Introduction: The Intersection of Comics Studies and German Studies 233 Introduction: The Intersection of Comics Studies and German Studies Brett Sterling University of Arkansas In December 1830, when Goethe first encountered picture stories by Rodolphe Töpffer, a schoolmaster in Geneva, he remarked that if Töpffer’s sparkling talent were applied to the proper scenario, “so würde er Dinge erfinden, die über alle unsere Begriffe gingen” (Soret 489). Today, Töpffer is considered by many to be the first comics artist, revered for his pioneering forays into storytelling with sequential images and integrated text. But it would take well over a century for Goethe’s optimistic evaluation of the picture story—and its descendent, comics—to gain public and critical acceptance. This special issue of Colloquia Germanica is a response to the general skepticism surrounding scholarship on comics, and it aims to further establish the field of Comics Studies within German Studies. The included essays showcase the high level of critical analysis that is possible under the auspices of Comics Studies. The medium of comics in general, and the current production of challenging works in German-speaking Europe present a plethora of opportunities for fruitful study and analysis in a range of areas, including gender studies, media studies, adaptation, and historical representation. Comics Studies as a field of scholarly inquiry is still relatively young; prior to the 1960s, only a handful of individuals addressed the medium, albeit mostly disparagingly. Comics Studies has taken this long to develop due in part to the historic understanding and evaluation of comics as insipid children’s fare (cf. Wertham). Scholars have struggled to legitimize working on texts considered as beneath contempt by the bulk of academia, while fans and practitioners of the medium have argued for the value of comics for decades (cf. “Comic Manifest”). At the same time, the oft-cited hybridity of the medium at the intersection of the visual arts and literature has problematized comics’ inclusion into any one discipline. Charles Hatfield has referred to Comics Studies as “an anti -discipline: a way of slipping between the universes, academically speaking” (xi). Indeed, the sentiment “Comic-Wissenschaft existiert nicht” (Frahm 31) is a common refrain in recent scholarship (Blank 61; Eder et al. 9; Miodrag 250; Schüwer 13; Stein 234 Brett Sterling et al. 7). Yet comics have been explored and analyzed within many disparate fields, without a centralizing impulse to subsume them under a clearly demarcated “Comics Studies” discipline. The largely isolated development of distinct artistic and scholarly traditions divided along national and linguistic lines has also hindered the creation of a unified international Comics Studies: aesthetics, formal concerns, and cultural significance vary widely between discourses on Anglo-American comics, Franco-Belgian bandes dessinées , Italian fumetti , and Japanese manga. To better understand how German-language comics fit within international Comics Studies, and within German Studies in the United States, it will be useful to look briefly at the historical development of the medium and the critical scholarship it has inspired in German-speaking Europe. Picture stories enjoyed great success in German-speaking Europe throughout the nineteenth century. Illustrated broadsheets ( Bilderbogen ) and satirical journals 1 served as showcases for the work of pioneering artists like Wilhelm Busch, Moritz von Schwind, and Franz Pocci. In contrast to American newspaper comic strips, which emerged in the 1890s, German picture stories operated with a strict separation of text and image (Dolle-Weinkauff 21). Comic books as we know them today were first introduced to Germany by American servicemen after World War II . These American-style comics proved extremely popular with readers in Germany, sparking a wave of importation and translation of series from the U. S. The traditional forms of visual storytelling developed and refined by German artists during the 1800s were unable to compete with the vibrant booklets from abroad, and quickly fell out of favor with readers. As comic books entered the German market, so too did the controversy over their content. In 1954, the German-American psychiatrist Fredric Wertham published a damning condemnation of comic books as destroyers of the youth in his now infamous book Seduction of the Innocent ; his subsequent testimony before the U. S. Senate Subcommittee on Juvenile Delinquency blamed comics for an increase in juvenile crime and (homo)sexuality and resulted in the self-censorship of the American comics industry in the form of the Comics Code Authority. Wertham’s crusade against comics crossed the Atlantic almost simultaneously with the comics themselves, sparking book exchange programs, the passage of legislation for the protection of minors from dangerous materials in both East and West Germany, and even public book burnings (Dolle-Weinkauff 96—115; Lettkemann and Scholz 13—14). The combined impact of negative public opinion and a glut of imported material on the market restricted the development of domestic German-language comics: with few exceptions, no German artists rose to the prominence of their competitors abroad. The beginning of Comics Studies in Germany coincided with the moral panic coming out of the United States during the mid-1950s. In what has come to be Introduction: The Intersection of Comics