Daniel Stein

Since the publication of The Middle Passage: White Ships/Black Cargo by Tom Feelings, more African American creators have used graphic narratives to explore key moments in colonial and US history. These graphic stories address the painful legacies of anti-Black violence and the long history of racial injustice, using the power of comics to both confront the past and offer visions for the future. From the Middle Passage and slavery to the civil rights movement and today’s fight for Black Lives, these narratives reimagine history and challenge oppressive systems. Through creative artwork and storytelling, they give fresh perspectives on racial violence and racism in US visual culture, developing new visual languages and techniques to express these complex histories. Strange Fruit and Bitter Roots connects scholarly research on Black history with some of the most impactful African American graphic novels. The book explores works such as King by Ho Che Anderson; The Middle Passage by Tom Feelings; Nat Turner by Kyle Baker; Black Panther by Ta-Nehisi Coates and Nnedi Okorafor; Bitter Root by David Walker, Chuck Brown, and Sanford Greene; Blue Hand Mojo by John Jennings; Wake: The Hidden History of Women-Led Slave Revolts by Rebecca Hall and Hugo Martínez; and many others, bringing a deeper understanding of how graphic narratives can challenge historical narratives and shape conversations about race and identity today.

Since the publication of The Middle Passage: White Ships/Black Cargo by Tom Feelings, more African American creators have used graphic narratives to explore key moments in colonial and US history. These graphic stories address the painful legacies of anti-Black violence and the long history of racial injustice, using the power of comics to both confront the past and offer visions for the future. From the Middle Passage and slavery to the civil rights movement and today’s fight for Black Lives, these narratives reimagine history and challenge oppressive systems. Through creative artwork and storytelling, they give fresh perspectives on racial violence and racism in US visual culture, developing new visual languages and techniques to express these complex histories. Strange Fruit and Bitter Roots connects scholarly research on Black history with some of the most impactful African American graphic novels. The book explores works such as King by Ho Che Anderson; The Middle Passage by Tom Feelings; Nat Turner by Kyle Baker; Black Panther by Ta-Nehisi Coates and Nnedi Okorafor; Bitter Root by David Walker, Chuck Brown, and Sanford Greene; Blue Hand Mojo by John Jennings; Wake: The Hidden History of Women-Led Slave Revolts by Rebecca Hall and Hugo Martínez; and many others, bringing a deeper understanding of how graphic narratives can challenge historical narratives and shape conversations about race and identity today.

Authorizing Superhero Comics examines the comic book superhero as a lasting phenomenon of US popular serial storytelling. Moving beyond linear- or creator-centered models of genre development, Daniel Stein identifies authorization conflicts that have driven the genre's evolution from the late 1930s to the present. These conflicts include paratextually mediated exchanges between officially authorized comic book producers and, alternatively, authorized fans that trouble the distinction between production and its reception; storyworld-building processes that subsume producers and fans into a collective rooted in a common style; parodies that ensure the genre's longevity by deflating criticism through self-reflexive humor; and collecting and archiving as forms of memory management that align the genre's past with the demands of the present. Taking seriously the serial agencies of the superhero comic book as a material artifact with a particular mediality, the study analyzes letter columns, editorial commentary, fanzines, encyclopedias, and other forms of comic book communication as critical frameworks for understanding the evolution of the genre-assessing rarely covered archival sources alongside some of the most treasured figures from the superhero's multi-decade history, from Batman and Spider-Man to Wonder Woman and Captain America.

Authorizing Superhero Comics examines the comic book superhero as a lasting phenomenon of US popular serial storytelling. Moving beyond linear- or creator-centered models of genre development, Daniel Stein identifies authorization conflicts that have driven the genre's evolution from the late 1930s to the present. These conflicts include paratextually mediated exchanges between officially authorized comic book producers and, alternatively, authorized fans that trouble the distinction between production and its reception; storyworld-building processes that subsume producers and fans into a collective rooted in a common style; parodies that ensure the genre's longevity by deflating criticism through self-reflexive humor; and collecting and archiving as forms of memory management that align the genre's past with the demands of the present. Taking seriously the serial agencies of the superhero comic book as a material artifact with a particular mediality, the study analyzes letter columns, editorial commentary, fanzines, encyclopedias, and other forms of comic book communication as critical frameworks for understanding the evolution of the genre-assessing rarely covered archival sources alongside some of the most treasured figures from the superhero's multi-decade history, from Batman and Spider-Man to Wonder Woman and Captain America.

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Music Is My Life is the first comprehensive analysis of Louis Armstrong's autobiographical writings (including his books, essays, and letters) and their relation to his musical and visual performances. Combining approaches from autobiography theory, literary criticism, intermedia studies, cultural history, and musicology, Daniel Stein reconstructs Armstrong's performances of his life story across various media and for different audiences, complicating the monolithic and hagiographic views of the musician. The book will appeal to academic readers with an interest in African American studies, jazz studies, musicology, and popular culture, as well as general readers interested in Armstrong's life and music, jazz, and twentieth-century entertainment. While not a biography, it provides a key to understanding Armstrong's oeuvre as well as his complicated place in American history and twentieth-century media culture.

Music Is My Life is the first comprehensive analysis of Louis Armstrong's autobiographical writings (including his books, essays, and letters) and their relation to his musical and visual performances. Combining approaches from autobiography theory, literary criticism, intermedia studies, cultural history, and musicology, Daniel Stein reconstructs Armstrong's performances of his life story across various media and for different audiences, complicating the monolithic and hagiographic views of the musician. The book will appeal to academic readers with an interest in African American studies, jazz studies, musicology, and popular culture, as well as general readers interested in Armstrong's life and music, jazz, and twentieth-century entertainment. While not a biography, it provides a key to understanding Armstrong's oeuvre as well as his complicated place in American history and twentieth-century media culture.

This volume contains the best lectures from the Summer School Lectures volumes dealing with the theme of pattern formation. Topics include self-organization by simulated evolution, nonlinear dynamics of pattern formation in physics and biology, and the emergence of computational ecologies.

This book reflects the topics discussed in the 1990 Complex Systems Summer School, covering both the nature and substance of the lectures and seminars that deal with experimental results and numerical simulations on sand piles, avalanches, and self-organized criticality.