Founded In    2006
Published   3/year
Language(s)   English

Fields of Interest


literature, culture, the arts and "American Studies," history, social sciences, and international relations

ISSN   1991-9336
Affiliated Organization   European Association for American Studies
Editorial Board

The Director of this publication is the President of the European Association for American Studies, Professor Philip John Davies, The Eccles Centre for American Studies at the British Library, London

Editor for literature, culture, the arts and “American Studies”: Marek Paryż (Poland)

Associate editors

John Dumbrell (Great Britain)

Andrew Gross (Germany)

Roxana Oltean (Romania)

Jean-Yves Pellegrin (France)

Editor for history, social sciences and international relations: Jenel Virden

Book Reviews Editor: Theodora Tsimpouki (Greece)

Editor for web presence: Cara Rodway (Great Britain)

Submission Guidelines and Editorial Policies

EJAS publishes both solicited and unsolicited articles. The editors also welcome proposals for special issues.

All submissions should be addressed to the Senior Editorial team in the first instance: Dr Marek Paryż (, Dr Jenel Virden ( and Dr Cara Rodway (

EJAS publishes articles under the Creative Commons attribution-noncommercial license. The full terms and conditions of the license can be viewed at

Articles must be in English. Contributions should be between 5,000 and 10,000 words, unless previous arrangements have been made with the editors. The article should be preceded by a short abstract. Bibliographical references and general presentation should follow the MLA style sheet for literature, culture and the arts, and the Chicago Manual of Style for history, social sciences and international relations. In-text references should be indicated in the typescript, between parentheses, by giving the author’s surname followed by the year of publication and a page reference if necessary.

All articles will be made anonymous and handed over to two referees whose reports shall be synthesized by the editorial team and provide the basis for acceptance or rejection. In both cases the author shall be given immediate notice. Reports will be provided to authors upon request. Even when an article is accepted, the editorial board reserves the right to ask for changes, both in form and scope.

Mailing Address

Marek Paryż (
Jenel Virden (
Cara Rodway (

Contact person responsible for updating content for ASA:
Roxana Oltean (

European Journal of American Studies

EJAS is the official, peer-reviewed academic journal of the European Association for American Studies, a federation of 21 national and joint-national associations of specialists of the United States ( gathering approximately 4,000 scholars from 27 European countries.

EJAS aims to foster European views on the society, culture, history, and politics of the United States, and how the US interacts with other countries in these fields. In doing so the journal places itself firmly within the continuing discussion amongst Europeans on the nature, history, importance, impact and problems of US civilization. As part of this task, EJAS wants to contribute to enriching the contents, broadening the scope, and documenting the critical examination of “American Studies” in and outside of the United States. EJAS welcomes contributions from Europe and elsewhere and endeavors to make available reliable information and state-of-the-art research on all topics within its broad field of interest. As a matter of policy, the journal will pay particular attention to objects, phenomena and issues less documented or less often debated in the United States, as well as to innovative cultural modes and the diversity of reception of United States culture abroad. Associated with this outlook, it welcomes submissions that elaborate and renew critical approaches, paradigms and methodologies, and that express varied and pluralist views.

While intended for the entire American Studies community, EJAS aims in particular to provide space for the rapid publication of quality scholarship by doctoral and post-doctoral researchers. The journal hopes to constitute a genuine forum for European Americanists of all generations, national origins and disciplinary affiliations.


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EJAS 10.2 Summer 2015 Special Issue: (Re)visioning America in the Graphic Novel, Volume 10, Number 2

Comics is an exciting medium which has come into its own both as serious literary and cultural expression, as well as the subject for scholarship. Much of the scholarly discourse of late has been directed at describing and analyzing the medium itself. While comics researchers versed in semiotics and narratology endeavor to construct and refine useful explanatory paradigms, it is also necessary and helpful to employ less medium-specific approaches in discussing and analyzing visual, literary, and societal texts as they are produced.

(Re)visioning America in the Graphic Novel: Introduction

Spatial Politics and a Native American Reservation: Reading Red Power: A Graphic Novel with Author Brian Wright-McLeod

This paper discusses Dakota-Anishinabe Brian Wright-McLeod's graphic novel Red Power (2011), which tells a story of land conflict surrounding a Native American reservation and of a group of Native activists involved in it. Based on an interview with Wright-McLeod and with several references to Jason Aaron and R.M Guéra's reservation-based graphic novel Scalped (2007-2012), it focuses on the politics of space and identity. Drawing on propositions from cultural geography about the interdependency of social and spatial structures and their mutually constitutive relationship, the paper analyzes how Red Power makes use of the visual aspect of the graphic novel to rearticulate the colonizer-colonized dichotomy of identity politics and expose the mechanisms through which power structures continue to restrict, disrupt, and exploit indigenous spaces. The paper then proceeds to examine how the novel seeks out possibilities of unsettling the spatial order imposed upon indigenous people by focusing on resistance organized by Native activists. It also explores how the novel suggests ways of experiencing and being in space that escape both colonial ways of knowing and conceiving it and, more importantly, colonial control over it.

