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- Aman, Robert, 1982-
(författare)
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Johan Vilde avslöjade ett mörkt östgötsk förflutet
- 2022
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Ingår i: Östgöta Correspondenten. - Linköping, Sweden : Mediehuset Corren. - 1104-0394. ; :2022-05-18, s. 10-12
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- Robert Aman skriver om ett svenskserietidningsäventyr som avslöjande rutade in ett mörkt kapitel i svensk och östgötsk historia.
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| 2. |
- Aman, Robert, 1982-
(författare)
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Swedish Colonialism, Exotic Africans and Romantic Anti-Capitalism: Notes on the Comic Series Johan Vilde
- 2016
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Ingår i: Third Text. - : Informa UK Limited. - 0952-8822 .- 1475-5297. ; 30:1-2, s. 60-75
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Tidskriftsartikel (refereegranskat)abstract
- The award-winning Johan Vilde comic series deals with what has been referred to as a concealed part of Swedish history – namely Sweden’s involvement in the slave trade during the seventeenth century. The protagonist is a cabin boy on a Swedish merchant ship who is forced to escape after being accused of mutiny. After jumping ship, he floats ashore in Cabo Corso – located in modern-day Ghana – where he is eventually adopted by a local clan and grows up in an African kingdom. From there, he will go on to witness the harshness and brutality of the slave trade with his own eyes. Comprising four albums published between 1977 and 1982, the comic aligns itself with, and is a prime popular cultural example of, what can be classified in broad terms as a wave of international solidarity movements in Sweden. What this essay discusses is how the anti-colonial and anti-capitalist underpinnings of the Johan Vilde series rekindle a much older Romanticist position. This essay will argue that this well-intended ethically dimension of attempting to subvert the imperially established border between civilisation and where the wild things roam also relies on a position produced by colonial discourse.
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| 3. |
- Aman, Robert, 1982-
(författare)
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The Phantom Comics and the New Left : A Socialist Superhero
- 2020
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Bok (refereegranskat)abstract
- This book is about the Phantom in Sweden, or more correctly: about Sweden in the Phantom. Socialist Superhero uncovers how a peripheral American superhero – created in 1936 by author Lee Falk and artist Ray Moore – that has been accused of both racism and sexism has become a national concern in a country that several researchers have labelled the most antiracial and gender equal in the world. When a group of Swedish creators set up their official production of licensed scripts to The Phantom comic in 1972, the character is redefined through the prism of New Left ideology where the plots, besides aiming to entertain readers, also inform the reader about the righteousness and validity of the dominant ideological doctrine among the Swedish public at the time, which also impacted on the government’s foreign policy.Through a series of close readings of the comic books, alongside fan writing, cultural criticism, political documents, and interviews with creators and editors of The Phantom comic book, The Phantom Comics and the New Left’s various thematic chapters discuss how topics such as foreign aid and poverty elimination, guerrilla warfare and postcolonialism, socialism and equality are expressed on the pages of the comic book, along with the fight against apartheid, the construction of a cooperative society in the jungle and the Phantom’s self-affirmed role as spokesperson for then Prime Minister Olof Palme. What will be seen is how the common denominator is ideology: the Phantom reflects values, and embodies a dominant political point of view, of how Sweden sees itself and its role in the world.
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| 4. |
- Aman, Robert, 1982-
(författare)
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När Fantomen blev svensk : vänsterns världsbild i trikå
- 2022
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Hur kan en amerikansk superhjälte i blå trikåer, som har anklagats för både rasism och sexism, bli en svensk nationalhjälte?Seriefiguren Fantomen dyker upp i svensk press redan i början på 1940-talet, men det är först på 1970-talet, ett decennium när en kraftig vänstervåg sköljer över Sverige, som Fantomen på allvar blir ”svensk”. Tidningen får då ett svenskt redaktionsråd, ”Team Fantomen”, som låter Fantomen ägna sig åt allt från kolonial befrielsekamp till jämställdhet och till att öppna ett Konsum i djungeln. Och mitt i alltihop är Fantomen förstås en närvarande pappa, fattas bara.Fantomen-gestalten förkroppsligar kort sagt ambitionen bakom svensk utrikespolitik och det faller uppenbarligen både gamla och unga läsare i smaken. Under 70-talet är det faktiskt fler som läser om hans kamp mot sociala orättvisor än som läser Expressen. I sin bok undersöker Robert Aman – kulturskribent, serieforskare och biträdande professor i pedagogik vid Linköpings universitet – hur detta var möjligt och hur seriens dialog med det omgivande samhället mer konkret såg ut.Hans bok låter oss möta både superhjälten i trikåer och ett Sverige i en politisk och social brytningstid.
