Cartoon History Research Articles

The Sensual Surplus of History: Cao Hanmei’s Pictorial Adaptations of Jin Ping Mei in Wartime China

This paper explores the life and works of Cao Hanmei as a “misfit” in Chinese cartoon history, who, against the dominant understanding of wartime cartoons as a form of resistance and enlightenment, chose to visualize Jin Ping Mei in occupied Shanghai. I examine the stylistic transformations throughout Cao’s two-decade-long endeavors visualizing the novel and unravel the intricate dynamics between his works and his times. I argue that Cao’s pictorial adaptations of Jin Ping Mei engage with history not only by projecting contemporary struggles, chaos, and trauma onto a well-known ancient story, as other critics have suggested, but more importantly by constructing a “sensual surplus” that defies appropriation by the grand narratives of history. This sensual surplus manifests in his affective combination of the genre hybridity and stylistic anachronism of manhua, the critical re-envisioning of female characters, and the mobilization of feminine details and condensed surfaces. Through Cao’s case, this paper aims to enrich the understanding of the complexity of Shanghai’s visual culture in the 1930s and 1940s, especially the continuities and discontinuities after the Japanese occupation, and to demonstrate the porous boundary between cartoons and other forms of visual arts that approach history through images.

Çocuklar için çizgi romanla tarih anlatısı, çevirisi ve eleştirisi

Çalışmamızda eğitsel çizgi romanların çevirisi üzerinde durulmaktadır. Ancak, çalışmada tek bir eser ve çevirisine örnek olarak odaklanılacaktır: Larry Gonick tarafından kaleme alınan The Cartoon History of the Universe Volumes 1-7 From the Big Bang to Alexander the Great (1990) ve ….. tarafından 2010 yılında yapılan XXXXX’ başlıklı XXXX tarafından basılan çevirisi. Bu çalışmanın amacı Türkçeye çevrilmiş bir eğitsel çizgi romanın ilk olarak çevirmeninin gözünden (kısıtlar, çeviri zorlukları, çeviri seçimleri ve benzeri.) anlatmak ve çevirmenin yazdığı bölümü görmeyen ve kitaba bir uzman çeviri eleştirmeni/ editör olarak yaklaşacak bir başka gözden kaynak ve erek metin karşılaştırmalı olarak değerlendirmektir. Bu sürecin amacı ise çevirmenin amaçladığı metne dair bulgularının eleştirmen ve editörün bulguları ile karşılaştırmak ve eleştirmenin gözünden nasıl yorumlandığını incelemek, dolayısıyla da çevirmen ve eleştirmen bakış açısındaki farklılıkları veya benzerlikleri ortaya koymaktır. Bunun ötesinde de sonuç bölümünde açıklandığı üzere çeviride aktör-ağ kuramı açısından bu yaklaşımın özellikle de çizgi roman çevirisinde öneminin altını çizmektir. Çalışma kısaca, çizgi romanların çeviribilim alanında nadir incelendiğini ve neden incelenmesi gerektiğini ortaya koyan giriş bölümüyle başlar. Bunu takiben çizgi roman çevirisi konusunda kısaca bir alan yazını taraması sunulur. İngilizceden Türkçeye çevrilen bir bütünce işlendiğinden bir sonraki bölümde kısaca Türkiye’de çizgi roman çevirisi üzerinde durulmaktadır. Bütünce eğitsel bir çizgi roman olduğundan bir sonraki bölümde eğitsel çizgi romanların çevirisi konusuna değinilerek kaynak metin ve yazarı hakkında kısa bilgi verilmektedir. Araştırma metodolojisinin anlatıldığı kısmı takiben ilk önce çevirmenin analizi ve anlatısı, daha sonra çevirmenden tamamen bağımsız olarak oluşturulan eleştirmen/editörün çeviri analizi sunulmaktadır. Tartışma bölümünde bu iki analiz bölümündeki bilgiler harmanlanarak, farklılıklar, benzerlikler açısından değerlendirilecek ve yorumlanacaktır. Sonuç bölümünde ise bulgular özetlenmektedir.

