- Page 1 and 2: IDENTITY AND FORM IN ALTERNATIVE CO
- Page 3 and 4: ABSTRACT Identity and Form in Alter
- Page 5 and 6: CONTENTS ABSTRACT………………
- Page 7 and 8: Figure 17. Lynda Barry, “Perfect
- Page 9 and 10: A NOTE ON TEXTS AND SOURCES Many of
- Page 11 and 12: addresses himself to a group of adu
- Page 13 and 14: Identity The concept of identity co
- Page 15 and 16: I use the term “form” to descri
- Page 17 and 18: een influenced not only by his work
- Page 19 and 20: When two people interact, they usua
- Page 21 and 22: Beyond Language: Comics as Verbo-Vi
- Page 23 and 24: that the memory makes between units
- Page 25 and 26: mainstream US comics industry of th
- Page 27 and 28: that virtual reality will soon be d
- Page 29 and 30: writers and artists in the film ind
- Page 31 and 32: teenage boy growing up in post-war
- Page 33 and 34: culture, always unofficial, popular
- Page 35: Hatfield emphasises the importance
- Page 39 and 40: simplicity (panel 22). Crumb owes m
- Page 41 and 42: acute attacks of disgust, literally
- Page 43 and 44: upright, wearing clothes and starri
- Page 45 and 46: Dumbo (1941), Cinderella (1950) and
- Page 47 and 48: the grounds that the magazine could
- Page 49 and 50: Figure 9. From the top: Mr Snoid an
- Page 51 and 52: wallowing in existential angst (7.9
- Page 53 and 54: Figure 10a. 53
- Page 55 and 56: prowess, Crumb struggled to place a
- Page 57 and 58: In other words, at its most sophist
- Page 59 and 60: torturing her, then falling back in
- Page 61 and 62: or another, and many critics have d
- Page 63 and 64: December 1977 and published the fin
- Page 65 and 66: Horse and William Messner Loebs’
- Page 67 and 68: is the only acceptable option. 13 I
- Page 69 and 70: has claimed that one of the feature
- Page 71 and 72: epitomised contemporary fantasies a
- Page 73 and 74: as Victor Seidler were strongly inf
- Page 75 and 76: stereotype, a deliberately flawed h
- Page 77 and 78: and shadow selves. In Cerebus, iden
- Page 79 and 80: instability of perceptual experienc
- Page 81 and 82: Throughout this extract, most ballo
- Page 83 and 84: more likely to have regularly shape
- Page 85 and 86: fit within each other like Russian
- Page 87 and 88:
ooks to seemingly insignificant det
- Page 89 and 90:
nine panels on each side, and the b
- Page 91 and 92:
Figure 13a. 91
- Page 93 and 94:
Figure 13c. 93
- Page 95 and 96:
Figure 13e. 95
- Page 97 and 98:
Figure 13g. 97
- Page 99 and 100:
Figure 13i. 99
- Page 101 and 102:
Figure 13k. 101
- Page 103 and 104:
Figure 13m. 103
- Page 105 and 106:
Figure 13o. 105
- Page 107 and 108:
of the counterculture, representati
- Page 109 and 110:
contact with the product. 7 Pustz n
- Page 111 and 112:
Innocent, his polemical critique of
- Page 113 and 114:
analysis of Barry’s comics to pay
- Page 115 and 116:
Figure 14. all of Barry’s other b
- Page 117 and 118:
lines are overdrawn almost to the p
- Page 119 and 120:
I tried to be like the richer kids
- Page 121 and 122:
to experiment on my new personality
- Page 123 and 124:
in order to cope with his terrifyin
- Page 125 and 126:
postage stamps and even origami ins
- Page 127 and 128:
past events. Figure 20. One Hundred
- Page 129 and 130:
Caruth goes on to suggest: Figure 2
- Page 131 and 132:
her; it’s only by leaving out the
- Page 133 and 134:
Figure 22. can nevertheless serve a
- Page 135 and 136:
the eternal present in which they s
- Page 137 and 138:
(2006)) and in prints and drawings
- Page 139 and 140:
the USA, assembled on kitchen table
- Page 141 and 142:
certain kind of behaviour or anothe
- Page 143 and 144:
necessary and never letting the int
- Page 145 and 146:
of masculine identification, cannot
