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Gordon, Ian. "Bildungsromane and Graphic Narratives." A History of the Bildungsroman. Cambridge [etc.]: Cambridge Univ. Press, 2019. 267–82. 
Added by: joachim (2/15/19, 12:55 PM)   Last edited by: joachim (7/26/21, 12:27 PM)
Resource type: Book Chapter
Language: en: English
DOI: 10.1017/9781316479926.012
BibTeX citation key: Gordon2019
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Categories: General
Keywords: Genre
Creators: Gordon
Publisher: Cambridge Univ. Press (Cambridge [etc.])
Collection: A History of the Bildungsroman
Views: 23/552
Attachments   URLs   https://www.academ ... Graphic_Narratives
As the preceding chapters have established, the Bildungsroman is a flexible genre, recognisable by certain key motifs, but adaptable to the preoccupations of its place and time. While ‘coming of age’ stories remain hugely popular in prose novels and cinema, one of the most interesting developments in recent years has been the emergence of graphic Bildungsroman novels, which blend the visual and literary, upholding the importance of both. Graphic novels have also blurred boundaries between Bildungsromane and the (auto)biographical. Many sophisticated examples have reconfigured understanding of the ‘comic’ as a medium for children or one dominated by superheroes, to one that can intelligently depict serious topics in a new way. Nonetheless comic books such as Archie and superheroes like Spider-Man can be regarded as extended forms of Bildungsromane with features distinct to the comics medium. The chapter will discuss these comic books and key graphic narratives such as Art Spiegelman’s Maus, Phoebe Gloeckner’s The Diary of a Teenage Girl; Alison Bechdel’s Fun Home; Gene Luen Yang’s American Born Chinese, Pat Grant’s Blue, Richard McGuire’s Here, Mariko Tamaki and Jillian Tamaki’s This One Summer and Jennifer Hayden’s The Story of My Tits.
Added by: joachim  
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