The third AI summer: AAAI Robert S. Engelmore Memorial Lecture

The third AI summer: AAAI Robert S. Engelmore Memorial Lecture

Lalo Alcaraz: Political Cartooning in the Latino Community

Lalo Alcaraz: Political Cartooning in the Latino Community

Cartoons and Collaboration in Wartime China

The work of Chinese cartoonists who published their illustrations in the popular press in occupied China from 1937 to 1945 has largely escaped the attention of scholars of both the occupation itself and the broader field of cartoon history. This article seeks to fill this gap in the literature by analyzing how the very nature of the occupation, together with efforts undertaken by collaborationist governments such as that of Wang Jingwei, created a context in which a particular body of artists could continue to draw. In so doing, the article raises questions about the place of “collaborationist” cartoonists in the broader development of art and propaganda in China and about the very nature of collaboration in the Chinese context.

출판만화 칸새의 유형별 특징

칸과 칸의 반복을 통해 만화는 그 내용과 이미지를 구동시키고 독자에게 전달한다. 칸은 시 공간의 단면적 요소를 담고 있으며, 칸의 반복은 이러한 단면들을 연속되는 흐름으로 변화시키는 역할을 한다. 연속적 흐름을 원활하게 이어주는 역할은 칸과 칸 사이에 존재하는 칸새에 의해 이루어지고 초창기 칸새의 운용은 칸에 의한 수동적 의미가 대부분이었다. 그러나 칸새는 단지 칸과 칸을 이어주는 매개체의 역할뿐만 아니라 만화 구성에 새로운 표현 방식을 창출하는 효율적 참여 장치이다. 칸새의 특징적 기능은 만화의 역사와 궤를 같이 하며 만화의 구성에 새로운 연출방식을 제시하며 그 명맥을 이어왔다. 칸새의 특징적 기능으로는 장면전환 기능, 회상 기능, 말칸 기능, 팬 기능, 장식적 기능으로 크게 나눌 수 있고 이들 유형은 칸새의 직접적인 표현방식으로 만화연출에 능동적으로 기능한다. 이 기능적 요소들은 작가가 의도한 바에 의해 표현되고 서술되는 내용에 따라 그 빈도가 일정치 않지만 보편화된 경우, 작가 개개인의 차이가 누적되어 활용되는 빈도에 따라 새로운 연출구성의 방향이 제시될 수도 있을 것이다. Cartoons exhibit contents and images and deliver them to readers by repeating frames. Frames embody the cross sectional factors of space-time, and the repetition of frames makes those cross sectional factors into a continuous flow. The gutter, which exists between frames, takes the role to make the continuous flow link smoothly, and at the beginning stage of the gutter, the operating of the gutter was usually passive by the frame meanings. However, the gutter is not just a medium for linking the frames, but is an efficient participation device for creating new expression methods of cartoon organization. By producing new directing methods for cartoon organization, the distinctive functions of the gutter have been kept alive with cartoon history. The distinctive functions of the gutter can be divided largely into transition function, reminiscence function, speech balloon function, pen function, and decorative function. And those functions perform actively as direct expression method of the gutter. When those functional methods are expressed by the author's intention and the frequency of them is generalized according to described contents, using each author's individual differences can suggest direction for new directing organization of cartoons.

Jews in America: A Cartoon History , and: Jews and American Comics: An Illustrated History of an American Art Form (review)

