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Drawing on queer theory (Barker, Cvetkovich, Halberstam, Warner) and Foucault’s concept of biopower, my article will explore the exuberant use of lists in Ellen Forney’s graphic somatographics Marb...

This essay argues that the ambivalent nature of shame – a feeling that oscillates between the personal and the public, between hiding and uncovering – is meaningfully illuminated in narrati...

The forum “Life Writing and the Poetics of List-Making” aims to contribute to current scholarly discussions about the form of the list in literary discourses as it sets out to explore life narrativ...

During the production process of her graphic novels, Alison Bechdel poses for all the characters (including her own former self), then makes a photo via a self-timer, and finally reproduces this photography via her hand drawing. As a consequence, her comics not only combine words and (drawn) pictures, but they also materialise various modes of experience: first, Bechdel performs a scene from the past with her own body, then she takes a photograph of that performance, then she reproduces the photograph in the mode of a handmade drawing, then that drawing is put into print via technical reproduction. Especially in the context of graphic auto/biography, this production process triggers certain questions concerning authenticity and self-staging. However, Bechdel not only performs her former self, but also re-embodies other people’s past experiences, which becomes particularly clear when she starts to learn her late father’s handwriting to be able to reproduce his letters to her mother. Against this background...