[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-136802-en":3,"doc-seo-136802-105":30,"detail-sidebar-cat-0-en-105":90},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":4,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},136802,687207024643,"Rhys","https://ap-avatar.wpscdn.com/davatar_3d24733baf745e90a7e4bdd5f77d97b2",5,"Comic","Winds of change riding the arab comic","Winds of change riding the arab comic examines the rise and transformation of Arab graphic narratives across the 20th and early 21st centuries. It contrasts the early dominance of children’s comics with the later emergence of adult work, shaped by political graphic humour and changing social realities. The discussion highlights how urban spaces such as Cairo, Casablanca, Beirut, and Algiers frame stories, while major creators explore war memory, exile experience, and autobiographical autoethnographic perspectives through distinctive aesthetics and visual language.","CULTURAL EXHIBIT  \nWinds of change riding the arab  \ncomic  \nArab Comic Exhibit  \nPedro Rojo  , Álvaro Pons  , Zainab Fasiki  , Andeel  , Sonia Ben  \nSalem  , Lena Merhej  \nAlthough during the 19th century publications that already included graphic narratives from the comic strip that were developing in the West, such as the Egyptian Rawdat alMadaris [1], it was not until the middle of the 20th century that there was a greater spread of the 9th art in the Arab world, focused on the Maghreb and Mashreq areas [2] . The comic developed in these times is fundamentally for children, with great success led by publications such as Sindbad or Samir, but still far from an approximation to adult comics that would arrive in the 80s with works like Carnaval and Freud, by George Khoury (JAD) . A still tentative appearance of the adult comic that was to have a parallel reflection with the growing importance of political graphic humour [3], but that would not be fully recognised until 2007 (except for the comic showing prison experiences by the Moroccan Abdelaziz Muride On affame bien les rats and Le coiffeur at the beginning of the 21st century) with the appearance of the choral magazine Samandal in Lebanon. The appearance of the collection that creates this pioneering magazine is a reflection of an era, of a very young generation growing up in the age of the internet, but also of the disbelief of the ideals of pan-Arabism and the confrontations that the Cold War had fuelled in the Arab world. They are a generation that grew up in countries emerging from bloody civil wars, such as Lebanon or Algeria, or extremely controlling dictatorships like Syria under Hafez el Assad  \nPÀGINA 1 / 10  \nor Morocco under Hassan II [4] . Disillusionment with their own political reality does not prevent these young artists from being closely linked to their social reality. A reality that passes through distinctly urban environments, linked to the chaotic growth of cities such as Cairo, Casablanca or Beirut where a large part of the stories of its protagonists takes place [5] . Graphic novels such as Le guide Casablancaies by Mohamed Amine Bellaoui (known as Rebel Spirit), which portrays the humour and stark pop style of a whole range of characters that live in the poorest districts of the economic capital of Morocco, or the Algerian Fatma N’parapli by Mahmoud Benameur, with a script by Soumia and Safia Ouarezki, are a reflection of the magical space and their network of relationships and contradictions that is the life of the Kasbah of Algiers, a timeless story carefully drawn so that it could be located in Algeria at the beginning of the last century or today.  \nArabization, Sonia Ben Salem  \nBut if a city has a leading role in current Arab comics, that is Beirut, and not only because it is the beginning of the new wave of Arab comic creators, but also as it is a framework for works such as the intimate Barrak Rima trilogy (Beyrouth, Beyrouth Bye-bye and Beyroth Rewind), or the vision of the endless nightlife of the Lebanese capital of Tracy Chahwan in Beirut Bloody Beirut. But as expected, the war that is already an indivisible part of this city is reflected in several works, such as the journal of the Israeli attack on Lebanon in 2006 in Mazen Kerbaj’s work Beirut Won’t Cry.  \nBut if there is one author who has brought the Lebanese capital closer to the European reader, it was Zeina Abirached. Her work may seem like a continuation of the famous work by Marjane Satrapi, Persepolis (Norma Ed., 2002), but a first analysis can quickly discard this argument. It is obvious that the Lebanese author takes advantage of Iranian teachings, but her approach soon reaches its own defined personality. Her tetralogy where the memory of Lebanon is the protagonist, Beyrouth-Catharsis; 38, rue Youssef Semaani and translated into English The game of the swallows (Sinsentido, 2008) and I remember (Sinsentido, 2009) represent a full account of experiences that act like real mem","cbCaijt830PWdINV","https://ap.wps.com/l/cbCaijt830PWdINV","pdf",926607,1,10,"English","en",105,"# Cultural exhibit - Winds of change riding the arab comic\n## Historical development of Arab comics\n## Cities and social realities in graphic stories\n## Key authors and autobiographical approaches","[{\"question\":\"How did Arab comics expand during the 20th century?\",\"answer\":\"Greater spread of the “9th art” in the Arab world grew notably in the mid-20th century, especially across Maghreb and Mashreq areas, building on earlier Western-influenced graphic narratives.\"},{\"question\":\"What shift is described from children’s comics to adult comics?\",\"answer\":\"Early comics were fundamentally aimed at children, while adult comic forms became more visible later, especially in the 1980s and were more fully recognized around 2007 with publications and magazines reflecting political humour.\"},{\"question\":\"Why are urban environments important in these stories?\",\"answer\":\"The document emphasizes that protagonists’ stories unfold in distinctly urban settings shaped by chaotic city growth, making places like Cairo, Casablanca, Beirut, and Algiers central to character life and narrative atmosphere.\"}]","Winds of change riding the arab comic | 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did Arab comics expand during the 20th century?","Question",{"text":74,"@type":75},"Greater spread of the “9th art” in the Arab world grew notably in the mid-20th century, especially across Maghreb and Mashreq areas, building on earlier Western-influenced graphic narratives.","Answer",{"name":77,"@type":72,"acceptedAnswer":78},"What shift is described from children’s comics to adult comics?",{"text":79,"@type":75},"Early comics were fundamentally aimed at children, while adult comic forms became more visible later, especially in the 1980s and were more fully recognized around 2007 with publications and magazines reflecting political humour.",{"name":81,"@type":72,"acceptedAnswer":82},"Why are urban environments important in these stories?",{"text":83,"@type":75},"The document emphasizes that protagonists’ stories unfold in distinctly urban settings shaped by chaotic city growth, making places like Cairo, Casablanca, Beirut, and Algiers central to character life and narrative 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