Jews in Americas A Cartoon History, by David Gantz. Rev. ed. Philadelphia: The Jewish Publication Society, 2006. 168 pp. $28.00. Jews and American Comics: An Illustrated History of an American Art Form, edited by Paul Buhle. New York: The New Press, 2008. 198 pp. $29.95. David Gantz, in Jews in America, and Paul Buhle, in Jews and American Comics: An Illustrated History of an American Art Form, present narratives of important Jewish contributions to American culture, both in macro-historical sense and in microcosmic world of American comics. Gantz presents a history of Jewish life in United States in graphic novel form, while Buhle uncovers extensive Jewish American contribution to comic arts (and all of its mass cultural influences) through examples of over ninety Jewishauthored comic strips. In both narratives Jewish are established to be as integral and authentic to America as apple pie. Further, both Gantz and Buhle implicitly argue that Jewish American influence in creation of United States and its popular culture proves its earned place in history, underscoring anxious fears of displacement that are remnants of suffering and repeated exiles of Jewish histories. In Buhle'sjetvi and American Comics, each chapter of textual analysis is followed by a series of Jewish American comics, permitting reader to witness narrated evolution of this particular comic art. While Buhle weaves together into his story an overview of Jewish American comic history, it is a particular type of comprehensive lens. The book mostly focuses on male comic artists, including a few, like Robert Crumb, who wrote on Jewish themes despite having been born Gentile. Buhle, however, is not unaware of this discrepancy. He carefully notes gender inequalities in comic publications and works to take into account women comic artists who have been included in what can be called Jewish American comics canon. Buhle's introduction emphasizes importance of comic strips in creation and reproduction of Jewish American life, in a way that even supersedes die significance of Hollywood. He concedes that nowhere but and mainly behind-the-camera was Jewish role so influential in a major form of popular art (p. 9). Yet, Buhle also contends, 'just as Los Angeles would never be as Jewish as New York, movies could never be as Jewish as comic books, which, irrespective of actual images that were almost entirely Gentile, were produced by Jews masses (p. 9). He continues to establish that tracing Jewish American comics since their inception (as he does here) is a much more fruitful and illuminating endeavor in understanding Jewish Americanization process than tracing Hollywood's Jewish-influenced history. He argues that Jews in America have been on an extended journey to find themselves last hundred years and that comics created and produced by Jewish artists grapple with ambivalences of identity in new world. In this struggle identity, Buhle finds that comic artistry worked differently Jewish who had achieved prosperity and assimilation than those who struggled economically and culturally. He argues that for educated, assimilated Jewish Americans in beginning of twentieth century, the comic strip provided a guilty pleasure at best, an embarrassment at worst, offering further evidence (along with Hollywood, meaning films) of cultural philistinism, vulgarity sans dirty words (p. 19). However, those within cultural ghetto of Yiddish world, things looked very different (p. 20). More-assimilated Jews at this time wrote comics popular papers without notable radical, artistic intentions, while their unassimilated, newcomer counterparts were beginning to embark on this journey of self-definition in cloistered world of Jewish-only readers. As assimilation took hold and Yiddish comic strips became outmoded, Jewish presence in comic strips, as in grew while Jewish content became more covert. …

Bishops, Boozers, Brethren and Burkas: Towards a Cartoon History of Religion in New Zealand

In his 1941 centennial survey of New Zealand, Oliver Duff observed, 'We are not Puritan enough to take our pleasures sadly, but we take them very seriously'. Duff's comments offer a useful starting point for the investigation of cartoons in New Zealand history. Cartoons - that is, editorial cartoons - are a serious pleasure, a type of puritanical corruption of a Protestant sensibility. They are an act of protest, commonplace in the main, but expressed in such a manner as to make the commonplace interesting. Ingvild Saelifd Gilhus, in her study on laughter in the history of religion, refers to Bakhtin's description of carnival laughter as virtually an alternative to religion. Carnival laughter is 'cathartic and salvific, an expression of rebellion aimed at the religious authorities and their institutions, past and present'. This essay seeks to explore the ways that the carnivalistic humour of the cartoon has represented religion in New Zealand over the past 150 years, aiming to lay the ground work for developing a cartoon history of religion in our society.

