Seth (Keynote Speaker)
Seth's first series, Palookaville was part of a miniature boom in non-genre alternative
comics from Canada in the 1990s. Palookaville started out as a low-key chronicle of the
artist's day-to-day life and was later collected as the graphic novel It's a Good Life, If
You Don't Weaken.
He is best known for his work designing the complete collection of Charles M. Schulz's
classic comic strip Peanuts, a series of 25 volumes in the process of being released by
Fantagraphics Books (above). His other work includes Clyde Fans and, more recently,
Wimbledon Green. Penguin Classics released the revised Portable Dorothy Parker, with
a jacket and French flaps designed and illustrated by Seth.
He is currently working on a new serialized graphic novel for the New York Times, and
his artwork has appeared on the cover of The New Yorker twice. Closer to home, in
2005 the AGO show ―Present Tense‖ included several cardboard sculptures of buildings
created by Seth to give life to the local landmarks of Dominion – the fictional, time-
locked, northern Ontario town featured in passing in his graphic fiction. A work entitled
Hush (below) was purchased by the Gallery of Ontario.
Of this contemporary creative endeavour, Ben Portis, AGO assistant curator of
contemporary art, said that it "was acquired as a work of art. . . . What makes Hush the
right work for the Gallery is the degree to which it converses with depictions of the
Canadian landscape in the AGO collection, from Tom Thomson to today."
―The Graphic Novel as Metafiction‖ (Sat, 2B, 11:00)
This paper takes as its object of analysis the graphic novel adaptation by Paul Karasik
and David Mazzucchelli of Paul Auster‘s novel City of Glass, the first book in his The
New York Trilogy. My intention is to use the book to analyse the differences between
graphic novels and novels with respect to how they employ metafictional devices. The
focus of the paper is this relationship between comic book adaptation and metafiction.
Paul Atkinson teaches in the Communications and Writing program at Monash
University. His research is broadly informed by the work of the fin-de-siècle
French philosopher Henri Bergson and his writings on movement and time.
―Comics Carnet: Graphic Novelist as Global Nomad‖ (Sun, 2A, 12:30)
The paper examines the emergence of a new graphic novel genre, ―Comics Carnet‖
which possesses features traditionally associated with journalism, autobiography,
ethnography and travel writing. The study situates comics carnet in a historical context
and identifies the ideological assumptions contained in four representative texts to
examine how the non-European other is represented.
NW Alberta based artist and academic with BFA, U of Lethbridge, MFA, U. of Calgary,
and MA in Popular Culture, Brock U. who teaches art, new media and art history at
Grande Prairie Regional College. I maintain a creative practice with works in Alberta
Foundation for the Arts Collection, the Canada Council Art Bank, the City of Calgary
and U of Lethbridge. Email: firstname.lastname@example.org
―The Superhero Significance: The Role of the Contemporary Superhero in
Literature‖ (Sun, 3A, 2:00)
This paper considers the post-9/11 political and social relevance of contemporary
superhero comic series ―Civil War‖ (Marvel) and ―52‖ (DC), within the framework of the
importance of superhero comics on par with acclaimed works and academically praised
Tim Bavlnka holds a BA in English Literature. Currently he works at La Crosse‘s only
independently run newspaper writing a weekly column, co-writing a comic and reviewing
albums and websites. He spends $30 a week on comics.
―Ho Che Anderson‘s King trilogy: comics, social history, and the Žižekian ethical act‖
(Sat, 4A, 3:00)
This paper will look at Canadian comic book artist Ho Che Anderson‘s King (a
biography of Martin Luther King, Jr., Fantagraphics, 1993-2003) as a way of making two
assessments: first, the capacity of comics to represent social history; second, the ways
in which two historical figures in King – MLK and Rosa Parks – may be said to commit,
in Slavoj Žižek‘s sense, ethical acts in their confrontation with the Jim Crow system.
Clint Burnham teaches in the Department of English at Simon Fraser University. He has
published extensively on contemporary culture, including books on Fredric Jameson
and Steve McCaffery, and essays on hip-hop, Raymond Williams, and bpNichol.
“From the multiple-room set to the split scene: quarrels, disputes and altercations in turn-of-the
century European comics.”