Studies and German Studies 235 referred to as the “Schmutz- und Schundkampagne” (Dolle-Weinkauff 18), innumerable articles were published in the German-language press condemning comics for a litany of alleged sins, among them the degradation of German culture through Americanization, the incitement of the youth to violence and sexual deviance, and the promotion of illiteracy among children, so-called “Bildidiotismus” (Baumgärtner 91). The first noteworthy work on comics in German, Alfred C. Baumgärtner’s Die Welt der Comics (1965), entered into the debate as anti-comics fervor was beginning to wane. Baumgärtner devoted significant effort to analyzing comics’ typical tropes and plot devices, but his assessment was ultimately a modified condemnation of the medium as a crass financial gimmick that promoted a dehumanized and chaotic worldview to readers. 2 In 1971, Wolfgang J. Fuchs and Reinhold C. Reitberger, two students at the Ludwig-Maximilians-Universität in Munich created one of the first positive treatments of comics in German: Comics: Anatomie eines Massenmediums . In their thematic history of the medium, Fuchs and Reitberger presented a thorough exploration of comics’ key themes (humor, satire, melodrama, adventure, sex, etc.), while arguing against the earlier demonization of comics by Wertham and others. Throughout the rest of the 1970s, several German scholars published explorations of comics through a semiotic lens (cf. Hünig, Krafft, and Wienhöfer). Though these works have largely faded from the scholarly discourse, their impulse to study how comics create meaning and the repertoire of signs comics employ are echoed in later work by Stephan Packard, Janina Wildfeuer, and John Bateman. Originating in the field of art pedagogy, Dietrich Grünewald created several important works on comics ( Comic - Kitsch oder Kunst? [1982]; Wie Kinder Comics lesen [1984]; Vom Umgang mit Comics [1991]) that focused on how comics are read and how they might be employed effectively in the classroom. The scholarship of this period provided important insights into the ways comics function. It was not until the mid-1980s, however, that scholars began to look beyond comics as a medium generally to German-language comics in particular. In the late 1980s and early 1990s, three scholars presented the first extensive histories of German comics’ development after 1945. Andreas Knigge’s Fortsetzung folgt: Comic Kultur in Deutschland (1986), written for a popular audience, provided a wealth of information about the import market in Germany and the numerous German-language artists working in its shadow. Bernd Dolle-Weinkauff, the director of the comics archive at the Goethe Universität Frankfurt, expanded on Knigge’s work with a detailed exploration of the medium’s evolution in Germany: Comics: Geschichte einer populären Literaturform in Deutschland seit 1945 (1990). While Knigge and Dolle-Weinkauff focused on comics in West Germany, Gerd Lettkemann and Michael F. Scholz’s “Schuldig ist schließlich jeder …” Comics 236 Brett Sterling in der DDR - Die Geschichte eines ungeliebten Mediums ( 1945 / 49 — 1990 ) (1994) traced the complicated, politically entangled history of comics in the East. Despite the thoroughness of these histories, at the time they were written, Germany was still basically terra incognita on the comics landscape. With a few exceptions—e. g., Gerhard Seyfried, Matthias Schultheiss, and Ralf König—German-language artists were all but absent among the legions of Anglo-American and Franco-Belgian imports. The situation changed when two groups of artists in East Berlin emerged to form the beginnings of a comics avant-garde on the eve of the Wende . The artists of the collective PGH Glühende Zukunft, including Anke Feuchtenberger, Henning Wagenbreth, Holger Fickelscherer, and Detlef Beck used their background in graphic design and practical art to create experimental comics and poster art, while the Renate collective around Hans Georg Barber (alias ATAK), Christian (CX) Huth, and Peter Bauer followed a punk aesthetic inspired by 1980s zine culture. After the fall of the Berlin Wall, these stylistically daring artists found a home with venturesome independent publishers 3 who had filled gaps left by major publishers when the comics market cratered in the mid-1990s. 4 Along with West German counterparts Hendrik Dorgathen and Martin tom Dieck, and the Swiss Thomas Ott and Anna Sommer, the pioneering artists of the ’90s avant-garde made it possible for an independent comics scene to develop within German-speaking Europe. But beyond their groundbreaking work in comics, many of these same artists took up teaching positions at art schools across Germany, 5 where they have educated a generation of new comics creators. From a virtual no-man’s-land into the late 1980s, German-speaking Europe has developed into a vibrant site of comics production. As a new generation of artists trained by the ’90s avant-garde began to graduate throughout the 2000s, a surge of new talent emerged. The success of artists like Flix, Reinhard Kleist, Ulli Lust, Mawil, and Barbara Yelin has also been driven by the international popularity of the graphic novel. 