Earth after the Moon-forming impact

The Hadean Earth is widely and enduringly pictured as a world of exuberant volcanism, exploding meteors, huge craters, infernal heat, and billowing sulfurous steams; i.e., a world of fire and brimstone punctuated with blows to the head. In the background the Moon looms gigantic in the sky. The popular image has given it a name that celebrates our mythic roots. A hot early Earth is an inevitable consequence of accretion. The Moon-forming impact ensured that Earth as we know it emerged from a fog of silicate vapor. The impact separated the volatiles from the silicates. It took approx. 100 years to condense and rain out the bulk of the vaporized silicates, although relatively volatile elements may have remained present in the atmosphere throughout the magma ocena stage. The magma ocean lasted approx. 2 Myr, its lifetime prolonged by tidal heating and thermal blanketing by a thick CO2-rich steam atmosphere. Water oceans condensed quickly after the mantle solidified, but for some 10-100 Myr the surface would have stayed warm (approx. 500 K) until the CO2 was removed into the mantle. Thereafter the faint young Sun suggests that a lifeless Earth would always have been evolving toward a bitterly cold ice world, but the cooling trend was fiequently interrupted by volcanic or impact induced thaws. A cartoon history of water, temperature, and carbon dioxide in the aftermath of the moon-formining-impact is shown. How long it stays hot depends on how long it takes to scrub the C02 out of the atmosphere.

Liminality and Mestiza Consciousness in Lynda Barry's "One Hundred Demons"

While most Filipino American artists have yet to register on American culture's radar screen, Pinay (1) has single-handedly redefined and influenced American popular culture for over twenty years. Hailed by The Village Voice as one of the greatest cartoonists in the world, Lynda K. Barry, born in 1956, is best known for the syndicated alternative newspaper comic strip, Ernie Pook's Comeek and its high-spirited gifted child Marlys Mullen (qtd. in Hempel 1). (2) She is heralded for her contributions to alternative comics and comix, and recently garnered critical acclaim for her disturbing first novel, Cruddy. What many of her fans may not know, however, is that Barry's earliest work includes stories of her growing up working-class, mixed-race in Seattle in the 1960s. Hundred Demons, series of twenty-panel full-color strips, published semi-monthly online from April 7, 2000, to January 15, 2001, signals her return to this more autobiographical, self-reflexive mode. (3) Barry recently published these comics in book form under the same title. This essay will outline Barry's important but overlooked contributions to the growing body of American feminist (peminist) writings and to contemporary Filipino American cultural production in general. (4) One Hundred Demons is an exploration of events and memories that deeply affected the artist, namely, her childhood and its manifold tragedies, large and small. It deftly exhibits the hallmarks of Barry's powerful storytelling aesthetic: her deliberately naive style complements the brutally honest musings of its young narrator and the often harsh subjects of the strips themselves. Issues of identity and liminality emerge from this collection of comics, themes which have particular resonance for Filipino Americans. Most significant is the fact that these themes are explored from the standpoint of mixed-race narrator, Lynda. With her freckles, bright red hair, and white skin, Lynda is blessed with a way of being Filipina (E-mail to author, 14 December 2001). Caught between her physical appearance and her racial identity as mixed-race Pinay, Lynda must negotiate the double-edged sword of her whiteness and its significance within US racial formations. Below I delineate how Barry's cartoon explorations of American mestizaness juxtapose the binaries of liminality and mestiza consciousness in order to proffer alternative conceptions of being that contribute greatly to American visibility, agency, and decolonization. Before discussing these aspects in detail, however, I will contextualize Barry's work within contemporary cartoon history and criticism as well as within Filipino American theorizing about identity formation and mestizaness. and Wimmin's Comix Barry, of the very few syndicated American female cartoonists, is known for her signature storytelling and bold style, what critic Bob Callahan deems her brilliant narrative skills (12-13). Her work is said to embody the spirit of as well as wimmen's or feminist comics. Comics, comic art oppositional to the corporate produced and syndicated comic strips like Spiderman, the X-men, and Garfield, and created by independent artists like Art Spiegelman, Los Bros Hernandez (Love and Rockets), and Roberta Gregory (Naughty Bits), have been described as antiheroic, nihilist, subversive, political, autobiographical, and postmodern (Callahan 6-14). Art Spiegelman insists on the term to emphasize the co-mixture of text and graphics in this art form and maintains that comix are twenty-first century art, graphic literature, rather than just amusing cartoons about funny animals. Callahan, in his introduction to The New Comics Anthology (which includes work by Barry), maintains that New Comics signal the shift from entertainment to new pop art form; furthermore, he identifies the contributions of women artists like Barry to the genre as strong storytelling via autobiography and an overtly feminist stance (12-13). …

