LEADER 00000nam a2200505 i 4500 
001    978-3-030-36300-0 
003    DE-He213 
005    20200623165144.0 
006    m     o  d         
007    cr nn 008maaau 
008    200128s2020    sz      s         0 eng d 
020    9783030363000|q(electronic bk.) 
020    9783030362997|q(paper) 
024 7  10.1007/978-3-030-36300-0|2doi 
040    GP|cGP|erda 
041 0  eng 
050  4 PN6735|b.S774 2020 
082 04 741.5941|223 
100 1  Streeten, Nicola,|eauthor 
245 10 UK feminist cartoons and comics :|ba critical survey /|cby
       Nicola Streeten 
264  1 Cham :|bSpringer International Publishing :|bImprint: 
       Palgrave Macmillan,|c2020 
300    1 online resource (xix, 274 pages) :|billustrations, 
       digital ;|c24 cm 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
347    text file|bPDF|2rda 
490 1  Palgrave studies in comics and graphic novels 
505 0  1. Introduction -- 2. A Theory of Feminist Visual Humour -
       - 3. The 1970s: Anger and the Humourless Feminist -- 4. 
       The 1980s: An Alternative Direction for the Anger -- 5. 
       The 1990s: A New Generation -- 6. 2000-2019: A Change of 
       Attitude -- 7. Conclusion 
520    This book demonstrates that since the 1970s, British 
       feminist cartoons and comics have played an important part
       in the Women's Movement in Britain. A key component of 
       this has been humour. This aspect of feminist history in 
       Britain has not previously been documented. The book 
       questions why and how British feminists have used humour 
       in comics form to present serious political messages. It 
       also interrogates what the implications have been for the 
       development of feminist cartoons and for the 
       popularisation of feminism in Britain. The work responds 
       to recent North American feminist comics scholarship that 
       concentrates on North American autobiographical comics of 
       trauma by women. This book highlights the relevance of 
       humour and provides a comparative British perspective. The
       time frame is 1970 to 2019, chosen as representative of a 
       significant historical period for the development of 
       feminist cartoon and comics activity and of feminist 
       theory and practice. Research methods include archival 
       data collection, complemented by interviews with selected 
       cartoonists. Visual and textual analysis of specific 
       examples draws on literature from humour theory, comics 
       studies and feminist theory. Examples are also considered 
       as responses to the economic, social and political 
       contexts in which they were produced. Dr. Nicola Streeten 
       draws, talks, writes about, teaches and organises events 
       to do with comics. Her graphic memoir Billy, Me & You 
       (2011) is about her process of bereavement following the 
       death of her child. Her immersion in the comics community 
       has reinforced her world view that gender equality and 
       social acceptance of difference would improve the world 
       and that comics offers a creative platform to do this. Her
       doctoral research on feminist cartoons and comics in 
       Britain informed her co-editing of The Inking Woman (2018),
       an illustrated history of women's cartooning in Britain. 
       Nicola directs LDComics (est. 2009 as Laydeez do Comics), 
       the women-led comics forum welcoming to all 
650  0 Comic books, strips, etc.|zGreat Britain|xHistory and 
       criticism 
650  0 Comic books, strips, etc.|xPolitical aspects|zGreat 
       Britain 
650  0 Feminism and art 
650 14 Comics Studies 
650 24 Culture and Gender 
650 24 British and Irish Literature 
650 24 British Culture 
710 2  SpringerLink (Online service) 
773 0  |tSpringer eBooks 
830  0 Palgrave studies in comics and graphic novels 
856 40 |uhttps://doi.org/10.1007/978-3-030-36300-0