Tag Archives: alison bechdel

[Comics] as Reading – Chapter 5 – Introduction, or [Comics] as Guide to Textual Subjectivity pt. 2

The question of textual subjectivity, then, is not distinct from questions of reality or, if we must, ontology. The contradiction of being subject of one’s own experiences while being also the object of others’, of understanding how texts are both embedded in an array of media while also manifesting that array in part, finds a satisfying if still imperfect resolution in this reading of Mizuki’s-after-Bechdel’s text, in a mutual reality. This reality in which [comic] and human subjects might co-exist is neither strictly empirical—though it can be observed—as with something purely objective, nor strictly subjective, in that it is solely a conceptual construct superimposed upon the material encountered in the world. It is mutual, because it is shared and therefore depends upon our invigorating it and investing it both with that which we are and that which we presume others to be. It is not dependent upon us, though, or a particular subset of us, since it has the potential to live and breathe anywhere it might forge or be used to forge interconnections among us.

[Comics] as Reading – Chapter 5 – Introduction, or [Comics] as Guide to Textual Subjectivity pt. 1

[Editorial Note – Today’s post apparently coincides with the third anniversary of the existence of this blog.  Hurray?  Anyway, I have to apologize for the interval between when I finished posting chapter 4 and now, but I was just not satisfied with what I had originally written, and so proffer this much longer and hopefully […]

[Comics] as Reading – Chapter 3 – Discipline, Langue, and Play in the Discourse of [Comic] Studies pt. 5

This attempt to draw the “automatic” back into the “conscientious” is necessary if we are to see what is harmful in the distinction between theory and practice Miodrag makes and in the assumptions upon which that distinction is predicated. What both Edwards and McGann (along with the silent Drucker) demonstrate, each one a practically oriented theorist in her/his own way, is that there is a how to perception and how perception translates into understanding (and, perhaps more importantly, how understanding a priori influences perception) is key to loosening the theoretical binds in which we so often find ourselves. Moreover, while Miodrag’s diatribe falls short of exhorting the academy to expel the practitioner barbarians, her call to discipline them—or kindly request that they discipline themselves—is both outrageous and self-defeating. The practical know-how—be it artistic or editorial or writerly or whatever—that [comics] practitioners bring to bear has obvious ramifications for the arcane arts of theoretical speculation.

[Comics] as Reading – Chapter 3 – Discipline, Langue, and Play in the Discourse of [Comic] Studies pt. 1

There is a sense in which the moment of publication, understood broadly as when a text enters into the public sphere, is one in which it is already reproduced. From an editorial perspective, what one sees in print is the product of many hands and likely many revisions, most of which never see the light of day, and so to speak of it as an “original,” while apt in some respects, is to invisibilize a process that has a more or less determinative relationship to what a reader might encounter as text.