Essays sought for an interdisciplinary collection co-edited by an art historian and literary scholar. The growing subgenre of Jewish literary and graphic culture contains a number of significantly innovative aesthetic works that are increasingly recognized by literary critics as an exciting form of alternative narrative that may also represent the inception of a new visual literacy that has significant implications for the future of Jewish literary and artistic expression. As the catalog of a recent art exhibit devoted to this cultural phenomenon states, ďJewish Graphic novels represent an important genre in artistic expression and assert the intensity of word and image in conveying narratives that speak eloquently to the contemporary viewer. [They] offer intense visual elucidation of Jewish historic and literary events by combining intense illustration with searing social issues.Ē Works to be addressed may include graphic novels by Will Eisner (A Contract With God: and Other Tenement Stories, Fagin the Jew, The Plot: The Secret Story of the Protocols of the Elders of Zion); Czech writer Vittorio Giardinoís trilogy of volumes about Jewish life under the shadow of totalitarianism (A Jew in Communist Prague: Loss of Innocence, A Jew in Communist Prague: Adolescence, and A Jew in Communist Prague: Rebellion); Ben Katchorís The Jew of New York; Miriam Katin's memoir of WWII survival, We Are On Our Own; Neil Kleidís portrayal of mobsters in Brownsville; Etgar Keretís surreal tales, Jetlag: Five Graphic Novellas; Joe Kubertís stunning account of the Warsaw ghetto uprising in Yossel: April 14, 1943; Joann Sfarís whimsically philosophical The Rabbiís Cat; James Strumís disturbing parable of American racism, The Golemís Mighty Swing; and J.T. Waldmanís recent bold retelling of the essential Jewish myth of power and powerlessness in Megillat Esther. The editors also hope to include an essay or two on the impact of Art Spiegelmanís seminal works of Holocaust oral history in Maus: A Survivorís Tale: My Father Bleeds History and Maus II: A Survivorís Tale: And Here My Troubles Began, which crystallized the acceptance of the graphic novel as a legitimate literary form. This collection aspires to fill an important gap in existing scholarship by offering the first collection of critical discussions to solely address the way that Jewish graphic novels grapple with Jewish history, cultural politics, antisemitism, portrayals of Ashkenazi and Sephardic identities, the role of the Holocaust in the artistís cultural and moral imagination, political controversy, literature, sacred texts, and myth through these captivating works that render image and text in hitherto unimagined forms. Other essays might consider the important role of autobiography in the graphic novel and the role of the graphic novel in the Jewish Studies classroom. This list is by no means exhaustive; other relevant theoretical, pedagogical, or cultural approaches will be considered. Authors are encouraged to use images whenever appropriate but they are individually responsible for all necessary permissions. Papers from all disciplines, or interdisciplinary submissions (whether focused on single works or comparative discussions), are welcomed. Send brief bios along with abstracts (300 words) or complete essays that follow the current edition of the MLA Style Manual to both Ranen Omer-Sherman email@example.com and Samantha Baskind firstname.lastname@example.org by 11/30/06.
Samantha Baskind, Ph.D.
Assistant Professor of Art History and Graduate Program Director
Cleveland State University
Department of Art
2307 Chester Ave.
Cleveland, OH 44114
tel: 216-687-2096 fax: 216-687-2275
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