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| 5. |
- Aman, Robert, 1982-
(författare)
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Spirou in the Congo: colonial racism and civilising mission in journal de Spirou 1938-1960
- 2023
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Ingår i: Journal of Graphic Novels and Comics. - : Informa UK Limited. - 2150-4857 .- 2150-4865. ; , s. 1-22
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Tidskriftsartikel (refereegranskat)abstract
- This article situates Journal de Spirou and its flagship title in the context of Belgium’s imperial history. It examines pro-empire messages in the magazine from the inaugural issue in 1938 up to the independence of the Congo in 1960. The magazine is one of Europe’s most successful, and the bellboy whose name is on the cover has evolved into a true icon of Franco – Belgian comics. Less known is the role Spirou played in promoting the colonial idea to its readers during the decades coinciding with Belgium’s overseas rule. In contrast to rival Tintin, who only went to the colony once, the Congo becomes Spirou’s most frequent itinerary. Throughout Belgium’s colonial period, Spirou makes use of dehumanising depictions of black Africans; depictions that affirm a message of white supremacy embedded in the storylines. In short, both the famous bellboy and the magazine carrying his name position themselves as significant actors in the field of bande dessinée in terms of providing justifications for colonialism.
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| 6. |
- Aman, Robert, 1982-
(författare)
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Så är östgötarna i serierutorna
- 2022
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Ingår i: Östgöta Correspondenten. - Linköping, Sweden. - 1104-0394. ; :2022-04-28, s. 20-22
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- Bland livetsordare i Norrköping, en superhjältinna i Linköping och fascister i Mjölby. Robert Aman berättar om östgötarna i serierutorna.
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| 9. |
- Aman, Robert, 1982-
(författare)
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När Kalle var Greta
- 2023
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Ingår i: Pojken med tigern. - Halmstad : Apart förlag. - 9789187877971 ; , s. 18-19
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Bokkapitel (populärvet., debatt m.m.)
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| 10. |
- Aman, Robert, 1982-
(författare)
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Colonial Differences in Intercultural Education : On Interculturality in the Andes and the Decolonization of Intercultural Dialogue
- 2017
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Ingår i: Comparative Education Review. - : University of Chicago Press. - 0010-4086 .- 1545-701X. ; 61:2, s. 103-120
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Tidskriftsartikel (refereegranskat)abstract
- This essay seeks to wean interculturality from its comfort zone of flat substitutability across cultural differences by pushing for the possibility of other ways of thinking about the concept depending on where (the geopolitics of knowledge) and by whom (the bodypolitics of knowledge) it is being articulated. In order to make a case for the importance of always considering the geopolitical and bodypolitical dimension of knowledge production within interculturality, this essay shifts focus away from policies of the European Union and UNESCO to the Andean region of Latin America. In that part of the world the notion of interculturalidad – translation: interculturality – is not only a subject on the educational agenda, it has also become a core component among indigenous social movements in their push for decolonization. With reference points drawn from a decolonial perspective and the concept of “colonial difference”, this essay makes the case that interculturalidad, with its roots in the historical experience of colonialism and in the particular, rather than in assertions of universality, offers another perspective on interculturality bringing into the picture other epistemologies. It concludes by arguing for the requirement to start seeing interculturality as inter-epistemic rather than simply inter-cultural.
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