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Kommentar zur Quelle: Quelle: Bekennerschreiben der Europäischen Befreiungsfront (Faksimile), in: Berliner Extra-Dienst, Nr. 13/V vom 17. Februar 1971 (Sammlung Emil Julius Gumbel Forschungsstelle Antisemitismus und Rechtsextremismus am Moses Mendelssohn Zentrum für europäisch-jüdische Studien Potsdam).

Kommentar zur Quelle: Quelle: Hugo Müller, Schulstress, in: Der Pfeil 1 (1976), Nr. 2, S. 1–3 und 7.

Kommentar zur Quelle: Quelle: Karl Heinz Hoffmann, Ist altes Mauerwerk politisch?, in: Kommando. Zeitschrift der WSG für den europäischen Freiwilligen 1 (März 1979), Nr. 2, S. 11.

Kommentar zur Quelle: Quelle: Holocaust international [Themenheft], MUT, H. 137, Januar 1979 (Artikel: Hans Hertel, Holocaust international, S. 9–13; Der Anfang vom Ende, S. 19–20; Ein Briefwechsel, S. 20–25).

Based on scholarship from across the disciplines, this article calls attention to examples of gender-themed comics from the era of second-wave feminism with the aim of bringing them into our thematic dossier’s wider discussion of “seeing” the history of women, gender, and sexuality through visual sources. I will suggest how a focus on women’s comics brings new perspectives to historians’ understanding of second-wave feminism, its origins, and its contestations. I will begin by looking at scholarship on some of the key moments in the production and reception of women’s comics in the U.S., putting this in comparative context by looking a few examples from France. I then discuss American feminists’ embrace of and objections to women’s comics, as well as rifts within the community of women comic artists and readers of comics. I will then briefly exemplify two themes that women comic artists explored – body image and motherhood – pointing to the complicated place of these themes in relationship to the broader feminist critique. I will end with a brief note on legacies of and pushbacks against second-wave feminism as they appear in the realm of comics.