- Page 147 and 148:
Figure 27a. 147
- Page 149 and 150:
Figure 27c. 149
- Page 151 and 152:
control and repressed desire; Douce
- Page 153 and 154:
ecause at this stage in her career,
- Page 155 and 156:
A shrivelled old man in a chequered
- Page 157 and 158:
aseball cap licks the knee of anoth
- Page 159 and 160:
Figure 32a. 159
- Page 161 and 162:
Figure 32c. 161
- Page 163 and 164:
sexual encounter anticipates Debbie
- Page 165 and 166:
Days that “I think a lot about ha
- Page 167 and 168:
moving out after a number of proble
- Page 169 and 170:
Figure 35. the conspicuous self-ref
- Page 171 and 172:
tools (“Cold and then warm in my
- Page 173 and 174:
the youth culture of comics self-pu
- Page 175 and 176:
identity. Before I address Moore’
- Page 177 and 178:
analysis, 12 it still holds a good
- Page 179 and 180:
Somewhere quiet… somewhere green
- Page 181 and 182:
for more intuitive, non-rational mo
- Page 183 and 184:
to avoid charges of voyeurism in Fr
- Page 185 and 186:
Figure 38. 185
- Page 187 and 188:
we, as readers, are in danger of fe
- Page 189 and 190:
14 of From Hell takes place in 1896
- Page 191 and 192:
symbolism and ritual, not to mentio
- Page 193 and 194:
Figure 40. 193
- Page 195 and 196:
shape described in messy, abstract
- Page 197 and 198:
Figure 41. 197
- Page 199 and 200:
panels captioned underneath with th
- Page 201 and 202:
As I discussed in chapter 4, Julie
- Page 203 and 204:
This is undoubtedly a taunt at the
- Page 205 and 206:
ecstasy as a route to visionary exp
- Page 207 and 208:
theories of human memory to analyse
- Page 209 and 210:
a mythological tradition very diffe
- Page 211 and 212:
Figure 43. 211
- Page 213 and 214:
We are not, presumably, supposed to
- Page 215 and 216:
ecollections, but like so many writ
- Page 217 and 218:
published by Escape and Titan in 19
- Page 219 and 220:
which collage has enjoyed owes much
- Page 221 and 222:
you use existing materials, they br
- Page 223 and 224:
conversations nor understands the i
- Page 225 and 226:
Figure 45b. 225
- Page 227 and 228:
With this book of imported ghost st
- Page 229 and 230:
the loss of “truth” in photogra
- Page 231 and 232:
similarities between Signal to Nois
- Page 233 and 234:
* At least in literature, where the
- Page 235 and 236:
livelihoods in shreds. Surveying al
- Page 237 and 238:
CHAPTER SEVEN Nostalgia, Collection
- Page 239 and 240:
such as Ray Gun and Speak. 8 As I w
- Page 241 and 242:
narratives in which he forms a love
- Page 243 and 244:
grandfather’s childhood. The tale
- Page 245 and 246:
Figure 49c. Figure 49d. 245
- Page 247 and 248:
Like Ware, Jimmy struggles to make
- Page 249 and 250:
Figure 50. and graphic design style
- Page 251 and 252:
not contained within cloud-like bal
- Page 253 and 254:
Figure 51. 253
- Page 255 and 256:
visible, a tiny speck at the top of
- Page 257 and 258:
is peculiarly concerned with the fi
- Page 259 and 260:
Figure 52. 259
- Page 261 and 262:
Even more than Jimmy Corrigan, who
- Page 263 and 264:
culture, and place upon them a trem
- Page 265 and 266:
his narrative but with the paper, c
- Page 267 and 268:
eproduced book, as though in spite
- Page 269 and 270:
Comics WORKS CITED Barry, Lynda. Gi
- Page 271 and 272:
———. Going Home (Cerebus Book
- Page 273 and 274:
Bartlett, F. C. Remembering: A Stud
- Page 275 and 276:
Butler, Judith. Gender Trouble: Fem
- Page 277 and 278:
Felman, Shoshana, and Dori Laub. Te
- Page 279 and 280:
Hambly, Mary. “An Interview with
- Page 281 and 282:
Kristeva, Julia. Powers of Horror:
- Page 283 and 284:
Nachimir. “Cerebus”. Personal w
- Page 285 and 286:
Rothenberg, Kelly. "Cerebus: An Aar
- Page 287 and 288:
Strangers in a Tangled Wilderness,