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Considering the rise of transgender representation and discussion across many media platforms (television, film, print, social networking, etc.), how does such burgeoning and diverse exposure affect transgender individuals and communities? This project explores the ways in which transgender communities have developed and investigated potential for alternative and community-created representations of transgender experiences. With a particular focus on the utility and versatility of digital spaces, this project investigates the potential of web comics in harnessing both digital space and graphic narrative in creating alternative representation and discourse. The ensuing work, Maps, follows the journey of a cast of queer and transgender characters on a journey through the American South in search of family and justice.

My dissertation argues that comics’ unique formal properties are particularly suited toward exploring and representing the complex nature of identity. Just as the comics form is broadly defined by a peculiar tension between word and image, so identity can be conceived as a constant negotiation between abstract (“unrepresentable”) concepts that define identity and an individual’s attempts to represent that identity. Due to its formal negotiation of word and image, the comics form is thus uniquely suited to address the problems of identity and its representation. I begin this project by examining the relationship between word and image in comics. Some comics scholars have argued verbal and visual signification are hybridized, while others go so far as to claim the distinction between word and image is unsustainable. Still others reject these claims, arguing comics’ hybridity necessitates a strict separation of word from image. I argue that words and images in comics function on a spectrum in which the line between word and image must be able to be hybridized and distinct at the same time. This definition of the word/image relationship can describe the most straightforward, illustrative comics as well as the most experimental comics texts; it also provides the methodological framework for my project. In this dissertation, I examine the representation of gendered identity in Gilbert Hernandez's Love and Rockets stories and Junot Díaz's novel The Brief Wondrous Life of Oscar Wao, arguing both authors’ injunction that the reader look at the mothers in their works is evidence of their demand that we understand the women as whole, ambivalent subjects. I explore the way the Gene Yang and Sonny Liew’s graphic novel The Shadow Hero addresses the repressive and racist history of superhero comics. In doing so, Yang and Liew’s text reveals the ways superhero texts constantly negotiate the genre’s conservative instinct to protect the status quo and its revolutionary vision for a better world. Finally, I contend Greg Rucka and J. H. Williams III's Batwoman: Elegy reveals at least one intrinsically progressive theme in superhero genre: its performative and inherently queer conception of identity.

My art examines visual culture using a plethora of techniques, formats, and materials. Recent works address family, pop-culture, and politics utilizing portraiture and short-form comics. Much of my art expresses humor through colorful, irreverent imagery, and many works employ satire and parody. Leveraging my experience as a professional illustrator and designer, I tailor my approach to each project, drawing upon divergent styles with an emphasis on polish and accessibility. I frequently adapt well-known images to recontextualize subjects. In my investigation of graphic narrative, I produced political comics, vintage comic book parodies, and experimental, interactive work. This body of work was produced with brushes and paint, touchscreen tablet, digital prints, LED lights, magnetic stock, and more. Though disparate in shape and content, the works are united by a joyful exploration of process and form.

Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts / Thesis (MA (VA)) -- Stellenbosch University, 2006. / ENGLISH ABSTRACT: Cultural evolution & genre: an investigation of three South African graphic narratives of the South African Border war (1975-1988) Magister in Fine Arts thesis, Department of Fine Arts, Stellenbosch University This study analyses three South African graphic narratives in the context of culture evolving in the Darwinian sense. It is deemed necessary to consider evolutionary theory in such a study of graphic narratives as it considers the development of culture as resulting from a process of evolution akin to natural selection. Special attention is paid to the theory of memetics, in the field of evolutionary epistemology, and its proposal to model cultural evolution. While this model relies on evolutionary theory, the development of culture is seen as evolving separately from biological evolution. This evolutionary perspective on culture is combined with the concepts of discourse and genre in social semiotics and media studies to investigate the changes in the depiction of the Border war in South African graphic narratives. As such this study focuses on the strategic viewpoint of cultural evolution, the role of memes in genre and its interaction with the evolution of discourse. This approach is offered as a useful method to analyse cultural artefacts. / AFRIKAANSE OPSOMMING: Kulturele evolusie & genre: 'n ondersoek van drie grafiese verhale van die Suid-Afrikaanse Grensoorlog (1975-1988) Magister in Beeldende Kunste tesis, Oepat1ement Beeldende Kunste, Universiteit van Stellcnbosch Hicrdie studic ontleed drie Suid-Afrikaanse graficse verhale in die konteks van kultuur wat evolueer in die Oarwinistiese sin. Oit word belangrik gereken om evolusieteorie in so 'n studie van grafiese verhale in ag te neem aangesien die ontwikkeling van kultuur as die resultaat van 'n proses van evolusie, verwand aan natuurlike seleksie, geag word. Spesiale aandag word geskenk aan die teorie van meme, in die veld van evolusieepistemologie, en die teorie se voorstel om kulturele evolusie te modelleer. Terwyl so 'n teorie op evolusieteorie steun, word die ontwikkeling van kultuur beskou as 'n afsonderlike proses van natuurlike seleksie. Hierdie evolusienere perspektief op kultuur word verenig met die konsepte van diskoers en genre in sosiale semiotiek en media studies om die veranderende uitbeelding van die Grensoorlog in Suid-Afrikaanse gratiese verhale na te vors. Sodanig fokus hierdie studie op die strategiesc oogpunt van kulturele evolusie, die rol van meme in genre en die interaksie met die ontwikkeling van diskoers. Hierdie benadering word aangebied as 'n waardevolle metode om kulturele artefakte te ontleed.

Esta dissertação tem por objetivo analisar a poética do quadrinho experimental, tendo como corpus principal a obra Building Stories, do quadrinista norte-americano Chris Ware. Building Stories é composto por quatorze impressos, de diferentes formatos e tamanhos. Não é apresentada uma ordem de leitura, permitindo ao leitor escolher seu caminho livremente (dentro das 87 bilhões de combinações possíveis). A primeira parte da pesquisa ocupa-se de fazer um recorte diacrônico que contextualize a obra de Ware, mostrando movimentos de ruptura do quadrinho norte-americano, a partir dos underground comix de 1960-70. Dentre as diversas vertentes surgidas do underground, destaca-se o alternativo ao qual pertencem nomes como Art Spiegelman, Richard McGuire e Chris Ware. A consideração das características do quadrinho alternativo permitem mostrar algumas das singularidades da narrativa gráfica experimental e como Ware se coloca em relação a essa produção. Se faz necessário também apresentar o trabalho de Ware, seu percurso como quadrinista e as características de sua criação, exploradas também nas histórias analisadas nesta dissertação. A segunda parte da pesquisa faz um recorte de duas das quatorze histórias contidas em Building Stories, para análise. A seleção visa apresentar a obra de Ware, mostrando narrativas gráficas que apresentam algumas de suas principais características e a poética dessas narrativas. As análises se utilizam (i) da teoria greimasiana sobre o texto, observando o percurso gerativo do sentido; (ii) a teoria dos sistemas semissimbólicos, a partir dos estudos de Jean-Marie Floch e Antonio Vicente Pietroforte sobre o texto sincrético dos quadrinhos e (iii) a teoria zilberbergiana, naquilo que concerne a missividade e o ritmo. Por meio da aplicação desses três modelos teóricos, busca-se fazer uma análise abrangente dos quadrinhos de Ware, mostrando a complexidade de suas narrativas, nas quais a estrutura formal do quadrinho faz uma proposta de leitura alternativa. A terceira parte, por fim, se debruça sobre a estrutura de Building Stories, estabelecendo um paralelo entre as múltiplas combinações possíveis de histórias e o conceito saussuriano de relação sintagmática. A subversão da leitura linear (presente nas narrativas gráficas convencionais) permite que se percorra o quadrinho por diversos caminhos, a partir de diferentes pontos de partida: a identidade dos personagens é construída a cada texto escolhido. / This dissertation aims to analyze the poetics of the experimental comic, presents as main corpus the oeuvre Building Stories, by North American comic author Chris Ware. Building Stories consists of fourteen prints, of different shapes and sizes. A reading order is not suggested, allowing the readers to freely choose their own path (within its 87 billion possible combinations). The first part of this research makes a diachronic clipping that contextualizes Wares work, presenting the rupture movements of American comics, starting from the underground comix of the 1960s and 70s. Among the varieties of non-mainstream comics that came after the underground, alternative comics are highlighted, featuring names such as Art Spiegelman, Richard McGuire and Chris Ware. A consideration of the characteristics of alternative comics shows some of the singularities of the experimental graphic narrative and how Wares comics stand in relation to this form of production. It is also necessary to present Wares work, his course as a comics author and the characteristics of his creations, explored also in the stories analyzed in this dissertation. The second part of the research selects two of the fourteen prints in Building Stories, for further analysis. The selection aims to present Wares oeuvre, showing graphic narratives that feature some of its characteristics and their poetic qualities. The analysis makes use of (i) the Greimasian theory of text, following the generative course of meaning; (ii) the theory of semi-symbolic systems, based on the studies of Jean-Marie Floch and Antonio Vicente Pietroforte on the syncretic text of comics and (iii) the Zilberbergian theory, in regards to missivity and rhythm. Through the application of these theoretical models, it is sought to make a comprehensive analysis of Wares comics, showing the formal complexity of his narratives, in which the formal structure of the comic proposes an alternative form of reading. The third part, lastly, focuses on the structure of Building Stories, establishing a parallel between its multiple possible combinations and the Saussurian concept of syntagmatic relation. The subversion of the linear reading (featured in conventional graphic narratives) allows the reader to follow different paths in the comic, from different starting points: the identity of its characters is constructed with each chosen text.

