This article wrestles with the continuation of this trend in popular culture via an empirical examination of the speculative fiction of the British novelist and performance artist, B. President Donald Trump’s now-infamous labelling of the entire continent as a host of ‘shithole countries’. As a consequence, this constant othering of the so-called ‘Dark Continent’ has had a deleterious impact for African states and their citizenries, as spectacularly evidenced in U.S. From Sir John Mandeville to Joseph Conrad, Africa’s blank spaces on the map have been filled with monstrous creatures that fuel the western imagination. Novelists and other cultural producers have long employed the African continent as a palimpsest to construct fantastical tales. The empirical study of returning wolves to Switzerland. It further describes an exemplary approach to a collaborative comic and how visceral or nonverbalĪspects in human-animal relations can be expressed and experienced, using The article then discusses more-than-human qualities of comics, arguing that graphic narratives emerge as productive tools to reveal „the In their comic drawings geographers try to make specific viewpoints, moments, emotions and relations visible that have been underexposed either socio-politically or in terms of scientific practice. It identifies three different ways of how geographers approach this field of research and communication: (1) comic analysis, (2) comic semiotics and (3) comic practice. For this reason, this paper investigates the potential of comics in more-than-human geographies. These corporeal, affective, sensual and emotional realities cannot easily be put into words and adequately expressed through linear and textual forms. Human-animal relations are often experienced viscerally. ) to produce their own narrative" (Dittmer, 2010:233). Es sind also nicht nur die Inhalte von Comics, die das Interesse von Geograph*innen wecken, sondern auch die Gestaltung der Seite, die Anordnung der Panels, Sequenzen und Zwischenräume, die in ihrer jeweils spezifischen Anordnung dazu beitragen können "to hold time still" (Dittmer, 2010:232) und den Lesenden die Möglichkeit bieten " create geographical space (. mit der Rolle der Leser*innenschaft für die Konstruktion comicbasierter Narrative und der Bedeutung des Panels (panel) -der kleinsten Einheit im Comic, welche von anderen Bildern mittels Rahmen getrennt wird -und der Zwischenräume (gutter) -der Abstände und topologischen Verbindungen zwischen den Panels -auseinander (Dittmer, 2010 Gallacher, 2011 Dittmer und Latham, 2015).
Entsprechende Beiträge greifen ebenfalls auf bereits publiziertes Comicmaterial zurück und setzen sich u. Als "Comicsemiotik" definiere ich eine zweite Phase, in der es vor allem um Fragen des Aufbaus und des Lesens bildbasierter Erzählungen geht.