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Figure 2. The first appearance of a human character in the graphic novel, after three silent double pages, where only the changing furniture accounts for the passing of time. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin. Figure 2. The first appearance of a human character in the graphic novel, after three silent

Figure 2 The first appearance of a human character in the graphic novel, after three silent double pages, where only the changing furniture accounts for the passing of time. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin. Figure 2. The first appearance of a human character in the graphic novel, after three silent

Related Figures (7)

Figure 1. The corner of the living room, namely the ‘here’ where Richard McGuire’s graphic novel is set. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin.
Figure 1. The corner of the living room, namely the ‘here’ where Richard McGuire’s graphic novel is set. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin.
Figure 3. Moving in time: The place around the woman and cat we met in Figure 2 suddenly changes its aspect, turning into a natural environment with no trace of human presence. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin.
Figure 3. Moving in time: The place around the woman and cat we met in Figure 2 suddenly changes its aspect, turning into a natural environment with no trace of human presence. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin.
Figure 4. Bodies, gestures, and movements as narrative threads connecting stories and lives over time. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin. Figure 4, Bodies, gestures, and movements as narrative threads connecting stories and lives
Figure 4. Bodies, gestures, and movements as narrative threads connecting stories and lives over time. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin. Figure 4, Bodies, gestures, and movements as narrative threads connecting stories and lives
Figure 5. Coexistences: human and non-human bodies lying on the living room’s floor. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin. Figure 5. Coexistences: human and non-human bodies lying on the living room’s floor.
Figure 5. Coexistences: human and non-human bodies lying on the living room’s floor. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin. Figure 5. Coexistences: human and non-human bodies lying on the living room’s floor.
Figure 6. Fragmentary lives of objects coexisting in ‘here’. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin. Figure 6. Fragmentary lives of objects coexisting in ‘here’. Reproduction with permission
Figure 6. Fragmentary lives of objects coexisting in ‘here’. Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin. Figure 6. Fragmentary lives of objects coexisting in ‘here’. Reproduction with permission
Figure 8. The yellow book, an object whose presence counts as an epiphany that reveals the reason for us to be in ‘here’? Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin.
Figure 8. The yellow book, an object whose presence counts as an epiphany that reveals the reason for us to be in ‘here’? Reproduction with permission of the author. In: McGuire, R. (2014) Here. London: Penguin.
Related topics:
Cultural GeographyLiterary GeographyObject Oriented Ontology
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