Abstract
This paper examines the treatment and characterization of women, sex, identity, and gender in the lesser known or studied comics of Alan Moore, Neil Gaiman, and Grant Morrison in order to discern what such an analysis tells us about each author's engagement with the issues and debates surrounding these sociopolitical and cultural phenomena. The purpose of this study is to discern how three of the most influential writers of contemporary comics books engage with themes of gender, identity, sexuality, and trauma and, in this way, set precedents that have come to be debated and critiqued in contemporary comics scholarship and fandom. It reveals that all three writers ostensibly engage with progressive imaginings of the self, sexuality, identity, and gender as mercurial, de-centred, and subject to play and change in each of the chosen case study characters. It finds that while ostensibly progressive, all three writers simultaneously recirculate certain conceptualizations of the relationships between identity, trauma, and sexuality by taking the histories in which they emerged as assumed.
Highlights
See the following for further reading on Feminist Comics ScholarshipAnna Kerchy's “Picturebooks Challenging Sexual Politics: Pro-Porn Feminist Comics and the Case of Melinda Gebbie and Alan Moore's Lost Girls”, Hungarian Journal of English and American Studies, 2014, pp. 121-142; Elizabeth Marshall and Leigh Gilmore's “Girlhood in the Gutter: Feminist Graphic Knowledge and the Visualization of Sexual Precarity”, Women's Studies Quarterly 43(1/2), 2015, pp. 95-114; and Tammy S
This paper examines the treatment and characterization of women, sex, identity, and gender in the lesser known or studied comics of Alan Moore, Neil Gaiman, and Grant Morrison in order to discern what such an analysis tells us about each author's en gagement with the issues and debates surrounding these sociopolitical and cultural phenomena
This paper seeks to explore the burgeoning moments of developments of this kind which while importantly exigent in and of themselves, are inextricable from the deconstructive, revisionist, and satirical comics that entered the Western mainstream in the 1980s and early 1990s
Summary
Anna Kerchy's “Picturebooks Challenging Sexual Politics: Pro-Porn Feminist Comics and the Case of Melinda Gebbie and Alan Moore's Lost Girls”, Hungarian Journal of English and American Studies, 2014, pp. 121-142; Elizabeth Marshall and Leigh Gilmore's “Girlhood in the Gutter: Feminist Graphic Knowledge and the Visualization of Sexual Precarity”, Women's Studies Quarterly 43(1/2), 2015, pp. 95-114; and Tammy S. Anna Kerchy's “Picturebooks Challenging Sexual Politics: Pro-Porn Feminist Comics and the Case of Melinda Gebbie and Alan Moore's Lost Girls”, Hungarian Journal of English and American Studies, 2014, pp. 121-142; Elizabeth Marshall and Leigh Gilmore's “Girlhood in the Gutter: Feminist Graphic Knowledge and the Visualization of Sexual Precarity”, Women's Studies Quarterly 43(1/2), 2015, pp. Mackenzie Grimes' “Blurring the Lines: Reinforcing Rape Myths in Comic Books”, Feminist Criminology 11(1), 2016, pp. Mackenzie Grimes' “Blurring the Lines: Reinforcing Rape Myths in Comic Books”, Feminist Criminology 11(1), 2016, pp. 48-68
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