Of Monsters and Mothers: Filipina American Identity and Maternal Legacies in Lynda J. Barry's One Hundred Demons

The late Filipino American author and cultural critic N. V. M. Gonzalez described the Filipino imagination as a slow yet tenacious "rhizomatous" growth working toward the "Filipinization of America" (Gonzalez and Campomanes 1987, 63).1 Gonzalez's optimism aside, "Filipinization" thus far has amounted to Filipinas magazine, words such as "boondocks" and "yo-yo," and hip hop icons DJ Q-Bert and the Invisibl Skratch Piklz. However, unnoticed by most, one Filipino American artist has contributed greatly to this process, single-handedly redefining and influencing American popular culture for over twenty years. Lynda J. Barry, born in 1956, is best known for her syndicated alternative newspaper comic strip, Ernie Pook's Comeek, and its high-spirited "gifted child" Marlys Mullen, and for her disturbing first novel, Cruddy (1999). Praised by The Village Voice as "one of the greatest cartoonists in the world," Barry is heralded for developing both the alternative and the "wimmin's" comics traditions (qtd. in Hempel 27 November 1988). Many of her fans are unaware, however, that Barry's earliest cartoons include stories of her growing up a working-class, mixed-race Filipina in Seattle in the 1960s.2 One Hundred Demons, a series of twenty-panel full-color comic strips published semimonthly online at <Salon.com> from 7 April 2000 to 15 January 2001, is Barry's return to a more personal, autobiographical art form.3 [End Page 1] The comics in One Hundred Demons are Barry's explorations of incidents and memories that trouble or haunt her—namely, her childhood and its manifold tragedies, large and small. Each cartoon showcases the hallmarks of her powerful storytelling aesthetic: Barry's deliberately "naive" graphic style complements the searingly candid musings of its young narrator and the often harsh subjects of the strips themselves. These darkly humorous and exquisitely rendered memories of coming of age meld family history and Filipino folktales and superstitions to adolescent angst and American popular culture; thematically, One Hundred Demons explores racial identity, and maternal and cultural legacies. This essay discusses Lynda Barry's substantial but overlooked contributions to the growing body of "peminist"—Filipina American feminist—writings and to contemporary Filipino American cultural production in general.4 But first I will contextualize Barry's work within contemporary cartoon history and criticism as well as within the genre of Asian American mother/daughter writing. "New" and "Wimmin's" Comix5 One of very few syndicated American female cartoonists, Lynda Barry is lauded for her signature storytelling and bold graphic style—what critic Bob Callahan deems her "brilliant narrative skills" (1991, 12-13). Stylistically Barry's work is seen as embodying the spirit of "New Comics" as well as "wimmin's," or feminist, comics. "New Comics" describes comic art oppositional to the corporate-produced and syndicated comic strips such as Spiderman and Garfield, created by independent artists such as Art Spiegelman (Maus I and II), Los Bros Hernandez (Love and Rockets), and Roberta Gregory (Naughty Bits).6 Indeed, Spiegelman insists on the term "comix" to emphasize the "co-mixture" of text and graphics in this art form; he maintains that comix are twenty-first-century art—"graphic literature"—rather than just amusing cartoons about "funny animals" (1992). Callahan, in his introduction to The New Comics Anthology (which includes work by Barry), maintains that New Comics signal the shift from "entertainment to new pop art form"; furthermore, he notes the important contributions of women artists such as Barry to the genre of New Comics as a whole: strong autobiographical storytelling and an overtly feminist stance (1991, 12). Interestingly, Callahan maintains that the autobiographical [End Page 2] writings in The New Comics Anthology best demonstrate comics as a "vital new branch of contemporary literature" (12).7 Barry is also regarded as a vanguard feminist or "wimmin's" cartoonist for...