By looking at such forms of visual separation such as gutters – sometimes replaced by, or
depicted as walls or floors in turn-of-the-century comics – I wish to emphasize the graphic and
narrative potentialities of the various practices of split-scene by showing examples of comics
where neighbours are quarrelling.
Pierre Chermartin is enrolled as a PhD student in Comparative Literature and Film Studies at Université
de Montreal. He works as a lecturer and as a research assistant. His primary research interests include
early cinema and comics at the turn of the 20th century.
―Impregnation of the Cyborg: Problematic Reproduction in Japanese Manga‖ (Sun, 1A,
The ―implosion‖ of electric media and the explosion of the atomic bomb in Japan have
resulted in the increased acceptance of cyborgs. Not necessarily a ―post-gender‖ vision,
Japanese cyborg narratives, such as Akira and Ghost in the Shell depict characters that
demonstrate anxieties related to matters of sex and reproduction/replication, which
remain relevant to and prevalent in Japanese thinking and visual rhetoric.
As a University of Waterloo English Literature MA candidate, my interests include
cultural and media theory, semiotics, and Asian literature. My research fixates upon the
effects of atomic anxiety in postwar Japan upon the cultural memory, embodied by
Japanese manga. email@example.com
―Research methods to understand comics and the human mind‖ (Sun, 2A, 12:30)
We will discuss research methods that we will use to explore the properties of
comics and the human mind. Understanding these properties could enable us to
improve education, public policy communication, & beyond.
Coppin is an artist & journeyman scientist, investigating graphic illustration &
cognition (petercoppin at gmail.com). Hockema is a cognitive scientist at Faculty
of Information, University of Toronto.
―Framing the Body—Embodying the Frame: Graphic Novels and the
Representation of Illness‖ (Sun, 2B, 12:30)
Epileptic, and other graphic novels that represent the experience of illness,
provide a paradoxical visual counterpoint to the ―medical gaze.‖ I explore the
socio-historical meaning of these texts, and the implications of a visual aesthetic
for representation of the body. The unruly body in the text provokes embodied
and imaginative complications for ‘the self,‘ and the ethical apprehension of the
Allison Crawford is a Psychiatrist in the Faculty of Medicine at UofT, where she is
also a PhD candidate in the Dept. of English. Her research, in the humanities
and healthcare, focuses on the representation of trauma and loss within
Day, Andrea Lynne
"Playing With the Pen and Pencil Sketches of Thackeray’s “singular performance”: Illustrations
of Dolls, Performativity, and Narrative Technique in Vanity Fair" (Sun, 1B, 10:00)
This paper will analyze the visual and literary images that constitute William Thackeray’s
depictions of dolls in the context of Vanity Fair's theatrical frame to explain the connections
between the narrator’s efforts, Becky’s mimicry, and Thackeray’s narrative aims.
Andrea Day's research focuses on the relationships between narrative techniques, performances
of gender and depictions of parenthood and fairy-tale intertexts in nineteenth- and twentieth-
Deman, J. Andrew
―Jimmy Corrigan vs. Superman: Deconstruction, Disillusion, and Social Collapse.‖ (Sat,
In Jimmy Corrigan, Superman serves as an avatar of the superhero genre and, through
Superman, Ware extends the autobiographical quality of the text by deconstructing the
role that Superhero comics play in the life of the average socially isolated loser. As I
demonstrate, this role is deeply tied to Superman‘s social and cultural function as a
reassertion of human power in the face of dehumanizing social systems.
I am an ABD PhD candidate in English at the University of Waterloo. My dissertation is
titled ―The Comics Other‖ and explores representations of difference in the comics
medium. I also have a forthcoming book chapter on the work of Phoebe Gloeckner.
―Media, Memory, and the Metropolis in Jason Lutes‘ Berlin: City of Stones‖ (Sun, 3B,
This essay will explore the connections between media, history, and urban experience
through a close reading of Jason Lutes‘ Berlin: City of Stones, and it will argue that this
graphic novel reflects and responds to the experience of the metropolis by constructing
an intermedial archive that incorporates the many ways in which the turbulent history of
this city has historically been represented.
Anthony Enns is Assistant Professor of Contemporary Culture in the Department of
English at Dalhousie University. E-mail: firstname.lastname@example.org.
