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Many readers look to comics and cartoons for entertainment, but they can also inform, as well as inspire, controversy and even acts of political violence, as the Jyllands-Posten and Charlie Hebdo cases demonstrate. Indeed, politics and comics connect and overlap in all sorts of ways. This review essay explores the nexus of politics and comics at a time when a growing number of cartoonists are creating extended works of graphic nonfiction that address serious political and historical themes.

The aim of this article is to analyse contemporary feminist comics by the Swedish comics artists Åsa Grennvall/Schagerström, Lotta Sjöberg and Sara Granér in relation to the ongoing movement called craftivism, as defined by Betsy Greer and her fellow crafters. The article argues that embroidered feminist comics can be regarded as comics craftivism, since, although similar to drawings, they are all sewn by needle and thread, and often thematise topics connected to craftivism's ideas concerning 'raising consciousness, creating a better world stitch by stitch'. The comics artists use embroidered comics to create 'wider conversations about uncomfortable issues', e.g. feminist issues, such as being trapped in a violent relationship as in Schagerström's cover image for Svinet [The Swine], or the unequal sharing of household work in Sjöberg's sequential story in Det kan alltid bli värre. [It can always get worse]. The feminist, craftivist comics artists are engaged in the politics of the handmade – narrating through textiles. The content concerns political, environmental and gender issues. Comics craftivism contributes to the renewal of the comics medium, and while experimenting artistically with materials and techniques, practitioners thematise new ideas as well as new perspectives on lingering problems, often with irony and humour. ; Contemporary Swedish Feminist Comics as Medium for Political Activism and Critique (VR2018-01165)

Comics sind politisch - oft in unerwarteter Weise. Neben der Thematisierung der Politik in Comics und der Behandlung der Comics durch Politik, arbeitet eine genuin politische Ästhetik im Comic. (APuZ)

"Comics sind politisch; oft in unerwarteter Weise. Neben der Thematisierung der Politik in Comics und der Behandlung der Comics durch Politik, arbeitet eine genuin politische Ästhetik im Comic." (Autorenreferat)

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 does the emphasis on these two women authors as Middle Easterners play in the reception of their books in Europe and the United States? How do transnational literatures capitulate to (neo)imperial projects? How do comics, by introducing new criteria for literary assessment, compel us to radically remap the location of culture?

'What is Comics Journalism,' and 'Why is the author not dead at all?' Because literature and journalism deal differently with "authorship" and "author," this work renegotiates these concepts. It analyzes the author's importance in comics journalism, especially concerning the verification and authentication of the production process. This study gives a broad and extensive overview of the various forms of contemporary comics journalism, and argues that authorship in comics journalism can only be adequately understood by considering the author both on the textual and extratextual level. By combining comics analyses with cultural, sociological, and literary studies approaches, this study introduces the 'comics journalistic pact,' which is an invisible agreement between author and reader, addressing issues of narration ('voice'), testimony ('face'), and journalistic engagement ('hands'). It categorizes comics journalism as a borderline genre between literature, culture, art, and journalism due to its interdisciplinary nature.

Introduction: Why Comics and Archaeology? -- 'The Aliens from 2,000 B.C.!': Truth, Fiction and Pseudoarchaeology in American Comic Books -- Panels from the South Seas: Pacific Colonialism, Archaeology, and Pseudoscience in Francophone Bande Dessinée -- Making Sargon Great Again: Reuse and Reappropriation of Ancient Mesopotamian Imagery in Fan-Art of the Online Right -- Creating Comics for Public Engagement in Roman Aeclanum: Illustrating Ancient History -- "Mix, Mould, Fire!": Comic Art and Educational Outreach Inspired by Archaeology -- "They Do Things Differently There": Articulating the Unfamiliar Past in Community Heritage Comics.

'What is Comics Journalism,' and 'Why is the author not dead at all?' Because literature and journalism deal differently with "authorship" and "author," this work renegotiates these concepts. It analyzes the author's importance in comics journalism, especially concerning the verification and authentication of the production process. This study gives a broad and extensive overview of the various forms of contemporary comics journalism, and argues that authorship in comics journalism can only be adequately understood by considering the author both on the textual and extratextual level. By combining comics analyses with cultural, sociological, and literary studies approaches, this study introduces the 'comics journalistic pact,' which is an invisible agreement between author and reader, addressing issues of narration ('voice'), testimony ('face'), and journalistic engagement ('hands'). It categorizes comics journalism as a borderline genre between literature, culture, art, and journalism due to its interdisciplinary nature.