This article seeks to recuperate three previously unexamined early newspaper comic strip characters that could lay the groundwork for queer comic studies. The titular characters in Lucy and Sophie Say Goodbye (1905), Sanjak in Terry and the Pirates (1939) by Milton Caniff, and Hank O’Hair in Brenda Starr, Reporter (1940) by Dale Messick are analyzed through close readings, supporting archival material, and interviews. The article also theorizes the identification of the creator of Lucy and Sophie Say Goodbye as George O. Frink, and offers an overview of LGBTQ comics holdings at institutions in North America.Embargoed for 12 months
This study argues that comic book publishers, editors, writers, artists, and fans imposed multiple l...
The lesbian and gay press has shaped and reflected the rise of gay and lesbian liberation, Dan Tsan...
The DC Comics character of Dick Grayson (Robin and later Nightwing) has been subtextally coded queer...
In the years following 1975, a group of female-created comic strips came to national attention in a ...
In this article, I look at how comics aimed at young readers can serve to disrupt normative notions,...
Introduction: The Women's Liberation Movement in comic strips -- Crocodilites and Cathy: the worst o...
In his paper, Qu(e)erying Comic Book Culture and Representations of Sexuality in Wonder Woman, Bri...
"For several generations, comics were regarded as a boy's club--created by, for, and about men and b...
Lesbian comics and graphic narratives have gained unprecedented cultural presence in the twenty-fir...
This article focuses on North American gay comics, especially the ‘gay ghetto’ sub-genre, and on the...
Across the United States, in the mid-1930s, drag made a transition, along with much other entertainm...
This article explores how representations of the gay male form in comics have changed over time in r...
Superheroes have always battled cultural anxieties and worked through grand morality tales, but thro...
Despite traversing the fine line between homosocial and homosexual (Brooker, 2000) in his controvers...
This thesis is focused on American gay male comics and queer alternative comics. I argue that the fi...
This study argues that comic book publishers, editors, writers, artists, and fans imposed multiple l...
The lesbian and gay press has shaped and reflected the rise of gay and lesbian liberation, Dan Tsan...
The DC Comics character of Dick Grayson (Robin and later Nightwing) has been subtextally coded queer...
In the years following 1975, a group of female-created comic strips came to national attention in a ...
In this article, I look at how comics aimed at young readers can serve to disrupt normative notions,...
Introduction: The Women's Liberation Movement in comic strips -- Crocodilites and Cathy: the worst o...
In his paper, Qu(e)erying Comic Book Culture and Representations of Sexuality in Wonder Woman, Bri...
"For several generations, comics were regarded as a boy's club--created by, for, and about men and b...
Lesbian comics and graphic narratives have gained unprecedented cultural presence in the twenty-fir...
This article focuses on North American gay comics, especially the ‘gay ghetto’ sub-genre, and on the...
Across the United States, in the mid-1930s, drag made a transition, along with much other entertainm...
This article explores how representations of the gay male form in comics have changed over time in r...
Superheroes have always battled cultural anxieties and worked through grand morality tales, but thro...
Despite traversing the fine line between homosocial and homosexual (Brooker, 2000) in his controvers...
This thesis is focused on American gay male comics and queer alternative comics. I argue that the fi...
This study argues that comic book publishers, editors, writers, artists, and fans imposed multiple l...
The lesbian and gay press has shaped and reflected the rise of gay and lesbian liberation, Dan Tsan...
The DC Comics character of Dick Grayson (Robin and later Nightwing) has been subtextally coded queer...