Esta dissertação tem por objetivo analisar a poética do quadrinho experimental, tendo como corpus principal a obra Building Stories, do quadrinista norte-americano Chris Ware. Building Stories é composto por quatorze impressos, de diferentes formatos e tamanhos. Não é apresentada uma ordem de leitura, permitindo ao leitor escolher seu caminho livremente (dentro das 87 bilhões de combinações possíveis). A primeira parte da pesquisa ocupa-se de fazer um recorte diacrônico que contextualize a obra de Ware, mostrando movimentos de ruptura do quadrinho norte-americano, a partir dos underground comix de 1960-70. Dentre as diversas vertentes surgidas do underground, destaca-se o alternativo ao qual pertencem nomes como Art Spiegelman, Richard McGuire e Chris Ware. A consideração das características do quadrinho alternativo permitem mostrar algumas das singularidades da narrativa gráfica experimental e como Ware se coloca em relação a essa produção. Se faz necessário também apresentar o trabalho de Ware, seu percurso como quadrinista e as características de sua criação, exploradas também nas histórias analisadas nesta dissertação. A segunda parte da pesquisa faz um recorte de duas das quatorze histórias contidas em Building Stories, para análise. A seleção visa apresentar a obra de Ware, mostrando narrativas gráficas que apresentam algumas de suas principais características e a poética dessas narrativas. As análises se utilizam (i) da teoria greimasiana sobre o texto, observando o percurso gerativo do sentido; (ii) a teoria dos sistemas semissimbólicos, a partir dos estudos de Jean-Marie Floch e Antonio Vicente Pietroforte sobre o texto sincrético dos quadrinhos e (iii) a teoria zilberbergiana, naquilo que concerne a missividade e o ritmo. Por meio da aplicação desses três modelos teóricos, busca-se fazer uma análise abrangente dos quadrinhos de Ware, mostrando a complexidade de suas narrativas, nas quais a estrutura formal do quadrinho faz uma proposta de leitura alternativa. A terceira parte, por fim, se debruça sobre a estrutura de Building Stories, estabelecendo um paralelo entre as múltiplas combinações possíveis de histórias e o conceito saussuriano de relação sintagmática. A subversão da leitura linear (presente nas narrativas gráficas convencionais) permite que se percorra o quadrinho por diversos caminhos, a partir de diferentes pontos de partida: a identidade dos personagens é construída a cada texto escolhido. / This dissertation aims to analyze the poetics of the experimental comic, presents as main corpus the oeuvre Building Stories, by North American comic author Chris Ware. Building Stories consists of fourteen prints, of different shapes and sizes. A reading order is not suggested, allowing the readers to freely choose their own path (within its 87 billion possible combinations). The first part of this research makes a diachronic clipping that contextualizes Wares work, presenting the rupture movements of American comics, starting from the underground comix of the 1960s and 70s. Among the varieties of non-mainstream comics that came after the underground, alternative comics are highlighted, featuring names such as Art Spiegelman, Richard McGuire and Chris Ware. A consideration of the characteristics of alternative comics shows some of the singularities of the experimental graphic narrative and how Wares comics stand in relation to this form of production. It is also necessary to present Wares work, his course as a comics author and the characteristics of his creations, explored also in the stories analyzed in this dissertation. The second part of the research selects two of the fourteen prints in Building Stories, for further analysis. The selection aims to present Wares oeuvre, showing graphic narratives that feature some of its characteristics and their poetic qualities. The analysis makes use of (i) the Greimasian theory of text, following the generative course of meaning; (ii) the theory of semi-symbolic systems, based on the studies of Jean-Marie Floch and Antonio Vicente Pietroforte on the syncretic text of comics and (iii) the Zilberbergian theory, in regards to missivity and rhythm. Through the application of these theoretical models, it is sought to make a comprehensive analysis of Wares comics, showing the formal complexity of his narratives, in which the formal structure of the comic proposes an alternative form of reading. The third part, lastly, focuses on the structure of Building Stories, establishing a parallel between its multiple possible combinations and the Saussurian concept of syntagmatic relation. The subversion of the linear reading (featured in conventional graphic narratives) allows the reader to follow different paths in the comic, from different starting points: the identity of its characters is constructed with each chosen text.

