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Friday, March 21st Hernandez’s Recent Narratives - Derek Royal 9-10:15 AM – Panel 1: The "Body" of 4-6 PM – Dinner the Text 6-7:30 – Phoebe Gloeckner Keynote → “Time is a Man / Space is a Woman”: Narrative + Visual Pleasure = Gender 7:30-9:30 – Reception Ustler Hall Confusion – Aaron Kashtan → Eggs, Birds and “an Hour for Lunch”: A Saturday, March 22nd Vision of the Grotesque Body in Clyde Fans: Book 1 by Seth - John Kennett 9-10:15 – Panel 5: The Figure on the → Love in the Binding – Laurie Taylor Page 10:30-11:45 – Panel 2: Groensteen's → "Gimme Gimme This, Gimme Gimme Networked Relations That": Confused Sexualities and Genres in Cooper and Myerson's Horror Hospital → Memory and Sexuality: An Arthrological Unplugged – James Newlin Study of Alison Bechdel’s Fun Home: A → How to Draw the (DC and) Marvel Way: Family Tragicomic - Adrielle Mitchell How Changes in Representation of Female → The Joy of Plex: Erotic Arthrology, Bodies and Attitudes are Changing Tromplographic Intercourse, and "Superheroine Chic" – Mollie Dezern “Interspecies Romances” in Howard → "The Muse or the Viper: Excessive Chaykin’s American Flagg - Daniel Yezbick Depictions of the Female in Les Bas-Bleus → Our Minds in the Gutters: Native and Cerebus" – Tof Eklund American Women, Sexuality, and George O’Connor’s Graphic Novel Journey into 10:30-11:45 – Panel 7: Let's Transgress Mohawk Country - Melissa Mellon → I for Integrity: Futurity, 11:45-1:15 – Lunch (Inter)Subjectivities, and Sidekicks in Alan 1:15-2:30 – Panel 3: Women on Top Moore's V for Vendetta and Frank Miller's Batman: The Dark Knight Returns - Jordana → Buxom Moebius Strip: The Hyperreal Greenblatt World of Gilbert Hernandez's Fantastic → The Joker Wears Purple: Gender Women – Sacha Krader and Austin Rich Transgressive Villains and Trickster → "Are You Ready?": Renee Montoya and Archetypes in Superhero Comics - Rachel the Question of Lesbian Identity – Karen Edidin Burrows → Otherness, Perversion and the → Just One Damned Dildo After Another: Transformed Male Body in Seinen and Pornographic Space in the Work of Colleen Shounen Manga - Katherine Schaeffer Coover and Molly Kiely – Lyndsay Brown 11:45-1:15 – Lunch 2:45-4:00 – Panel 4: Performance and 1:30-3:00 – Sally Cruikshank Keynote Positions 3:30-4:45 – Library Exhibit of UF: → The Queering of Haruhi Fujioka: Cross- Dressing, Camp and Commoner Culture in National Obsessions: Twentieth Ouran High School Host Club - Tania Century Pop Culture, Comics and Darlington Cross-Promotional Merchandizing. → She-Rambos in Lipstick: Authorial and Featuring comics, movies/TV, and Artistic Depictions of Androgyny and pop culture items from Star Wars, Femininity in Comics – Hannah Dame Peanuts, Walt Disney, and Superman → Reading between the (Panty) Lines: The and Batman Body as Ethnographic Text in Jaime 5-6:30 – Gail Simone Keynote .

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Costume Culture: Visual Rhetoric, Iconography, and Tokenism In
COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image.
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