Reading comics for the field of International Relations: Theory, method and the Bosnian War

606
European Journal of International Relations 23(3)
Gilmore L (2011) Witnessing Persepolis — Comics, trauma, and childhood testimony. In Chaney MA (ed) Graphic Subjects Critical Essays on Autobiography and Graphic Novels. Madison, WI University of Wisconsin Press.
Groensteen T (2007) The System of Comics. Jackson, MS University Press of Mississippi.
Guillaume X , Andersen RS, and Vuori JA (2016) Paint it black Colours and the social meaning of the battlefield. European Journal of International Relations 22(1): Hall I (2014) The satirical vision of politics Ethics, interests and disorder. European Journal of
International Relations 20(1): Hansen L (2000) The Little Mermaid’s silent security dilemma and the absence of gender in the Copenhagen School. Millennium 29(2): Hansen L (2006) Security as Practice Discourse Analysis and the Bosnian War. London
Routledge.
Hansen La) Theorizing the image for Security Studies Visual securitization and the Muhammad Cartoon Crisis. European Journal of International Relations 17(1): Hansen Lb) Performing practices A poststructuralist analysis of the Muhammad cartoon crisis. In Adler E and Pouliot V (eds) International Practices. Cambridge Cambridge University Press, pp. Hansen L (2015) How images make world politics International icons and the case of Abu Ghraib.
Review of International Studies 41(2): 263–288.
Hariman Rand Lucaites JL (2007) No Caption Needed Iconic Photographs, Public Culture, and
Liberal Democracy. Chicago, IL The University of Chicago Press.
Haviv R (2000) Blood and Honey A Balkan War Journal. New York, NY TV Books.
Heck A and Schlag G (2013) Securitizing images The female body and the war in Afghanistan.
European Journal of International Relations 19(4): Hedges C and Sacco J (2012) Days of Destruction, Days of Revolt. New York, NY Nation Books.
Hermann (1995) Sarajevo-Tango. Charleroi: Dupuis.
Hilbish M (1999) Advancing in another direction The comic book and the Korean War. War,
Literature & the Arts 11(1): Holland EC (2014) Postmodern witness Journalism and representation in Joe Sacco’s Christmas With
Karadzic. In Dittmer Jedi Comic Book Geographies. Mainz: Franz Steiner Verlag, pp. Hunt NR (2002) Tintin and the interruptions of Congolese comics. In Landau PS and Kaspin D (eds) Images and Empires Visuality in Colonial and Postcolonial Africa. Ewing, NJ University of California Press, pp. Jacobson Sand Colón E (2006) The 9/11 Report A Graphic Adaptation. New York, NY Hill and
Wang.
Juneau T and Sucharov M (2010) Narratives in pencil Using graphic novels to teach Israeli–
Palestinian relations. International Studies Perspectives 11(2): 172–183.
Kiersey NJ and Neumann IB (2013) Introduction. In Kiersey NJ and Neumann IB (eds) Battlestar
Galactica and International Relations. London Routledge.
Kristeva J (1980) Desire in Language A Semiotic Approach to Literature and Art. New York, NY Columbia University Press.
Krygier S (2015) Bilal, Enki. Available at http://www.forfatterweb.dk/oversigt/zbilal00 (accessed
10 July 2015).
Laclau E and Mouffe C (1985) Hegemony & Socialist Strategy Towards a Radical Democratic
Politics. London Verso.
Lanzac A and Blain C (2014) Weapons of Mass Diplomacy. London SelfMadeHero
Lebow RN (2007) Texts, paradigms and political change. In Williams MC (ed) Realism
Reconsidered: The Legacy of Hans Morgenthau in International Relations. Oxford Oxford University Press, pp. 241–268.

Hansen
607
Lisle D (2006) Local symbols, global networks Rereading the murals of Belfast. Alternatives
31(1): Lisle D (2011) The surprising detritus of leisure Encountering the late photography of war.
Environment and Planning D Society and Space 29(5): Lowe P (2014) The forensic turn Bearing witness and the ‘thingness’ of the photograph. In Kennedy Land Patrick C (eds) The Violence of the Image Photography and International
Conflict. London I.B. Tauris, pp. 211–234.
Mazur D and Danner A (2014) Comics — A Global History, 1968 to the Present. London Thames
& Hudson.
Möller F (2007) Photographic interventions in post security policy. Security Dialogue 38(2):
179–196.
Möller F (2009) The looking/not looking dilemma. Review of International Studies 35(4): 781–
794.
Neumann IB (2001) Grab a phaser, ambassador Diplomacy in Star Trek. Millennium 30(3):
603–624.
Neumann IB (2012) At Home with the Diplomats — Inside a European Foreign Ministry. Ithaca, NY Cornell University Press.
Neumann IB and Nexon D (eds) (2006) Harry Potter and International Relations. Lanham, MD
Rowman and Littlefield.
Ó Tuathail G (1996) Critical Geopolitics The Politics of Writing Global Space. Minneapolis, MN University of Minnesota Press.
Parpart JL (2010) Choosing silence Rethinking voice, agency and women’s empowerment. In Ryan-Flood Rand Gill Reds) Secrecy and Silence in the Research Process Feminist
Reflections. London Routledge, pp. 15–29.
Pouliot V (2008) The logic of practicality A theory of practice of security communities.
International Organization 62(2): Ray G (2003) Mirroring evil Auschwitz, art and the war on terror. Third Text 17(2): 113–125.
Rehr H (2005) Tuesday. In Rehr H (ed) Tribeca Sunset A Story of 9-11. New York iBooks.
Robinson N (2015) Have you won the war on terror Military videogames and the state of American exceptionalism. Millennium 43(2): 450–470.
Rowley C (2015) Popular culture and the politics of the visual. In Shepherd LJ (ed) Gender
Matters in Global Politics — A Feminist Introduction to International Relations. Croydon:
Routledge.
Rowley C and Weldes J (2012) The evolution of international security studies and the everyday Suggestions from the Buffyverse. Security Dialogue 43(6): Sacco J (2005) War’s End Profiles from Bosnia 1995–96. Montreal, Quebec Drawn and Quarterly
Books.
Sacco J (2012) Journalism. New York, NY Metropolitan Books.
Sakamoto Rand Allen M (2007) Hating The Korean Wave comic books A sign of new nationalism in Japan The Asia-Pacific Journal Japan Focus 5(10).
Satrapi M (2003) Persepolis: The Story of a Childhood. New York Pantheon.
Satrapi M (2004) Persepolis II The Story of a Return. New York Pantheon.
Spiegelman A (1986) Maus IA Survivor’s Tale. My Father Bleeds History. New York Pantheon.
Spiegelman A (1991) Maus II A Survivor’s Tale. And Here My Troubles Began. New York
Pantheon.
Spiegelman A (2004) In the Shadow of No Towers. New York Pantheon.
Spiegelman A (2006) Drawing blood Outrageous cartoons and the art of outrage. Harper’s
Magazine 1873: Sylvester C (2001) Art, abstraction, and International Relations. Millennium 30(3): 535–554.