Power, Natsu Onoda. God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga. University of Mississippi, 2009. Print. 208 pp, 6 x 9 inches, 53 b&w illustrations, filmography, bibliography, index. $50.00 unjacketed cloth; $25.00 paper
In God of Comics, Natsu Onoda Power uses the framework of intertextuality to analyze one of the most important figures in Japanese comics and his work within the form. In the Introduction, the author points out the divide between English and Japanese-language studies of manga as pivoting on understandings of manga as either culturally unique or an evolving art. Overcoming this tension serves as the focus of Power’s analysis of Osamu Tezuka’s unique genius in the context of manga’s evolution as a form. Continue reading “Power, Natsu Onoda, God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga”
Dorson, Richard. Bloodstoppers and Bearwalkers: Folk Traditions of Michigan’s Upper Peninsula, 3rd edition, edited by James P. Leary. Madison, Wisc.: University of Wisconsin Press, 2008 . pp. 371, index. Paper $24.95.
Based on five months of fieldwork conducted in 1946, Richard Dorson brings together a collection of folklore from the diverse inhabitants of Michigan’s Upper Pennisula (U.P.): young and old, lumbermen and miner, Ojibwa, Finn, and French. He selected this place, in part, because it was relatively close to his home in Lansing, although still a ferry ride away. He also chose the U.P. because of its isolation from much of the U.S., its cultural distinctiveness, and because both American Indians and European immigrants of many nationalities lived there. Furthermore, the U.P. was still fairly rural and poor due to the decline of timber harvesting and mining. To Dorson, it seemed that all of these conditions made this area fertile ground for finding folklore, particularly oral narratives, and indeed he did discover a “storyteller’s paradise” (2). Continue reading “Dorson, Richard. Bloodstoppers and Bearwalkers: Folk Traditions of Michigan’s Upper Peninsula”
Representing Valerie Solanas: Productions of Gender and Sexuality in The Factory
City University of New York
This essay explores the musical and artistic reactions to Valerie Solanas’s shooting of Andy Warhol in order to demonstrate how acts of violence, artistic representation, and constructions of gender not only inform, but also enforce one another. The present analysis also intends to understand how attempts to represent Solanas within the context of her violent act, as a political tool for radical feminist or anti-feminist ends, can become the occasion for additional violence. Pivotal examples that activate the discussion of gender construction in Warhol’s Factory scene include Lou Reed’s and John Cale’s song “I believe” as well as Solanas’s writings on violence, gender and sex in her SCUM Manifesto. Continue reading “Representing Valerie Solanas: Productions of Gender and Sexuality in The Factory”