Picasso & Comics | Chinese Comedies | Girly Imperialism

I.

Picasso, Comics, and Cultural Divides: Why Krazy Kat Is a Kubist Kat

Kevin Cooley Modernism/Modernity

“Pablo Picasso had a weakness for comic strips… As comics and cubism stumbled through their early days at the beginning of the twentieth century, they played together in a sandbox of paradoxical visual temporalities… I argue here…that the most responsible reading of George Herriman’s Krazy Kat is as a narrative not only indebted to the work of Pablo Picasso and the members of his social circle, but inspirational to that company…”

II.

Chinese Lighthearted Comedies of the Early 1960s

Ying Bao International Communication of Chinese Culture

“Through comedic conflicts generated by the reconfiguration of domestic and professional identities in socialist China, the lighthearted comedies used laughter as a corrective tool to advocate new social, political, and moral values, and in particular to redefine gendered space in society. Many of these films, with apparent links to the immediate mass campaigns and national policies promulgated by the state at the time, managed to provide innovative and rich entertainment with nuanced ideological messages in everyday situations…”

III.

Girl Empire Builders: Girls’ Domestic and Cultural Labor and Constructions of Girlhood

Elizabeth Dillenburg The Journal of the History of Childhood and Youth

“How did organizations like the Girls’ Friendly Society seek to educate girls about the empire and make them into good empire builders? …how did girls’ cultures inform the practices and principles of girl empire builders? To answer these questions, this article examines how specific notions of girlhood, specifically middle-class, white Victorian girlhood, were inscribed in cultural productions and how these constructions of girlhood intersected with and worked to support hierarchies of race, gender, age, and class in Britain, Australia, and South Africa. ”

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