―Even More Blood in the Gutters: Taking Apart Rick Geary‘s Narration of Jack the
Ripper‖ (Sun, 1B, 10:00)
I will be analyzing Rick Geary‘s Jack the Ripper: A Treasury of Victorian Murder
using a variety of existing models. I will be using techniques from McCloud‘s
Understanding Comics and Groensteen‘s The System of Comics as a bit of a review of
the current scene. Going further, I will be adapting the methods of Gennette‘s Narrative
Discourse to hopefully show some possible directions for future analytics.
I am an MA student at Youngstown State University.
―Rotoshop, Scramble Suits and Substance D: A Scanner Darkly and the Crisis of
‗Hyperreality‘‖ (Sat, 3A, 1:30)
This presentation will utilize Jean Baudrillard‘s theory of ―hyperreality‖ to help interpret
the postmodern implications of the software program, Rotoshop, used in Richard
Linklater‘s hybrid of live-action and animation cinema, A Scanner Darkly (2006).
Michael is currently enrolled in Carleton University‘s M.A. in Film Studies program and
is working on his thesis project tentatively titled, ―Vision and Terror: The Contemporary
War Film and the New ‗Logistics of Perception‘‖. Other research interests include
science fiction cinema and current war comics (DMZ, Pride of Baghdad).
―Comics in the Cambridge History of Canadian Literature: is sequential art the
future of the Canadian literary canon?‖ (Sat, 3B, 1:30)
The interweaving of avant-garde creation and nationalistic activism in the 60s,
the early receptiveness of the literary establishment to hybrid word-and-pictures
forms, and the growing attention of national media and literary publications to
high-profile comic artists as of the 1990s laid the groundwork for the current
legitimization of comics as literature in Canada.
Dr. Jean-Paul Gabilliet is Professor of North American Studies in the Department
of English at Université Michel de Montaigne - Bordeaux 3 (France). @: Jean-
Gokul Thattamparambil Gopalakrishnan
―G Aravindan‘s Small Men and the Big World: Re- Defining the ‗Comic‘ in the Strip‖
(Sun, 1A, 10:00)
This paper locates G Aravindan‘s Small Men and the Big World (1961-1973), a popular
comic strip in Kerala as one of its kind in dissociating ‗comic‘ from its mere lexical
implications and conceptualizing issues which were then deemed outside the scope of a
so called ‗Low art‘ medium. It seeks to explicate how the comic-strip space
metamorphoses into a site where the cultural, political and the social mingle, reflecting
and in turn shaping, discourses of an era.
Research scholar, The English and Foreign languages university, Hyderabad,
India. Comic strip artist and illustrator. email@example.com
―Escape from the City of Words: Finding a Better Literary Haven for Comix‖ (Sat, 2B,
This paper proposes to show the extent to which City of Glass by Paul Auster and its
comix adaptation are literary. Picture sequentiality in the latter, in particular, suggests
that comix are not exhaustively explained by literary understanding.
Michel Hardy-Vallée recently completed an M.A. thesis in English at McGill University
about the literary consideration of graphic novels. His other research interests include
bandes dessinée in Québec, photography, and aesthetics.
―Little Orphan Oliver Twist: the Dickensian inheritance in mid-20th century comics‖ (Sat,
The creator of Little Orphan Annie was a great reader of Dickens. This paper will
explore the use of Dickensian narrative themes (orphanhood, reversals of fortune, and
the need for charity) in Little Orphan Annie. Emphasis will be given on the ways in which
Dickens served as a model for comic strip cartooning: his commercial popularity, his
use of the serial form, his work with illustrators, and his creation of caricatured
Jeet Heer is working on a doctorial thesis on the cultural politics of Little Orphan Annie.
He is the co-editor of Arguing Comics, the Walt and Skeezix series, and the forthcoming
Complete Little Orphan Annie series.
―Beneath Consideration: Reassessing Wertham and the Role of Taste in the
Decline of the Comic Book‖ (Sat, 4A, 3:00)
This paper offers a counter-narrative to those histories that emphasize the role of
Fredric Wertham and the Comics Code Authority in the collapse of the comic
book industry/medium during the 1950s. It is argued instead that rapidly shifting
popular tastes and cultural mythologies played the central role in the decline of
the comic book form during this period.
Nicholas Holm is a Masters student in McMaster University's Cultural Studies and
Critical Theory program. His Honours thesis at Victoria University, New Zealand,
examined the relation between popular taste and the comic book form.
