"A Dance Between the Visible the Invisible": Fragments of (forced) Migration in Comics from Italy and the Mediterranean

“可见与不可见之间的舞蹈”：漫画中意大利和地中海（被迫）移民的片段

• 批准号: 2600248
• 金额: --
• 依托单位: University of Warwick
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2600248
• 关键词: Dance; Between; Visible; Invisible; Fragments

Focusing on comics narrating the experience of (forced) migration in the Mediterranean, the projectinvestigates the political potential embedded in comics' form and aesthetics. As a culturally marginalizedmedium, the research studies comics as "minor narratives" (Deleuze and Guattari 1986) and asserts thatthe medium's cultural stigmatization is essential both for its political potential and for its adoption bymarginalized communities. Whose stories are told, whose voices are heard, and how individual agency isreaffirmed are pivotal questions when considering the political affordances of comics. Drawing togetherliterary theory, formalist comics scholarship, migration and globalization studies, with a specific focus onItaly and the Mediterranean area, the project aims attention at a variated corpus of comics narrating theexperience of (forced) migration produced in Italy between 2000-2020.The research analyses the potential of comics to challenge dominant narratives that universalizemigratory experience and examines the medium's formal and aesthetics potential to blur the boundariesbetween forms of individual and collective narration. Comics are understood to reaffirm migrants asmobile (Burns 2018), political (Sigona 2014), and experiencing subjects (Eastmond 2007). Followingthree different perspectives (autobiography, reportage, autofiction) in a comparative approach, theresearch first investigates graphic-journalist comics giving an external account of migration, such asMarco Rizzo and Lelio Bonaccorso's documentary comic "Salvezza" (2018). Second, the study inquiresfictional accounts of migration by Italian comic artists, yet narrated through the perspective of migrantindividuals, such as "Mediterraneo" (2018) by Sergio Nazzaro and Luca Ferrara. Third, the project looks atautobiographical and co-authored comics where migrants bear agency in directly voicing theirexperience, such as in the autobiographical comic "La rivoluzione dei gelsomini" (2018) by Italo-Tunisiancartoonist Takoua Ben Mohamed and collaborative comic "Etenesh" (2015), the true story of an Ethiopianwoman's voyage to Lampedusa.

该项目以讲述地中海（被迫）移民经历的漫画为重点，研究漫画形式和美学中蕴含的政治潜力。作为一种文化边缘化的媒介，该研究将漫画作为“次要叙事”进行研究（德勒兹和瓜塔里，1986），并断言该媒介的文化污名化对于其政治潜力和边缘化社区的采用至关重要。谁的故事被讲述，谁的声音被听到，以及个人机构如何被重申是考虑漫画的政治启示时的关键问题。汇集文学理论，形式主义漫画奖学金，移民和全球化研究，特别关注意大利和地中海地区，该项目的目的是关注一个不同的漫画语料库，讲述2000- 2010年间在意大利产生的（被迫）移民的经历。2020年，该研究分析了漫画挑战主流叙事的潜力，这些叙事普遍化了移民经历，并研究了这种媒介的正式和模糊个体叙事与集体叙事的界限。漫画被理解为重申移民是移动的（Burns 2018），政治的（Sigona 2014）和经验的主题（Eastmond 2007）。本研究从三个不同的视角（自传、报告文学、自传）进行比较，首先考察了对移民进行外部描述的平面记者漫画，如Marco Rizzo和Lelio Bonaccorso的纪录片漫画《Salvezza》（2018）。其次，该研究调查了意大利漫画艺术家对移民的虚构描述，但通过移民个人的视角进行叙述，例如Sergio Nazzaro和Luca费拉拉的《Mediterraneo》（2018）。第三，该项目着眼于自传体和共同创作的漫画，其中移民直接表达了他们的经历，例如意大利-突尼斯漫画家Takoua Ben Mohamed的自传体漫画“La rivoluzione dei gelsomini”（2018）和合作漫画“Etenesh”（2015），这是一个埃塞俄比亚妇女前往兰佩杜萨的真实故事。