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A Comic of Her Own

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A Comic of Her Own
AComicOfHerOwn
About
Curator: Tamar Ditzian
Venue: University of Florida; Gainesville
Opened: March 15, 2013
Closed: March 17, 2013
Topic: Academic conference on the intersection of female comics creators, characters, and readers.

A Comic of Her Own: Women Writing, Reading, and Embodying Through Comics was an academic conference at the University of Florida in March 2013 on the intersection of female comics creators, characters, and readers.

ProgrammingEdit

PapersEdit

  • Testing Bechdel
    • “Does 21st century feminist fiction challenge or uphold conventional notions of the family? A critique of A Mercy and Fun Home,” by Monalesia Earle, University of London
    • “Writing a History of Difference: Queer Identity and Experience in Fun Home,” by Margaret Fink, University of Chicago
  • The ‘I’ in Woman: Women, Comics and Biography
    • “Cuter in Real Life: Aline Kominsky-Crumb’s Approach to Autobiography,” by Carmen Merport, University of Chicago
    • “Women, Webcomics, and Transformational Consciousness: Investigating First Person Comics Online,” Veronica Vold, University of Oregon
    • “The Transformation of Silence through Violence: A Feminist Reading of ‘Hush,’” Matthew Ziegler, Truman State University
  • Manga Made for Women: Shoujo and Shounen-ai
    • “Disempowering Visions of Ideal Love in Shoujo Manga Nana and Gravitation,” by Mia Lewis, Stanford University
    • “The hysterical subject of shojo: The dark, twisted heroines in Revolutionary Girl Utena and Puella Magi Madoka Magica,” by Lien Fan Shen, University of Utah
    • “Critiquing Masculine Impressions of Feminine Storytelling: In Defense of Moto Hagio’s The Heart of Thomas,” by Carolynn Calabrese, Managing Editor, NOVI Magazine
  • Gender and Reworking Cultural Traditions
    • “Women in War,” by James Ewald, Grand View University
    • “Matriarchs, maidens and moles: Syd Hoff’s binders of women,” by Dina Weinstein, Miami Dade College
    • “The Visual Re-imagination of a Picture Storytelling Epic Tradition,” by Anuja Madan, University of Florida
  • Good Girls, Bad Girls and Models
    • “Evolving sub-texts in the visual exploitation of the female form: Good girl and bad girl comic art pre- and post-Second Wave Feminism,” by Christopher J. Hayton, Florida State University College of Social Work
    • “Betty, Hannah, and Thorn: The Return of the Good Girl,” by Spencer M. Chalifour, University of Florida
    • “Super Models: Representations of Fashion Models in Comic Arts,” by Francesca Lyn, Virginia Commonwealth University
  • Is Anybody in the Mainstream?
    • “Zombie Apocalypse as Fantastic Four Reboot: The Walking Dead’s 1960s Gender Formula,” by Chris Gavaler, Washington & Lee University
    • “I Would Whip Some with Scorpions: Aesthetics of Rage in the Graphic Woman,” by Cassandra Dunn, University of Chicago
    • “‘It’s About Power and It’s About Women’: Gender, Power, and the Political Economy of Superheroes in Wonder Woman and Buffy the Vampire Slayer,” by Carolyn Cocca, State University of New York, College at Old Westbury
  • Women Underground
    • Twisted Sisters: Women’s Comix and Cultural Action,” by Samantha Meier, Harvard University
    • “‘The Frontlines of the Sex Wars’: Sexuality & Feminism in Women’s Underground Comix” by Margaret Galvan, CUNY Graduate School
    • “Women and Underground Comix: It Ain't Me Babe as Feminist Cultural Activism,” by Ian Blechschmidt, Northwestern University
  • Marginalized Women: Out of the Margins and Onto the Page
    • “Batwoman Makes the Big Leagues and is Queer to Boot” by Dianna Baldwin, Michigan State University
    • “The all-inclusive label of queer: Visualizing Gender Fluidity in the Comics of Cristy C. Road, Erika Moen, and Lucy Knisley,” by Gwen Athene Tarbox, Western Michigan University
    • “Black & White or Color? Women and Ethnicity in American Comics,” by Amy Chu, Alpha Girl Comics Publisher/Co-Founder, Harvard Business School

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