―Evan Dorkin‘s Nervous Breakdown and the Hidden Comic Indies‖ (Sat, 1A, 9:30)
This essay explores Evan Dorkin‘s Dork! #7, the autobiographical story of a man‘s
nervous breakdown and how it has affected his relationships with the comics that
inspired him. The intelligence required to appreciate Dorkin‘s eclectic references forces
readers to reassess their knowledge of comics and to empathize with the writer, while at
the same time narrowing his fan base.
Edward Hornick is a graduate of Kenyon College and is currently Editor-in-Chief of the
Trumpet, a community newspaper based in New Orleans. He is a lifelong comics reader
and is working currently on a screenplay about Wittgenstein. TedFFZ@Gmail.com
―Representing Muslim lives: pedagogy and the comics journalism of Joe Sacco‖ (Sun,
This paper discusses some of the pedagogical issues raised in using the comics
journalism of Joe Sacco in the university course on Islam. I begin by describing some of
the changes that many of us of who teach such courses have made post 9/11. I then go
on to discuss how Sacco‘s work (particularly Palestine) can be used to illustrate and
challenge representations of Islam and Muslim life.
Dr. Amir Hussain is Associate Professor in the Department of Theological Studies at
Loyola Marymount University in Los Angeles. His specialty is the study of Islam,
focusing on contemporary Muslim societies in North America.
Web page: http://bellarmine.lmu.edu/theology/amir/
―Moral panics, censorship and the cultural status of comics in Britain‖ (Sat, 4A, 3:00)
This paper will examine the nature of censorship in British comics, and the role this
censorship has played in reflecting and/or creating the cultural status of comics in
Britain. It will concentrate on some key controversies, including the British version of the
horror comics campaign in 1954, the trial of Nasty Tales comic at the Old Bailey in
1973, seizures at Knockabout comics by H.M. Customs in 1982 and the Press Council
hearings for Oink comic in 1988.
Dr David Huxley is a senior lecturer at Manchester Metropolitan University in the School
of History of Art & Design, and has written widely on the comic, including ‗The Real
Thing: New Images of Vietnam in American Comic Books‘ in Vietnam Images: War and
―Jeepers Jacobs in the Network of Lines That Intersect: The Deconstruction of the Clear
Line in Kevin Huizenga‖ (Sun, 3A, 2:00)
This paper reads Kevin Huizenga‘s comics against J. Hillis Miller‘s theory linearity in
order to advocate a deconstructive view of word-image relations in comics. Huizenga‘s
look like fragments of a single broken line. This disruption of linearity repeats itself on
the level of character and plot. By blurring the lines that demarcate image and narrative,
Huizenga shows how comics interrogate the distinction between literature and its
Aaron Kashtan is a second-year Ph.D. student in English at the University of Florida.
His dissertation focuses on verbalism in visual narrative. He is the moderator of the
comix-scholars discussion list and will be co-organizing the 2008 UF comics
―Earnest Heroes and Outrageous Villains: The Dynamics of Camp in Superman films‖
(Sat, 1B, 9:30)
The aesthetics of camp are often used in discussions of the Batman TV program of the
1960s. In this talk, I‘ll apply the concept of camp to the Superman movies of the late
1970s and early 1980s, as well as the related 1984 film Supergirl. The talk will show
that camp and seriousness shouldn‘t be seen as opposite aesthetic opposites but rather
as complimentary. It‘s the earnestness of superheroes of superheroes that makes them
Megan Kelley did a doctorate in History at York University titled ―Passing Anxieties:
Identity, Authenticity and Performance in Hollywood Films, 1947-1960‖. She has taught
at the University of Toronto and the University of Calgary.
―Cyberpunk K-inema: Re-imag(in)ing of the Posthuman‖ (Sat, 3A, 1:30)
Cyberpunk K-inema: Re-imag(in)ing of the Posthuman is an exploratory paper, one that
is inclined to transgress the rigid boundaries of Enlightenment and structural
frameworks of language in order to embrace new and affirmative currents in the
production of subjectivity; the currents that consist of Deleuzian processual dynamics of
human and non-human bodies in ―coagulation‖ or assemblage with each other. In this
respect, the paper takes as its subject the (re)presentation of the posthuman woman
character in Enki Bilal‘s cyberpunk graphic novel The Nicopol trilogy in order to explore
transgressive human-machine symbiosis and gender performance.