Drawing Conclusions: A Cartoon History of Anglo-Irish Relations, 1798-1998 (review)

Drawing Conclusions: A Cartoon History of Anglo-Irish Relations, 1798-1998 (review)

Nationalist Constructions of the 1798 Rebellion: The Political Illustrations of J.D. Reigh

NATIONALIST CONSTRUCTIONS OF THE 1798 REBELLION: THE POLITICAL ILLUSTRATIONS OF J.D. REIGH LAWRENCE W. MCBRIDE in the years surrounding the centenary commemoration of the rebellion of 1798 the leading Irish nationalist illustrators of the day— J.F. O’Hea, Walter C. Mills, Thomas Fitzpatrick, Phil Blake, and J.D. Reigh—applied their talents to interpreting the story of the rising.1 They had already honed their skills by depicting hundreds of stirring episodes from Irish history for a large audience of nationalist enthusiasts hungry for their work.2 Beginning in the 1870s such satirical publications as Zoz, Zozimus, and the Tomahawk carried black-and-white or monochrome illustrations as gratis supplements. The major nationalist weeklies followed suit during the early 1880s, and thanks to improvements in lithography and printing, they were able to feature multicolor, chromo-lithographic prints.3 These papers, along with publications such as Young Ireland: An Illustrated Magazine of Entertainment and Instruction, the Irish Fireside, the Emerald, and the Shamrock: A National Weekly Journal of Irish History, Literature, Science, and Arts, produced literally thousands of these illustrations in the three decades prior to the Great War.4 Typically measuring 20 x 16 inches, the drawings were THE POLITICAL ILLUSTRATIONS OF J.D. REIGH 117 1 Lawrence W. McBride, “Visualizing ’98: Irish Nationalist Cartoons Recollect the Revolution,” Eighteenth-Century Life 22 (Nov. 1998), 103–17. 2 Lawrence W. McBride, “Historical Imagery in Irish Political Illustrations, 1880–1910,” New Hibernia Review 2 (Spring 1998), 9–25. 3 For an overview of the history of Irish political cartoons, see Roy Douglas, Liam Harte, and Jim O’Hara, Drawing Conclusions: A Cartoon History of Anglo-Irish Relations, 1798–1998 (Belfast: Blackstaff Press, 1998). 4 Newspaper-circulation figures provide a rough guide to the number of illustrations produced. In 1898, for example, the circulation of the Weekly Freeman and National Press (usually referred to simply as the Weekly Freeman) was reported at approximately 36,000 copies; the Weekly Independent at 18,000; the Weekly Nation at 17,000; and United Ireland at 2,000. See National Archives, Ireland: State Paper Office, Royal Irish Constabulary’s Crime Branch purposefully designed to be removed and displayed in locations where a number of people could view them. The content of the illustrations, whether commenting upon current events or recalling historical incidents, combined with the new production techniques to make them highly appealing. It is not difficult to imagine readers turning straight to the illustrations as they opened their weekly newspapers and periodicals. I The graphic representations of the rebellion of 1798 included images that reinforced competing nationalist interpretations of the event. These interpretations differed mainly in the emphasis that respective proponents placed upon physical force as a means to end the union with Britain. Other interpretative controversies centered upon the character of the United Irishmen and the shifting relationships between Catholics, members of the Church of Ireland, and Presbyterians during the rebellion. Kevin Whelan has analyzed the struggle for control of the historical record concerning 1798, beginning with the Whig and Tory interpretations that developed during and immediately after the rebellion, and running through the interpretations that appealed to nationalists during the second half of the nineteenth century.5 The constitutional nationalists’ reconstruction of the story of 1798 was derived mainly from the interpretations of prominent statesmen such as Henry Grattan and Daniel O’Connell. They distanced themselves from the violent aspects of ’98 and emphasized instead Dublin Castle’s misgovernment as the principal cause of the outbreak.6 R.R. Madden’s The United Irishmen, Their Lives and Times (1842–6) presented a competing interpretation . Madden did not shrink from recounting the violent aspects of the rebellion, but he carefully balanced the contributions that Catholics and Protestants made to the United Irish movement, thereby constructing it as an example of sectarian cooperation.7 This interpretation became especially important to Protestant and Catholic nationalists in Ulster, THE POLITICAL ILLUSTRATIONS OF J.D. REIGH 118 Special Report #16258/S, 1898, “Circulation of Dublin Newspapers.” The Crime Branch Special unit compiled another estimate of newspaper circulation on 12 December 1900 (CBS, 1900, #23422/5). The CBS department placed circulation figures for the Freeman’s Journal at...