Unterzakhn, Dirty Laundry, and the Map of Lost New York: An Interview with Leela Corman

This interview with cartoonist Leela Corman took place shortly after the publication of her graphic novel Unterzakhn. In the interview, she describes what it means to her to be a Jewish American cartoonist - where her book fits into that tradition, how she approached the task of drawing Jewish noses, and how she incorporated Yiddish into the book. Beyond the personal and family experiences that she drew on for Unterzakhn, she conducted detailed research about life on the Lower East Side, and the interview includes a look at that process, how it helped her, and where it failed her. Finally, she discusses her desire to tell a story about women's lives from a female perspective, as well as the ways her characters' lives are circumscribed by gender roles.

The Mutant Problem: X-Men, Confirmation Bias, and the Methodology of Comics and Identity

This article suggests that scholarship on comics and identity is vulnerable to strong confirmation bias. Engaging with a few common assumptions presented in writing on X-Men comics(1963-1970, 1975-1991) and identity, it offers alternative interpretations on the series' engagement with the Cold War, civil rights, individual authenticity, persecution, and the Holocaust. Based on these discussions, the article then offers a few methodological suggestions that might help reduce bias in future studies of comics and identity.

The Dark Knight's Dystopian Vision: Batman, Risk, and American National Identity

This essay argues that Frank Miller's Batman: The Dark Knight Returns (1986) and Batman: The Dark Knight Strikes Again (2001-02) are grounded in a specific type of anticipatory consciousness that we read as risk consciousness. With their sustained and systematic confrontation of risk discourses, the two graphic narratives can be seen as key examples of what we call risk fiction, that is fictional engagements with and expressions of global risks that are the products of late modernity. Our focus on risk is based on Ulrich Beck's articulation of "reflexive modernity" and reveals the specific ways in which Miller's Dark Knight series signals a transition in American national, racial and gender identities since the 1980s. It is our contention here that Miller's The Dark Knight Returns begins a deliberate engagement with how the sense of global risk shapes social cohesion at the height of the cold war, and The Dark Knight Strikes Again brings this engagement to the twenty-first century. We identify three levels of risk representation in the two graphic narratives: apocalyptic riskscapes, individual risk-taking as edgework, and the staging of global risk in the media.

State Protection and Identification in Hellboy: of reformed devils and other Others in the Pentagon

This article explores possible implications of the Hellboy comic book series for constructions of individual and national identity in the American context, accounting for the factors of globalization and 9/11 as well as precedents in the comics medium. It also considers Hellboy as a self-reflection on the history and nature of the comics medium itself.

The Monsters of Suburbia: Black Hole and the Mystique of the Pacific Northwest

This essay focuses on Charles Burns's Black Hole, a graphic novel, published in 2005 and set in the Seattle suburbs, which undermines the cultural myths that, durong the time between the late 1960s and the 1990s, have been related (often uncritically) to the Pacific Northwest. Black Hole positions itself among the texts that reshaped Northwestern culture in the 1990s, and addresses the social and urban changes that, over two decades, have affected the whole area in which its story is set. In so doing, it debunks both the myth of the Pacific Northwest as the American "Ecotopia," and, by featuring adolescents as protagonists, common stereotypes associated to youth.

Rudy Kelly's Eyes: Chris Hedges and Joe Sacco's Days of Destruction, Days of Revolt

At first sight Chris Hedges and Joe Sacco's Days of Destruction, Days of Revolt belongs solidly in the same tradition as books such as James Agee and Walker Evans's classic Let Us Now Praise Famous Men (1941), which grew out of an assignment in 1936 to produce a magazine article on the conditions sharecropper families in the South lived under during the "Dust Bowl," as well as William T. Vollmann's 2007 book Poor People. Days of Destruction, Days of Revolt describes the predicament of the rapidly growing underclass in the States, victims of corporate capitalism in what Hedges refers to as "sacrifice zones," areas that have been offered up for exploitation in the name of profit. The reader is introduced to despaired people living on the Pine Ridge Lakota reservation in South Dakota; the homeless of Camden, N.J.; migrant workers assigned to pick tomatoes in worker camps in Florida; and individuals suffering from and resisting mountain-top removal by coal companies in West Virginia. However, Days of Destruction, Days of Revolt departs from this tradition of social reportage in several significant ways, and my article will address how -- with a particular focus on the book's use of drawings and comics reportage in the place of photography. What are the implications of this particular verbal-visual strategy? Interrogating the ethics of the drawn documentary image inevitably implies addressing its peculiar, somewhat paradoxical authenticity, and to think of how drawings differ from photographs in how they depict the world. In my discussion of this I'll draw on both documentary and comics theory (Paul Ward, Hillary Chute, Charles Hatfield). I will argue that the use of drawn images in Days of Destruction, Days of Revolt results in a new form of what W.J.T. Mitchell calls "imagetext," one that raises its fundamental social and political questions with energy, passion, and ethical integrity.

