This article considers the parallel developments of feminist comics and norm-critical pedagogy and in Sweden in order to explore comics as a medium for questioning norms of representation, in part by way of the influence of Lynda Barry’s comics pedagogy on Swedish comics publications and comics curricula. Barry’s pedagogical works are inspired by the spontaneous drawing exercises of Ivan Brunetti and rooted in her theory of the image as an embodied, living experience. In dialogue with Barry’s comics pedagogy, the article shows how a number of contemporary Swedish graphic novels by Freja Erixån, Ester Eriksson and Lisa Ewald lend themselves to norm-critical approaches that challenge conventional representations of gender and identity through an aesthetics of play and surprise. Rather than mainstreaming or institutionalizing norm-critique, contemporary Swedish feminist comics actively involve the reader in a dialogic process of challenging and reimagining dominant norms. @font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-536859905 -1073732485 9 0 511 0;}@font-face{font-family:"Yu Mincho";panose-1:2 2 4 0 0 0 0 0 0 0;mso-font-charset:128;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-2147482905 717749503 18 0 131231 0;}@font-face{font-family:"\@Yu Mincho";mso-font-charset:128;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-2147482905 717749503 18 0 131231 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Yu Mincho";mso-fareast-theme-font:minor-fareast;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-ansi-language:EN-US;mso-fareast-language:JA;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Yu Mincho";mso-fareast-theme-font:minor-fareast;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-ansi-language:EN-US;mso-fareast-language:JA;}div.WordSection1{page:WordSection1;}

中文翻译：

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瑞典规范批判漫画和琳达·巴里的漫画教育学

本文考虑了女权主义漫画和规范批判教育学的平行发展以及在瑞典，以探索漫画作为质疑表征规范的媒介，部分是通过琳达·巴里的漫画教学法对瑞典漫画出版物和漫画课程的影响. 巴里的教学作品受到伊万布鲁内蒂自发的绘画练习的启发，并植根于她将图像作为一种具身的生活体验的理论。在与 Barry 的漫画教学法的对话中，本文展示了 Freja Erixån、Ester Eriksson 和 Lisa Ewald 的许多当代瑞典图画小说如何通过游戏和惊喜美学来挑战对性别和身份的传统表现的规范批判方法。与其将规范批判主流化或制度化，当代瑞典女权主义漫画积极地让读者参与挑战和重新想象主导规范的对话过程。@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font -pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font- charset:0;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-536859905 -1073732485 9 0 511 0;}@font-face{font-family:"Yu Mincho ";panose-1:2 2 4 0 0 0 0 0 0 0;mso-font-charset:128;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:- 2147482905 717749503 18 0 131231 0;}@font-face{font-family:"\@Yu Mincho";mso-font-charset:128;mso-generic-font-family:roman;mso-font-pitch:variable;