I am a PhD student at the European Graduate School, Dept. Philosophy of
Communication. Live and work in NYC. firstname.lastname@example.org
―The way I‘ve drawn the scene‖: History and Historiography in Chester Brown‘s Louis
Riel: A Comic-Strip Biography‖ (Sat, 3B, 1:30)
Chester Brown‘s Louis Riel: A Comic-Strip Biography brings a new complication to
Albert Braz‘s statement that Riel is a ―Canadian Patriot in spite of himself.‖ Setting the
narrative tone offered by a tradition of historical comics against a meta-narrative of
historiographic negotiation, Brown offers an engagement of the contradictions inherent
in creating a narrative of nation from a rebellious history.
Tanis MacDonald is an Assistant Professor in the Department of English and Film
Studies at Wilfrid Laurier University. She is the editor of Speaking of Power: The Poetry
of Di Brandt (WLUP 2006), and the author of Rue the Day (2008), Fortune (2003), and
Holding Ground (2000).
―The Progress of Love: Queering the Canon & The Odyssey of Identity
in Alison Bechdel‘s Fun Home‖ (Sat, 1A, 9:30)
―Queer is by definition whatever is at odds with the normal, the legitimate, the dominant.
… ‗Queer‘ demarcates not a positivity but a positionality vis-à-vis the normative‖
(Halperin). My interest in this paper is Alison Bechdel‘s application of such a relational,
resistant, political, and poetic positionality to a significant subset of the literary canon –
to Joyce‘s Ulysses and the Gothic genre, but also to Proust, Tolstoy, Wilde, Camus,
Salinger, Henry James, Fitzgerald – in order to organize and orient this autobiographical
narrative of her ―entwined political and sexual awakening‖: Fun Home.
Ian J. MacRae has been teaching Postmodern Literature, American Literature,
Canadian Literature, Gothic and Romance Literature, Documentary Cinema and
Canadian Studies at University of Toronto and University of Toronto, Scarborough. His
dissertation was recently awarded the Most Distinguished Dissertation in Canada Award
―To Compromise or Not to Compromise, that is the Question: Watchmen as Ethical and
Political Dialogue‖ (Sat, 2A, 11:00)
Alan Moore and Dave Gibbons‘ graphic novel Watchmen is a number of things. On a
simple level, it‘s a detective story, a science fiction movie and an attack on war. Yet
more fundamentally, it‘s a deconstruction of the history of comics and of the superhero
genre from the 1940s to 1980s, along with a debate or dialogue between a series of
distinct ethical principles and political ideologies. In this paper I‘ll focus on the graphic
novel as an ethical and political dialogue between three fairly distinct positions
embodied in the characters Ozymandias, Rorschach, Dr. Manhattan and Nite Owl.
Doug Mann is a professor of media studies at Western who teaches a course on comic
mcpherson eckhoff, kevin
―‗Dat Ain‘t as Funny as it Looks, See?‘ Reconsidering the Realism of Richard F.
Outcault‘s Hogan’s Alley‖ (Sat, 2B, 11:00)
My paper situates Richard F. Outcault‘s Hogan’s Alley newspaper comics within
the realist aesthetics of its contemporaneous art & literature, as defined by such
critics as Stephen Crane & Robert Henri, as well as modern scholars, including
Amy Kaplan & David E. Shi. By considering Outcault‘s texts urban narratives, my
research questions the restriction of realism to painting & literature.
kevin mcpherson eckhoff completed his MA in English at the University of
Calgary. He is the author of five poetry chapbooks, & his critical essays on
Canadian poetry appear in forthcoming issues of Open Letter.
―‗A Heap of Broken Images: countersong and readership in T S Eliot and Martin
Rowson‘s The Waste Land‖ (Sat, 4B, 3:00)
The paper focuses on Hutcheon‘s notion of the ‗countersong‘ and Bakhtin‘s ‗many voiced‘
carnivalesque narrative within the poem and the graphic novel. Recognition of these ‗many
voices‘ and intertextual allusions which negotiate the boundaries of high and low culture
invokes pleasures for the implied reader. Parody, therefore is an extension and reflection
of the parodied text and as reliant on the implied reader as on the implied author.
