PORTFOLIO: Way(s) We Remember: Mexican Kinships, Intersubjective Storytelling, and Thinking and Feeling Through Comics

Authors

  • José Sherwood González University of Manchester

DOI:

https://doi.org/10.5195/aa.2022.386

Abstract

n/a

Author Biography

José Sherwood González, University of Manchester

Doctoral Researcher

References

Alivizatou, Marilena. 2007. “The UNESCO Programme for the Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity: A Critical Examination.” Journal of Museum Ethnography no. 19: 34–42.

Anderson, Kay. 2014. “Mind over Matter? On Decentring the Human in Human Geography.” Cultural Geographies 21, no. 1 (January): 3–18.

Anderst, Leah. 2013. “Memory’s Chorus: Stories We Tell and Sarah Polley’s Theory of Autobiography.” Senses of Cinema no. 69 (December). https://www.sensesofcinema.com/2013/feature-articles/memorys-chorus-stories-we-tell-and-sarah-polleys-theory-of-autobiography/.

Auge, Marc. 1999. The War of Dreams: Studies in Ethno Fiction. Pluto Press.

Baquedano, Elizabeth. 2014. Tezcatlipoca: Trickster and Supreme Deity. Colorado: University Press of Colorado.

Bechdel, Alison. 2007. Fun Home: A Family Tragicomic. Houghton Mifflin Harcourt.

Bonanno, Letizia. 2019. “Drawing as a Mode of Translation.” American Anthropologist.

https://www.americananthropologist.org/ethnographic-storytelling/bonanno-drawing-as-a-mode-of-translation.

Bonfil Batalla, Guillermo. 2012. México Profundo: Reclaiming a Civilisation. Translated by Philip A. Dennis. 9th ed. Austin: University of Texas Press.

Caballero, Paula López, and Ariadna Acevedo-Rodrigo. 2018. Beyond Alterity: Destabilizing the Indigenous Other in Mexico. University of Arizona Press.

Clifford, James, and George E. Marcus. 1986. Writing Culture: The Poetics and Politics of Ethnography : A School of American Research Advanced Seminar. Berkeley: University of California Press.

Czerwiec, M. K., Ian Williams, Susan Merrill Squier, Michael J. Green, Kimberly R. Myers, and Scott T. Smith. 2020. Graphic Medicine Manifesto. Penn State Press.

Dix, Benjamin, Raminder Kaur, and With Illustrations by Pollock. 2019. “Drawing‐Writing Culture: The Truth‐Fiction Spectrum of an Ethno‐Graphic Novel on the Sri Lankan Civil War and Migration.” Visual Anthropology Review: Journal of the Society for Visual Anthropology 35, no. 1 (March): 76–111.

Durand, Jorge, and Douglas S. Massey. 1995. Miracles on the Border: Retablos of Mexican Migrants to the United States. Tucson: University of Arizona Press.

Edwards, Elizabeth. 2005. “Photographs and the Sound of History.” Visual Anthropology Review: Journal of the Society for Visual Anthropology 21, no. 1-2 (April): 27–46.

Eisner, Will. 1985. “Comics and Sequential Art: Principles and Practice of the World’s Most Popular Art Form.” Cincinnati, OH: North Light Books.

Fabian, Johannes. 2014. “Ethnography and Intersubjectivity: Loose Ends.” HAU: Journal of Ethnographic Theory 4, no. 1 (June): 199–209.

Flusser, Vilem. 1990. “On Memory (electronic or Otherwise).” Leonardo 23, no. 4: 397.

Gallo, Rubén. 2005. Mexican Modernity: The Avant-Garde and the Technological Revolution. Cambridge, MA & London: MIT Press.

Gavoldón, Roberto. 1960. Macario. Film. Mexico: Estudios Churubusco Azteca.

Giffords, Gloria Kay. 1974. Mexican Folk Retablos, Masterpieces on Tin. Tucson: University of Arizona Press.

Gutmann, Matthew C. 2007. Being a Man in Mexico City, Tenth Anniversary Edition, With a New Preface. 2nd ed. University of California Press.

Haapio-Kirk, Laura. 2022. “Special Theme Ethno-Graphic Collaborations: Crossing Borders with Multimodal Illustration.” Trajectoria 3. https://doi.org/10.51002/trajectoria_022_01.

Haraway, Donna J. 2016. Staying with the Trouble: Making Kin in the Chthulucene. Duke University Press.

Ingold, Tim. 2013. Making: Anthropology, Archaeology, Art and Architecture. London, England: Routledge.

Ingold, Tim. 2011. Redrawing Anthropology: Materials, Movements, Lines. Ashgate Publishing, Ltd.

Ingram, Simon. 2019. “La Catrina: The Dark History of Day of the Dead’s Immortal Icon.” National Geographic, October 18, 2019. https://www.nationalgeographic.co.uk/history-and-civilisation/2019/10/la-catrina-dark-history-day-deads-immortal-icon.

Jackson, Michael. 1989. Paths Toward a Clearing: Radical Empiricism and Ethnographic Inquiry. Indiana University Press.

Keating, Analouise, and Kimberly Merenda. 2013. “Decentring the Human? Towards a Post-Anthropocentric Standpoint Theory.” Praktyka Teoretyczna 10, no. 4: 65–88.

Kohn, Eduardo. 2014. “What an Ontological Anthropology Might Mean.” Cultural Anthropology. https://culanth.org/fieldsights/what-an-ontological-anthropology-might-mean.

Krug, Nora. 2018. Heimat: A German Family Album. Penguin UK.