General

Virtual History: Alternatives and Counterfactuals. Edited by Niall Ferguson On ‘What is History?’ From Carr and Elton to Rorty and White. By Keith Jenkins History as Re‐enactment: R. G. Collingwood's Idea of History. By William H. Dray Philosophy, History and Civilization: Interdisciplinary Essays on R. G. Collingwood. Edited by David Boucher, James Connelly and Tariq Modood Beyond the Great Story: History as Text and Discourse. By Robert Berkhofer, Jr Nature and Society in Historical Context. Edited by Mikulásˇ Teich, Roy Porter and Bo Gustafsson Individual Choice and the Structures of History: Alexis de Tocqueville as Historian Reappraised. By Harvey Mitchell E. P. Thompson: Objections and Oppositions. By Bryan D. Palmer Colonization: A Global History. By Marc Ferro Dialogues across Civilizations: Sketches in World History from the Chinese and European Experiences. By Roxann Prazniak Megalopolis: The Giant City in History. Edited by Theo Barker and Anthony Sutcliffe Keeping Together in Time: Dance and Drill in Human History. By William H. McNeill Using Computers in History: A Practical Guide. By M. J. Lewis and Roger Lloyd‐Jones Nationalism and Archaeology in Europe. Edited by Marguerita Díaz‐Andreu and Timothy Champion Western Political Thought: A Bibliographical Guide to Post‐War Research. Compiled by Robert Eccleshall and Michael Kenny Pioneer Children on the Journey West. By Emmy E. Werner Children and the Politics of Culture. Edited by Sharon Stephens The Pocket Oxford Dictionary of Biography. Edited by Angus Stevenson The Cambridge Survey of World Migration. Edited by Robin Cohen European Migrants: Global and Local Perspectives. Edited by Dirk Hoerder and Leslie Page Moch Citizenship, Nationality and Migration in Europe. Edited by David Cesarani and Mary Fulbrook Hunger in History: Food Shortage, Poverty, and Deprivation. General editor Lucile F. Newman Altered Conditions: Disease, Medicine and Storytelling. By Julia Epstein Cancer Wars: How Politics Shapes What We Know and What We Don't Know about Cancer. By Robert Proctor On the Origins of War and the Preservation of Peace. By Donald Kagan The Oxford Illustrated History of Modern War. Edited by Charles Townshend Pirates: An Illustrated History of Privateers, Buccaneers and Pirates from the Sixteenth Century to the Present. Edited by David Cordingly Enterprise and Labour: From the Eighteenth Century to the Present. Edited by Peter Mathias and John A. Davis The Companion to British History. By Charles Arnold‐Baker British Women's History: A Bibliographical Guide. Compiled by June Hannam, Ann Hughes and Pauline Stafford The House of Commons: Seven Hundred Years of British Tradition. Edited by Robert Smith and John S. Moore The History of English Law: Centenary Essays on ‘Pollock and Maitland’. Edited by John Hudson British Economic and Social History: A Bibliographical Guide, Third Edition. Compiled by R. C. Richardson and W. H. Chaloner The Kings and Queens: An Irreverent Cartoon History of the British Monarchy. By Kenneth Baker Maps of the Mediterranean Regions Published in British Parliamentary Papers 1801–1921. By Susan Gole The Oxford Dictionary of Local and Family History. By David Hey Topographical Writers in South‐West England. Edited by Mark Brayshay The Irish World Wide: History, Heritage, Identity, Volume V: Religion and Identity. Edited by Patrick O'Sullivan A Military History of Ireland. Edited by T. Bartlett and K. Jeffrey Explorations in Law and History. Edited by W. N. Osborough