Graphic Intimacies: Identity, Humor, and Trauma in Autobiographical Comics by Women of Color examines works of comics art about the lived experience of the comics’ creator. These graphic narratives address racialized difference and the construction of identity while also using humor to negotiate their narrations of traumatic events. I argue that these creators employ the structure of comics to replicate the fragmentary nature of memory. Comics allow for the representation of trauma as being intimately linked to corporeality. The comics medium allows creators to make visible and present fractured versions of the self, a product of traumatic fragmentation. Drawing traumatic memories becomes a symbolic enactment of transformation. Comics become a way of coping with the fragmentary nature of traumatic memory, permitting a consolidation of memory even when a totality is impossible. Graphic Intimacies examines representative texts by four autobiographical cartoonists: Lynda Barry, Belle Yang, MariNaomi, and Whit Taylor. Each of these cartoonists engages in critiques of social issues through the negotiation of a multilayered identity. For instance, Barry’s One Hundred Demons (2002) explores her identity as a white-passing Filipino American growing up in a low-income neighborhood. In Forget Sorrow: An Ancestral Tale (2011), Yang a Taiwanese born Chinese American artist, tells the story of her father’s family in order to heal from the trauma of intimate partner abuse. Biracial Japanese American artist MariNaomi explores her disconnection from her Japanese heritage while chronicling her experiences working in Japanese-style hostess bars in Turning Japanese (2016).

Readings of Fun Home thus far have tended to focus on the representation of Alison Bechdel’s traumatic life experiences and on the ways in which the memoir bears witness to that trauma. While Jennifer Lemberg explores the role of drawing in overcoming the difficulty or impossibility of naming the traumatic experiences Alison undergoes (135), Ann Cvetkovich draws attention to the cultural and political work the memoir performs by making space for everyday life histories of trauma and for accounts of forbidden, pathologized desires (111). I would like to explore the ways in which Fun Home foregrounds those illicit desires, and performs that political work, not only through the telling of Alison’s story but, more specifically, by mobilizing the reader’s affective capabilities in the face of what may be read as surprising, emotionally charged objects and situations. I suggest that Bechdel’s memoir boldly sets the stage for an affective and cognitive encounter with out-of-bounds, unapproachable bodies and histories. Our assumptions about hetero and homonormativity, as well as our conception of home and the family as heterosexual, normative spaces, are interrogated in and through those encounters. I analyze the fundamental role of the graphic narrative form, and the employment of archival objects and elements of performance in particular, in setting the stage for the reader’s affective encounter with Alison’s family history. / text

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