I am a senior lecturer of Film and Media BA Hons at Manchester Metropolitan
University. My research interests are in subcultural audiences, comics, science fiction
and fantasy and adventure sports subcultures. J.email@example.com
―Batman Begins, Superman Returns: Reintroducing the Franchise Superhero‖ (Sat,
This paper examines how Superman Returns and Batman Begins reintroduce
two iconic superheroes to a post-millennial film audience. By analysing how each
film negotiates its relationship to previous incarnations, I will demonstrate the
specific strategies of re-introduction in each film, designed to balance novelty and
nostalgia and capture general audiences and fans alike.
Felan Parker is an MA candidate in Film Studies at Carleton University. His
research interests include contemporary Hollywood, marketing, superhero and
action hero franchises, popular comic books, and video game studies.
Schwenke Wyile, Andrea
―Which Umbrella: Comix or Picturebooks?‖ (Sun, 2A, 12:30)
This paper explores the commonalities of comix and picturebooks and some of the
questions they raise in relation to the matter of audience and the terminology used to
discuss them. The synergetic use of words and pictures in Tan‘s The Arrival and Sis‘s
The Wall illustrates that pictorial storytelling is perfectly literary and that picturebooks
are becoming a fitting medium for adult expression.
Andrea Schwenke Wyile, Associate Professor at Acadia University, teaches children‘s
literature and fantasy courses. Her research interests centre on narrative theory and
―'You Will Never Own a Jetpack': Warren Ellis' Science Fiction Comics‖ (Sat, 3A,
This paper looks at the science fiction comics of Warren Ellis: Transmetropolitan,
Global Frequency, and the currently ongoing series Doktor Sleepless. These
comics are about the social effects of new technologies. They bring us a
wavering and uncertain vision of a highly technologized future, and ponder the
possibilities of change in a world pervaded by a sense that the future itself has
largely been played out.
Steven Shaviro is the DeRoy Professor of English at Wayne State University. He
is the author of Doom Patrols: A Theoretical Fiction About Postmodernism
(1997), and Connected, Or, What It Means To Live in the Network Society
(2003). His blog is The Pinocchio Theory (http://www.shaviro.com/Blog).
"Grains of Sand: Renaissance Intertextuality in Neil Gaiman's The Sandman" (Sun, 3A,
This paper takes an in-depth look at some of the more significant instances of
Renaissance intertextuality in the pages of Neil Gaiman's Sandman series. It melds
several different notions of intertextuality in the interest of exposing how various works
in Renaissance literature, such as those of Shakespeare and Marlowe, alter and enrich
readings of The Sandman.
Kalervo Sinervo completed his BA honors thesis in April of 2008 at Simon Fraser
University. The New Narrative is the first conference at which he has presented. Email
him at firstname.lastname@example.org.
―The Art of Embodiment in Graphic Autopathography‖ (Sun, 2B, 12:30)
Miriam Engelberg‘s Cancer Made Me a Shallower Person and Marisa Acocella
Marchetto‘s Cancer Vixen express embodiment not only through self-representation but
through the exploration of their disease. Through their attention to the metaphors that
surround cancer, and the fetishism that attaches to commodities and to health itself,
they invite us to reconsider our responses to cancer.
Marni Stanley teaches English and Women‘s Studies at Malaspina University-College in
Nanaimo, British Columbia. email@example.com
―Of Rags and Riches: The Complex Ideologies of Wealth, Class and Consumption in
Classic Richie Rich Comics‖ (Sat, 2A, 11:00)
One of the most popular and widely distributed comic characters in the US during the
60s and 70s, Richie Rich exposed many children to a wide range of ideologies relating
to wealth, class and consumption. This essay argues that this comic can best be seen
as contradictory and multi-layered: anchored in a progressive ethics that saw clearly the
limits of money, while at the same time reinforcing the idea that wealth equaled class,
and, perhaps, fueling the young fantasies of the most consumerist generations in
Doug Stetar (firstname.lastname@example.org) is a professor in Media Studies at Malaspina University-
College and a multidisciplinary artist. His research interests include representations of
trauma in film, ideologies of consumption, and independent media in Canada. He is
currently working on a film inspired by Gilles Deleuze.