Leach, Edmund R. 1984. “Glimpses of the Unmentionable in the History of British Social Anthropology.” Annual Review of Anthropology 13, no. 1 (October): 1–24.

MacDougall, David. 2005. The Corporeal Image: Film, Ethnography, and the Senses. Princeton, NJ: Princeton University Press.

Mantel, Hilary. 2017. “Hilary Mantel: Why I Became a Historical Novelist.” The Guardian. June 3, 2017. http://www.theguardian.com/books/2017/jun/03/hilary-mantel-why-i-became-a-historical-novelist.

McCloud, Scott. 1993. Understanding Comics: The Invisible Art. New York: Harper Perennial.

McQueen, Steve, John Ridley, Brad Pitt, Dede Gardner, Jeremy Kleiner, William Pohlad, Arnon Milchan, Anthony Katagas, and Solomon Northup. 2013. 12 Years a Slave. Entertainment One.

http://www.materialserver.filmwerk.de/arbeitshilfen/12_years_a_slave_Film_Tipp.pdf.

Mirzoeff, Nicholas. 2006. “On Visuality.” Journal of Visual Culture 5, no. 1 (April): 53–79.

Molina, Adrian, and Lee Unkrich. 2017. Coco. United States: Pixar Animation Studios.

Nora, Pierre. 1989. “Between Memory and History: Les Lieux de Memoire.” Representations 26, no. 1 (April): 7–24.

O’brien, Elaine. 2013. “Modern Art in Africa, Asia, and Latin America: An Introduction to Global Modernisms.” In The Cosmic Race: José Vasconcelos’, edited by Melissa Chiu, Mary K. Coffey, Benjamin Genocchio, Everlyn Nicodemus, Elaine O’Brien, and Roberto Tejada. Hoboken: Wiley-Blackwell.

Okely, Judith, and Helen Callaway. 1992. Anthropology and Autobiography Participatory Experience and Embodied Knowledge. Routledge.

Olivier, Guilhem. 2015. Tezcatlipoca: Burlas Y Metamorfosis de Un Dios Azteca. Mexico City. Mexico City: Fondo de Cultura Económica.

Patel, Ian. 2021. We’re Here Because You Were There: Immigration and the End of Empire. Verso Books.

Polley, Sarah. 2012. Stories We Tell. Canada: National Film Board of Canada; Mongrel Media.

Rapport, Nigel, and Joanna Overing. 2000. Social and Cultural Anthropology: The Key Concepts. Psychology Press.

Ravetz, Amanda, and Helena Gregory. 2018. “Black Gold: Trustworthiness in Artistic Research (seen from the Sidelines of Arts and Health).” Interdisciplinary Science Reviews: ISR 43, no. 3-4 (October): 348–71.

Reese, Leslie. 2012. “Storytelling in Mexican Homes: Connections Between Oral and Literacy Practices.” Bilingual Research Journal 35, no. 3 (December): 277–93.

Rumsby, Charlie. 2020. “Retrospective (re)presentation: Turning the Written Ethnographic Text into an ‘ethno-Graphic.’” Entanglements 3, no. 2 (December): 7–27.

Sand, Alexa. 2012. “Visuality.” Studies in Iconography 33, no. Special Issue Medieval Art History Today—Critical Term: 89–95.

Satrapi, Marjane. 2003. Persepolis: The Story of a Childhood. Pantheon Books.

Sherwood Gonzalez, José. 2019a. “Breaking Tezcatlipoca.” Granada Centre for Visual Anthropology. https://granadacentre.co.uk/project/breaking-tezcatlipoca/.

---. 2019b. “Vernacular Excavations.” José Sherwood Gonzalez. https://josesherwood.com/vernacular-excavations/.

Sherwood González, José. 2022. “Otherwise Comics.” Cultural Anthropology: Journal of the Society for Cultural Anthropology Theorizing the Contemporary, no. Fieldsights (July). https://culanth.org/fieldsights/otherwise-comics.

Sherwood Gonzalez, José. 2022. “Story of Mirrors: Together They Cross the Border.” Trajectoria 3. https://doi.org/10.51002/trajectoria_022_04.

Sjöberg, Johannes. 2008. “Ethnofiction: Drama as a Creative Research Practice in Ethnographic Film.” Journal of Media Practice 9, no. 3 (January): 229–42.

Sousanis, Nick. 2012. “The Shape of Our Thoughts: A Meditation on & in Comics.” Visual Arts Research 38, no. 1: 1–10.

Theodossopoulos, Dimitrios. 2022. “Graphic Ethnography on the Rise.” Society for Cultural Anthropology. #creator. https://culanth.org/fieldsights/series/graphic-ethnography-on-the-rise?x-craft-preview=C62hDQD7hD&token=aql7MNIlS5dzI4wpndC5ysDhvEZiMZRq.

Westheim, Paul. 1983. La Calavera. Translated by Mariana Frenk. Mexico City: Fondo de Cultura Económica; Cultura SEP.

Downloads

Published

2022-11-18

Issue

Vol. 43 No. 2 (2022)

Section

Portfolio

License

Authors who publish with this journal agree to the following terms:

  1. The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.
  2. Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
  3. The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons Attribution 4.0 International License or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
    1. Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
    with the understanding that the above condition can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
  4. The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
  5. Authors are permitted and encouraged to post online a prepublication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.
  6. Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.
  7. The Author represents and warrants that:
    1. the Work is the Author’s original work;
    2. the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
    3. the Work is not pending review or under consideration by another publisher;
    4. the Work has not previously been published;
    5. the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
    6. the Work contains no libel, invasion of privacy, or other unlawful matter.
  8. The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.

Revised 7/16/2018. Revision Description: Removed outdated link.