Rose Brister

Bio: Rose Brister is an academic researcher. The author has contributed to research in topics: Human rights & Narrative. The author has an hindex of 1, co-authored 1 publications receiving 45 citations.

Kairos and Comics: Reading Human Rights Intercontextually in Joe Sacco's Graphic Narratives

Abstract: Although the graphic narrative genre is increasingly being utilized to represent human rights atrocities in complex ways, scholarship on this topic tends to focus on the analysis of issues of historical representation Therefore, this essay contributes to this conversation a nuanced understanding of contextual reading practices in human rights discourse by analyzing Joe Sacco’s Palestine (2001) and Footnotes in Gaza (2009) through the rhetorical concept of kairos and current theories of comics narratology If kairos draws attention to the layered historical contexts operating within Sacco’s graphic narratives as they stake claims for human rights in Palestine and comics studies scholarship focuses on the spatio-temporal dynamics of the graphic narrative form, then together these critical approaches can disrupt the linear notions of time and bounded spaces involved in the denial of Palestinians’ rights to property, land, and return Such an approach draws attention to the urgency of Sacco’s human rights project even while he questions its efficacy

For All Peoples and All Nations: Anglophone Literature and the Imaginative Work of International Law (1884-2017)

Abstract: This thesis explores how Anglophone literature debated the rise of modern international law since the late nineteenth century, including the founding of the United Nations and the 1948 declaration of human rights. While international law has its origins in the early modern period, it was largely at the turn of the century, with the Berlin Conference, that it began taking shape as a colonial and then a postcolonial, global ethics. In this thesis, I lay claim to literature’s capacity to legislate by examining instances where Anglophone novelists—including Joseph Conrad, Bryher, Vladimir Nabokov, Chinua Achebe, and Chimamanda Ngozi Adichie—work through the promises and problems of international jurisprudence. More than a mere reflection of international law’s evolving theory and practice, the literature I treat registers the law’s presumptions and first principles while interrogating its capacity to follow through with its declarations. In spreading the law’s claims while also submitting them to the scrutiny of close reading, these novels are both advocates of and at times stubborn liabilities for international law’s normative worlds. Collectively, these Anglophone novelists scrutinize international law’s ability to shape the ways we come to know ourselves and one another as rights-bearing individuals, international actors, advocates, and activists. Recent work in the humanities has begun to address the ways in which international law is a set of interlocked narratives that claim

The Cambridge History of the Graphic Novel

Abstract: The Cambridge History of the Graphic Novel provides the complete history of the graphic novel from its origins in the nineteenth century to its rise and startling success in the twentieth and twenty-first century. It includes original discussion on the current state of the graphic novel and analyzes how American, European, Middle Eastern, and Japanese renditions have shaped the field. Thirty-five leading scholars and historians unpack both forgotten trajectories as well as the famous key episodes, and explain how comics transitioned from being marketed as children's entertainment. Essays address the masters of the form, including Art Spiegelman, Alan Moore, and Marjane Satrapi, and reflect on their publishing history as well as their social and political effects. This ambitious history offers an extensive, detailed and expansive scholarly account of the graphic novel, and will be a key resource for scholars and students.

“A Word to You Feminist Women”: The Parallel Legacies of Feminism and Underground Comics

Abstract: Would you like me to stop venting my rage on paper? Is that what you’d like me to do, all you selfrighteous, indignant females? All you poor persecuted downtrodden cunts? Would you rather I went out and raped twelveyearold girls? Would that be an improvement? Well, listen, you dumbassed broads, I’m gonna fucking well draw what I please to draw and if you don’t like it, fuck you! (Crumb 1971)

Harvey Kurtzman and the Influence of Mad Magazine

Abstract: This is a chapter in a significant new collection of essays which will be a key reference in the field of comics studies. The chapter came about through an invitation from the editors Jan Baetens, Hugo Frey and Stephen E. Tabachnick to explore the impact on Harvey Kurtzman, with a specific emphasis on the development of the graphic novel as a form. This is the first attempt to do so in an academic context. From the publisher's website: The Cambridge History of the Graphic Novel provides the complete history of the graphic novel from its origins in the nineteenth century to its rise and startling success in the twentieth and twenty-first century. It includes original discussion on the current state of the graphic novel and analyzes how American, European, Middle Eastern, and Japanese renditions have shaped the field. Thirty-five leading scholars and historians unpack both forgotten trajectories as well as the famous key episodes, and explain how comics transitioned from being marketed as children's entertainment. Essays address the masters of the form, including Art Spiegelman, Alan Moore, and Marjane Satrapi, and reflect on their publishing history as well as their social and political effects. This ambitious history offers an extensive, detailed and expansive scholarly account of the graphic novel, and will be a key resource for scholars and students.