Ti-Girl Power: American Utopianism in the Queer Superhero Text

This paper examines the ways in which artist-writer Jaime Hernandez engages with issues of national belonging in terms of ethnicity and gender in his 2012 superhero graphic novel God and Science: Return of the Ti-Girls. By presenting the adventures of a group of multi-racial female superheroes, Hernandez productively exploits the inherent social marginality of the superhero, conflating it with a comparable marginality of non-whites and women in American society. By doing so, he rearticulates that marginality as an actualization of the promise of pluralistic utopianism inherent in American society. As a Chicano and fan of Silver Age superhero comic books himself, Henandez also realizes this ethos for himself in the very creation of this work.

Skinner Sweet, American Vampire

In their series American Vampire, Scott Snyder and Rafael Albuquerque create a new breed of vampire, one specific to America. In the full-length collections of their current series, Snyder and Albuquerque explore issues of American identity through the improbable birth and activities of this new breed and those who encounter it. Reborn as a vampire during the American west of the 1880s, Skinner Sweet embodies an American identity defined by the myth of the west and the American Dream it gave birth to. As an outlaw both in the eyes of the law as well as in the eyes of the older, European clans, Skinner embodies the spirit of revolution against tradition that has become one of the cornerstones of American identity associated with American frontier of rugged individualism. Similarly, as the first vampire born in America (in a space generally acknowledged as the birthplace of the American mythology), the ruthless killer Skinner also embodies the savagery associated with the Native Americans; and, like members of other indigenous tribes, Skinner is hunted by white lawmen for his crimes against civilization. As such, Skinner is both the savage "native" American whose execution is sought by the "civilized" whites, as well as the brash American seeking his Emersonian independence from European tradition. In the subsequent storylines, Skinner Sweet finds himself at various iconic moments of American cultural history: Hollywood in the 1920s, Las Vegas in the 1930s, and the Second World War. By placing Skinner in these moments, Snyder and Albuquerque select a specific timeline by which to chart America's development.

Other Issues

EJAS 12.3 2017 Special Issue: Cormac McCarthy Between Worlds , Volume 12, Number 3
Summer 2017, Volume 12, Number 2
Summer 2017, Volume 12, Number 2
EJAS 12.1 Spring 2017 Special Issue: Eleanor Roosevelt and Diplomacy in the Public Interest, Volume 12, Number 1
EJAS 11.3 2016 Special Issue: Re-Queering The Nation: America's Queer Crisis , Volume 11, Number 3
EJAS 11.2 2016, Volume 11, Number 2
EJAS 11.1 2016 Special Issue: Intimate Frictions: History and Literature in the United States from the 19th to the 21st Century, Volume 11, Number 1
EJAS 10.3 2015 Special Issue: The City , Volume 10, Number 3
EJAS 10.2 Summer 2015, Volume 10, Number 2
EJAS 10.1 Winter 2015 Special Issue: Women in the USA , Volume 10, Number 1
EJAS 9.3 2014 Special Issue: Transnational Approaches to North American Regionalism, Volume 9, Number 3
EJAS 9.2 Summer 2014, Volume 9, Number 2
EJAS 9.1 Spring 2014, Volume 9, Number 1
EJAS 8.1 2013, Volume 8, Number 1
EJAS 7.2 2012 Special Issue: Wars and New Beginnings in American History, Volume 7, Number 2
EJAS 7.1 Spring 2012, Volume 7, Number 1
EJAS 6.3 2011 Special Issue: Postfrontier Writing, Volume 6, Number 3
EJAS 6.2 2011 Special Issue: Oslo Conference, Volume 6, Number 11
EJAS 6.1 Spring 2011, Volume 6, Number 11
EJAS 5.4 2010 Special Issue: Film, Volume 5, Number 4
, Volume 5, Number 3
EJAS 5.2 2010 Special Issue:The North-West Pacific in the 18th and 19th Centuries, Volume 5, Number 2
EJAS 5.1 Spring 2010, Number 5, Volume 1
EJAS 4.3 2009 Special Issue: Immigration, Volume 4, Number 3
EJAS 4.2 Autumn 2009, Volume 4, Number 2
EJAS 4.1 Spring 2009, Volume 4, Number 1