , 2001Ogi, , 2003Thorn, 2001;Tsurumi, 1997Tsurumi, , 2000.…”
Section: Manga Textsmentioning
confidence: 99%