The end of Hamburg’s free port

The warehouse district as seen by Martin tom Dieck (image taken from www.mtomdieck.net)

The warehouse district as seen by Martin tom Dieck (image taken from http://www.mtomdieck.net)

When the city of Hamburg joined the German Empire, it was granted a free port where merchants were allowed to store, trade and process goods without having to pay taxes. As a result, new storage buildings were erected to form the Speicherstadt (warehouse district), inaugurated in 1888. The warehouse district inspired Martin tom Dieck to his avant-garde comic hundert Ansichten der Speicherstadt, published in 1997 when the buildings were already no longer used for sea trade (see also my paper “Hamburg’s warehouse district in Martin tom Dieck’s hundert Ansichten der Speicherstadt). After 124 years, the free port has now been dissolved on January 1, and the whole harbour area in Hamburg is henceforth a regular part of the German customs territory. (Other free ports continue to exist, though, in Germany and elsewhere.)


Fun with Google Scholar’s citation tracker

It’s always interesting to keep track of references to one’s publications by using Google Scholar’s “My Citations” feature. Not only does it tell you which publications have received the most citations so far, it also tells you who has referenced them in which text. This can give you a clearer picture of how people read, understand, and use your publications.

I consider myself still very much at the beginning of my scholarly career, so unsurprisingly Google Scholar lists only two citations to my publications, both for my 2010 journal article “Authorship, Collaboration, and Art Geography”. It turns out that these two citations are quite different.

The first citation is from the 2011 article “Comics and the Graphic Novel in Spain and Iberian Galicia” by Antonio J. Gil González. The sentence which contains the reference reads:

“Until the mid-twentieth century, comics were understood as a genre of popular culture, but since the 1970s they have come to be viewed more and more as an avant-garde genre (see, e.g., de la Iglesia; on sexuality in comics, see, e.g., Peters).”

However, my referenced article doesn’t make the claim that comics have become an avant-garde genre. In contrast, the comic I analyse there is Marvel’s 2006 “event” miniseries Civil War, a mainstream comic if there ever was one. The reference to Brian Mitchell Peters’s article on “sexuality in comics” seems odd, too. The most likely explanation why Gil González references these two apparently irrelevant publications is: all three articles, Gil González’s, Peters’s, and mine, have been published in the same journal. Naturally, it is disappointing to be cited in such a way, that is, for reasons other than the relevance of the content of the referenced text.

I was all the more delighted about the way in which “Authorship, Collaboration, and Art Geography” has been referenced in a dissertation titled Truth, Justice, and the American Way? The Popular Geopolitics of American Identity in Contemporary Superhero Comics (PDF) by Mervi Miettinen at the University of Tampere. In her chapter on Civil War, she repeatedly references, paraphrases and sums up my observations on this comic, which are clearly relevant to her work.

I have to end this post with a caveat, though: as informative as the Google Scholar citation listings are, they are by no means complete (and sometimes they contain erroneous citations, but that’s another story). For instance, my 2007 IJOCA article “Geographical Classification in Comics” is referenced in the book The Media: An Introduction, the full text of which is even indexed in Google Books (including the list of referenced works), but Google Scholar fails to recognise this as a citation.