―Catwoman‘s Pedigree‖ (Sat, 4B, 3:00)
This paper is about what H. G. Wells called plasticity and its aesthetic
consequences -- the invasion of what it means to be human by modernist
breakdowns between human/nonhuman (and especially human/animal)
distinctions, and the effect of this upon popular iconology -- the domain of early
I am Graduate Coordinator and Professor of English at Queen‘s University,
email@example.com. I have written on international modernisms, on media, and
on Canadian literary history. My most recent work, Modernist Goods:
Primitivism, the Market, and the Gift will be published by University of Toronto
Press in 2008.
Wright, David N.
―‗kontinue kuriousity to its illogical klimax‘: Krazy Kat, E. E. Cummings and the Grammar
of Modernism‖ (Sat, 4B, 3:00)
The paper argues that the relationship between the poetry of E. E. Cummings, George
Herriman‘s comic strip Krazy Kat, and Cummings‘ conception of the burlesque, opens
new ground for the understanding of formal aesthetics. Dissecting the lines of force that
run between the burlesque, Krazy Kat, and Cummings‘ formal aesthetics in poetry, the
paper asks whether methods of composition and performance in the popular arts—
burlesque, comic strips—give us access to a new set of criteria through which to
interrogate poetic practice.
David N. Wright currently teaches at Douglas College in New Westminster, BC. His
research interests include E. E. Cummings, the graphic novel, and Ezra Pound. He is
currently working on a project that examines the modernist hijacking of mass cultural
production to support poetic reinvention.
―Queen Victoria, Captive Despot: The Dissemination of Image and Power in
Alan Moore‘s From Hell‖ (Sun, 1B, 10:00)
In Alan Moore‘s From Hell, Queen Victoria is represented, much like Jack the
Ripper, as a part of the emerging phenomenon of media creations. I argue that
while the media propagates her sovereignty, Moore suggests that she is also
paradoxically disempowered, leading to a symbolic dissipation of her presence,
and ultimately transmuting her from an individual into simulacra.
Christine Yao is a M.A. candidate in English Literature at Dalhousie University.
She won a SSHRC grant for her proposed M.A. thesis on the evolution of the
epic tradition in Neil Gaiman‘s The Sandman. firstname.lastname@example.org
―The Making of ‗Riel‘ Comic Literature: The Re-circulation of Brown‘s Louis Riel‖
(Sat, 3B, 1:30)
Louis Riel‘s distribution as a graphic novel repositions it as a consecrated cultural
product, a premier example of a new category of Canadian comic ―literature.‖ Brown‘s
re-inscription of early-century comic visuals elevates early-comic style to a place of
prestige because it recuperates, re-imagines, the consumption of comic narrative and
encodes a new artistic tradition.
Kevin Ziegler is a doctoral student at the University of Waterloo. He is currently researching his
dissertation, which will focus on the development of comic narrative in the Canadian marketplace
during the last twenty years.
Andrew Lesk (organizer)
Andrew Lesk (Ph.D. Montreal) is an Assistant Professor of English at the University of
Toronto. He serves on the ACCUTE executive, and has involved in many conferences,
from vetting papers to organizing panels. In particular (and of relevance to this
proposal), at the 2005 Conference at Western, he organized a panel on the graphic
novel, which received 17 proposals. He has published widely on literature, film, and
cultural studies; he has recently written a paper on Chester Brown‘s graphic novel Louis
Riel. He was the guest editor for the MLA listed, peer reviewed journal Canadian Poetry,
responsible for all aspects of the issue, from the cfp to final edit. He teaches Canadian
literature, short stories, narrative, and the graphic novel at the University of Toronto,
where he has been teaching since 2003. A list of his publications and academic work
can be found at http://www.andrewlesk.com.
Tim Bavlnka holds a BA in English Literature. Currently he works at La Crosse‘s only
independently run newspaper writing a weekly column, co-writing a comic and reviewing
albums and websites.
Jeff Parker is the author of the novel Ovenman and The Back of the Line, a collection
of images and stories in collaboration with artist William Powhida. His short fiction and
nonfiction have appeared in The Walrus, The Best American Nonrequired Reading,
Ploughshares, Tin House, and other publications. He currently teaches at the University
Luca Somigli is Professor of Italian Studies at the University of Toronto. He teaches,
amongst others, a course entitled The "New Comics": Private Stories and Public History
in the Contemporary Graphic Novel. He is the author of two books: Per una satira
modernista. La narrativa di Wyndham Lewis; and Legitimizing the Artist. Manifesto
Writing and European Modernism 1885-1915.