6 The publication of Art Spiegelman’s Holocaust family narrative, Maus (1986, 1991; Ger. 1989, 1992)—considered a textbook example of the graphic novel—and Spiegelman’s subsequent acceptance of the Pulitzer Prize in 1992 were critical to the legitimization of comics not just in the United States, but in Germany as well. Maus helped make comics culturally acceptable by demonstrating that comics were capable of addressing grave topics as well as creating humor. While Maus opened the door to comics’ broader appreciation, Iranian-French artist Marjane Satrapi’s autobiographical comic Persepolis (2000—03; Ger. 2004) has been credited as the catalyst for Germany’s graphic novel obsession, in both imports and domestic production (Brake n. pag.). As comics and graphic novels became common sights in bookshops and online, and frequent subjects of feuilleton columns in the German-speaking Introduction: The Intersection of Comics Studies and German Studies 237 press, German Comics Studies seemed to awaken “aus dem Dornröschenschlaf ” with a flurry of activity in the mid-2000s (Roidner n. pag.). In 2004, comics scholar Eckart Sackmann founded Germany’s first academic periodical dedicated to comics research, Deutsche Comicforschung . The annual journal was created to address the near-complete absence of scholarly engagement with German-language comics at the time, with a particular focus on German-speaking cultures’ influence on the development of the medium during the nineteenth century and in the years prior to 1945. A year later, Dietrich Grünewald and other comics experts established the Gesellschaft für Comicforschung , the leading scholarly organization for Comics Studies in German-speaking Europe. During the same period, the first German-language publications on comics theory began to lay the groundwork for a body of theoretical work in the German context. Stephan Packard’s Anatomie des Comics: Psychosemiotische Medienanalyse (2006), Martin Schüwer’s Wie Comics erzählen: Grundriss einer intermedialen Erzähltheorie der grafischen Literatur (2008), and Jakob F. Dittmar’s Comic-Analyse (2008)—all revised dissertations—are largely unique in the current field of German Comics Studies in their attempts to present systematic theories of comics, rather than to focus on individual aspects of form, genre, or content. Packard approached the medium from a psychosemiotic perspective, drawing on the work of Jacques Lacan and C. S. Peirce to understand how comics create meaning and how the human consciousness experiences comics’ meaning making. Using media and narrative theory as his lenses, Schüwer meticulously explored both the visual and textual strategies employed by comics in an attempt to provide the basis for a theory of comics narrative. Dittmar presented an analysis of comics’ constituent elements and the ways in which those elements combine to create a cohesive, functional whole. Despite the rapid growth of work on comics in German-speaking Europe, Packard’s, Schüwer’s, and Dittmar’s monographs remain standouts for their treatment of comics in its entirety. Beginning with Hein, Hüners, and Michaelsen’s Ästhetik des Comic in 2002, the thematic essay anthology has come to be the standard publication format for new comics scholarship in German-speaking Europe. Over the past decade, volumes have been published on the history and development of comics (Ditschke, Kroucheva, and Stein 2009; Eder, Klar, and Reichert 2011; Grünewald 2010), intermediality in comics (Becker 2011; Bachmann, Sina, and Banhold 2012), narrativity (Brunken and Giesa 2013; Hochreiter and Klingenböck 2014), comics and politics (Packard 2015), comics and science (Leinfelder et al. 2017; Heydenreich, forthcoming), racism and anti-Semitism in comics (Palandt 2011), nonfiction and informational comics (Hangartner, Keller, and Oechslin 2013), documentary comics (Grünewald 238 Brett Sterling 2013), and literary adaptations (Schmitz-Emans 2012; Blank 2015; Hohlbaum 2015; Trabert, Stuhlfauth-Trabert, and Waßmer 2015; Aust 2016). We invite readers to peruse and explore the works included in the bibliography for a better understanding of the current vibrancy of German Comics Studies. Comics scholarship has been slow to establish itself in German-speaking Europe, and in the work produced thus far, the focus by scholars in Germany has largely been on works from outside German-speaking Europe in the broader context of international Comics Studies. Interest in analyzing German-language comics has grown along with the increasing number and quality of those comics over the past decade, but such publications are still in the minority. In North America, Comics Studies has a longer presence, but German-language comics have mostly been ignored in the field’s leading journals and major publications. The few existing articles on German-language comics in English have come from scholars in German Studies, who have viewed comics in the context of foreign language pedagogy and literary and textual studies. In 2009, Elizabeth Bridges published the first essay in English on the use of comics specifically in the German language classroom. Under the title “Bridging the Gap: A Literacy-Oriented Approach to Teaching the Graphic Novel Der erste Frühling ,” Bridges argued that comics can be useful for opening students to canonical texts by creating “visual and personal reference points” to better understand the cultural context of those works (159). Lynn Kutch built on Bridges’ work in her essay “From Visual Literacy to Literary Proficiency: An Instructional and Assessment Model for the Graphic Novel Version of Kafka’s Die Verwandlung ,” while laying out a detailed curriculum for introducing students to comics and simultaneously developing visual and textual literacy. In her essay “Coming to Terms with the