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Social Text (2018) 36 (4 (137)): 21–55.
Published: 01 December 2018
...Ramzi Fawaz This article explores how the speculative worlds of contemporary US superhero comics have addressed the problem of difference and human diversity through stories about the catastrophic threat of genocide. It focuses on a classic DC Comics storyline—the Legion of Super-Heroes’ Legion...
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Social Text (2014) 32 (4 (121)): 71–85.
Published: 01 December 2014
..., perturbed. The scene of the night sweats is undoubtedly shaped by Judd Winick’s own recollections, as depicted in his graphic novel Pedro and Me. Comic books and other forms of serial art, as Ramzi Fawaz has recently argued, have not been sufficiently examined by queer studies as the resource...
Social Text (2000) 18 (2 (63)): 59–82.
Published: 01 June 2000
... of minstrelsy, which adhered around the stereotypically comic “Sambo” ﬁgure, seems especially compatible with cheesy entertainment. During the nineteenth and early twentieth centuries, the Sambo might be played by a white...
Social Text (2018) 36 (1 (134)): 37–44.
Published: 01 March 2018
... of logisticality as the “transport of objects” (containing a sense in which transporting can mean “holding one rapt”) brings us to Jordan Peele’s darkly comic horror film Get Out (2017). In the early days of the Trump administration, this unexpected box office success gifted the black popular zeitgeist...
Social Text (2017) 35 (4): 53–86.
Published: 01 December 2017
.... According to James Harvey Young, patent medicine almanacs often printed excerpts from American authors, especially comic authors. In his history of the patent medicine business, Young also notes that Harris stories appear in the St. Jacobs Oil Family Calendar for 1883–84. Young, Toadstool Millionaires...
Social Text (2002) 20 (2 (71)): 97–113.
Published: 01 June 2002
... of graphic novelists, the industry: more editors, more publishers, more design people, more marketing people, more graphic novelists, more comic book artists. I’d like more comic book it to become perfectly commonplace that the instructors at spec-ﬁc writ- ing workshops are 30 to 50 percent people...
Social Text (2013) 31 (2 (115)): 145–152.
Published: 01 June 2013
... by the speaker), nonetheless the speak- er’s performance, with her inability to draw much of an audience, has a comic vulnerability, while the more overtly “political” speakers around her have no problem gaining a crowd (see fig. 1). Social Text 115 • Vol. 31, No. 2...
Social Text (2010) 28 (2 (103)): 85–112.
Published: 01 June 2010
... legitimate violence” that defined the last moments of the “Struggle.” Within South Africa, the term denotes the outlaw, urban tough, or gang- ster, who aspires to appear in the form made recognizable through cinema (and its remediations in photo comics, magazines, and popular fiction). Tsotsi...
Social Text (2002) 20 (2 (71)): 65–91.
Published: 01 June 2002
... comic masterpiece, Black No More (1931). Equally science-focused, Black No More tells the story of Junius Crookman, African American doctor and inventor (and genius), and his invention of a medical process that can turn black people...
Social Text (2017) 35 (3 (132)): 41–70.
Published: 01 September 2017
... to their opponents. The verbal contestation intensified to heights just as absurd, bordering on comic, as did the editorially altered visual intensities. In this process, the hyperverbal character of stardom decisively obliterates the relatively muted acrobatics that precede it. 52 The sovereign voice restored...
Social Text (2012) 30 (3 (112)): 27–47.
Published: 01 September 2012
... externalizes the conflict, culminating in a contest 36 Harrison ∙ Staging Palestine in France-Algeria over the name of home: “France!/Israel!/Algeria!/Palestine!”39 This comic chiasmus illustrates the difference between colonizer and colonized, one that would have been immediately legible...
Social Text (2005) 23 (3-4 (84-85)): 35–56.
Published: 01 December 2005
... manhwa (Korean comic) books for girls, ﬁlled with love stories starring medusa-curled girls with huge galaxies for eyes, ﬁlled with stars and rainbows and tears, of happiness and depression. My little sister’s smart winter jacket (red). My little...
Social Text (2000) 18 (2 (63)): 83–106.
Published: 01 June 2000
..., and peaceful member of the Jets, is perhaps the most important site of a white Jewish gay subjectivity. Baby John is an avid reader of comic books featuring superheroes. The superhero identi- ﬁcation can be understood as a distinctly Jewish identiﬁcation to the extent...
Social Text (2010) 28 (2 (103)): 31–56.
Published: 01 June 2010
... as typical of the pastoral genre that emplots history as comic romance. “When history is emplotted in the comic mode,” she suggests, “its mode of historical explanation tends to be organicist and its ideological implica- tions conservative.”18 Abrahams...
Social Text (2011) 29 (4 (109)): 29–56.
Published: 01 December 2011
... clients not as best-selling authors but as iconic brands whose literary wares were amenable to value adding in a variety of ways. Lu remarked that there were substantial proﬁts to be made from “selling ﬁlm, TV and comic-strip...
Social Text (2009) 27 (4 (101)): 67–94.
Published: 01 December 2009
... sets provided a safely bounded space for play at transgression. “Jails,” for example, were common: dating cou- ples, families, or groups of friends posed in a wooden cell, often grasping the bars and snarling comically at the camera (fig. 5). Also common were crudely sexual and comic scenes...
Social Text (2013) 31 (4 (117)): 49–76.
Published: 01 December 2013
... rehearsal, “People watch our show mostly for the music. The songs are comic or dramatic interludes. They transition between scenes to illustrate the main moral points of the story . . . and give it more action and detail. . . . The music enriches the plots...
Social Text (2012) 30 (4 (113)): 127–141.
Published: 01 December 2012
... it? Why was I witnessing everything happening around me?” This film will end very differently, Karthi explains. “It’s very Holly wood. Hero comes in and saves the day.” Rocket Raja is a selfish and comical character, but he will avenge the fallen cop with decisive courage by the end...
Social Text (2015) 33 (3 (124)): 75–113.
Published: 01 September 2015
... mushrooms; then, as a supposed disguise, he is dressed in what amounts to comically inept Turner drag (a burlesque of a burlesque), all of which induces psychosexual vulnerability (see fg. 7). The process continues, however, with a jarring intrusion...
Social Text (2021) 39 (2 (147)): 51–67.
Published: 01 June 2021
... of minstrelsy, among other scripts. The most uncanny, and thus (to me) captivating, movements render the dancers akin to broken automatons or mechanical dolls controlled by an outside force or person. At one of the more comic moments in the performance, Brown moves to the front of the proscenium, approaches...