Still I rise: a cartoon history of African Americans

In Still I Rise, Roland Laird and Elihu Bey take the form to another level, using cartoons to tell the rich history of the achievements, struggles, hopes, suffering, and triumphs of people of African descent in America. Beginning with the arrival of the first African indentured servants in the colonies, and culminating in the Million Man March, Still I Rise brings to light many surprising and little-known facts of American history, making the book a joy to both those who thought they knew it all already and those learning history for the first time. As National Book Award winner Charles Johnson points out in his introduction, the history of African American cartooning is itself a vibrant one, and almost unknown. Still I Rise is a great contribution. An inspiring tribute to all the Americans of African descent who have built, defended, challenged, and re-created these United States, it not only tells history, it makes history.

A Cartoon History of Soil Microbiology

A Cartoon History of Soil Microbiology

Puzzling out science

W hat do the natural sciences know, and how do they know it? I approach our topic with a little diffidence, since I am nei ther a scientist nor a historian of science, not even a specialist in the phi losophy of science, but a plain epistemologist. Indeed, recalling Sheldon Glashow's reaction to an invitation to discuss what prophets of the end of science present as Grave Epistemological Issues: forgive me i f I thrash about a bit--it's not easy to beat a dead oxymoron, I feel more than a little diffidence! I, too, shall thrash about a bit; in my case, however, not out o f pure exasperation, but in hopes o f separating the chaff, the absurdities o f radical critics who profess to believe that we can no longer imagine that science is an objective endeavor, bu t must acknowledge it to be a subjective and relativistic project, operat ing out o f social attitudes and ideologies , 4 f r o m the ser ious ques t ions to which an h o n e s t epistemologist might be able to contr ibute something. 5 Once u p o n a t ime (the phrase is a warning that what follows will be cartoon history) it was taken for granted that science enjoys a peculiar epistemic authori ty because o f its uniquely objective and rational m e t h o d of inquiry. Successive efforts to articulate what that uniquely rational m e t h o d might be gave rise to u m p t e e n c o m p e t i n g vers ions o f what I shall call the Old Deferentialist position: 6 science progresses inductively by accumulat ing true theories conf i rmed by empirical evidence, by observed facts; or deductively, by testing conjectures against basic statements and, as falsified conjectures are replaced by corrobora ted ones, improving the verisimilitude o f its theories; or instrumentally, by developing theories which, though not themselves capable o f t ruth or falsity, are efficient ins t ruments o f predict ion; or, etc., etc. Such obstacles as Quine 's thesis o f the unde rde te rmina t ion of theories even by all possible observational evidence, ~ Russell Hanson 's and others ' o f the theory-dependence of observation, s Goodman ' s new riddle o f induction, 9 though acknowledged as tough, were assumed to be superable, or avoidable.

Years of Wrath: a Cartoon History 1932–45

Years of Wrath: a Cartoon History 1932–45 Years of Wrath: a Cartoon History 1932–45. By David Low. London,Gollancz, 1949. 325 pp. Illus. 1034′​′×814′​′ 25s. G. M. Gathorne-Hardy G. M. Gathorne-Hardy Search for other works by this author on: Oxford Academic Google Scholar International Affairs, Volume 25, Issue 4, October 1949, Pages 515–516, https://doi.org/10.2307/3018475 Published: 01 October 1949

Book Review: Highlights: A Cartoon History of the Nineteen Twenties

Book Review: Highlights: A Cartoon History of the Nineteen Twenties

A Cartoon History: Abraham Lincoln, His Path to the Presidency; The Year of his Election

A Cartoon History: Abraham Lincoln, His Path to the Presidency; The Year of his Election