Past: Teaching German History with the Graphic Novel,” Elizabeth Nijdam argued for the inclusion of comics not only in language curricula, but also in history and culture courses, where they can engage students in the active understanding of history. Alongside works of pedagogical scholarship, there is a growing interest in comics as objects of literary and textual analysis. In Canada, Paul Malone has written widely on German-language manga, while in the United States Joshua Kavaloski has published on Peer Meter and Isabel Kreitz’s Haarmann (2010) within the context of a reimagination of Weimar Germany—the first analysis of comics in a major German Studies journal—and Elizabeth Nijdam has established herself as a leading scholar on the work of Anke Feuchtenberger. While scholarship on German-language Comics Studies in North America has been sparse and isolated, beginning in 2014, an annual series of panels at the German Studies Association and Northeast Modern Language Association conferences created points of accretion for a small but growing group of Introduction: The Intersection of Comics Studies and German Studies 239 scholars interested in exploring comics from a variety of perspectives within German Studies. A crucial outgrowth of these collaborative experiences was the publication of the volume Novel Perspectives on German-Language Comics Studies: History, Pedagogy, Theory (ed. Lynn Kutch) in 2016. Kutch’s anthology stands as the first and as yet only volume on German-language Comics Studies published in English, and it demonstrates the breadth of academic engagement with comics in the variety of its contributions. The present issue of Colloquia Germanica —born out of a panel series at the German Studies Association conference in 2015—builds on Kutch’s work, and the contributors’ essays demonstrate the rigor with which comics can be productively analyzed from within the field of German Studies. Marina Rauchenbacher’s essay uses Peer Meter and Barbara Yelin’s Gift to demonstrate how graphic novels provide possibilities to analyze the interrelation of looking and being looked at, to examine the discourse-historical setting of inherent power relations, and to scrutinize gender roles. Lynn Kutch and Damianos Grammatikopoulos consider the ways in which Peter Eickmeyer’s adaptation of Remarque’s classic novel Im Westen nichts Neues amalgamates artistic representations of the First World War beyond the source text, resulting in a work that defies easy characterization as comic or graphic novel. Helga Kraft takes Moritz Stetter’s Das Urteil as a case study in the difficulty and productivity of adapting Kafka’s polyvalent works into visual form. Brett Sterling examines the figure of the bystander in Barbara Yelin’s Irmina , with a focus on the visual and narrative strategies Yelin uses to enact the protagonist’s complicity in the genocide progressing around her. Finally, Elizabeth Bridges employs Schiller’s conception of therapeutic nostalgia to interrogate a range of recent Wende comics, focusing on how each participates in or resists so-called Ostalgie . This special issue links the American and German-speaking traditions of Comics Studies by bringing together researchers who build upon the scholarly progress made on both continents. Notes 1 E.g., Fliegende Blätter (1844—1944), Kladderadatsch (1848—1944), and Simplicissimus (1896—1944). 2 It is worth noting that Baumgärtner later revised this book and became a comics advocate. 3 E.g., Edition Moderne, Jochen Enterprises, and Reprodukt. 4 Success in the book trade (in contrast to the traditional distribution of comics through magazine kiosks) during the mid-1980s drove the Carlsen Verlag to greatly expand the number of titles offered in its program through 240 Brett Sterling the early 1990s. Competing publishers followed suit and flooded the market with works of diminishing quality, while falling sales resulted in massive price increases and a collapse of the market by the end of the decade (Sackmann 65—67; Gasser 9). 5 E.g., Anke Feuchtenberger (Hochschule für Angewandte Wissenschaften Hamburg), Henning Wagenbreth (Universität der Künste Berlin), Martin tom Dieck (Folkwang Universität der Künste Essen), ATAK (Burg Giebichenstein Kunsthochschule Halle), and Markus Huber (Muthesius Kunsthochschule Kiel). 6 The graphic novel is generally understood as a non-serial, long-form comic, and held by many to include serious content for an adult readership. The term “graphic novel” is somewhat contentious among scholars, where some consider it to be a movement (Gravett 9), a distinct genre (Hescher 4), a form of comics storytelling (Meyer 273), or even a medium in itself (Baetens and Frey 7) and others have criticized it as little more than a marketing label intended to legitimize comics as high culture, and thus to sell comics to a broader readership (Blank, Graphic Novel ; Hausmanninger 17; Wolk 63—64). Works Cited Aust, Robin-M. “Es ist ja auch eine Methode, alles zur Karikatur zu machen.”: Nicolas Mahlers Literatur-Comics Alte Meister und Alice in Sussex nach Thomas Bernhard und H. C. Artmann . Würzburg: Ergon, 2016. Bachmann, Christian A. Metamedialität und Materialität im Comic: Zeitungscomic - Comicheft - Comicbuch . Berlin: Christian A. Bachmann, 2016. Bachmann, Christian A., Véronique Sina, and Lars Banhold, eds. Comics intermedial. Beiträge zu einem interdisziplinären Forschungsfeld . Essen: Christian A. Bachmann, 2012. 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