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.

Not a conference report: some notes on ComFor 2012

These are just some things that I looked up after the annual conference of the German Society for Comics Studies had ended last Sunday:

  • In his opening speech, Dietrich Grünewald mentioned Jacques Callot’s series of etchings, Les Misères de la Guerre, as an early example of a political picture story. I wondered if this series is available digitally in its entirety somewhere on the web. This doesn’t seem to be the case: all 18 prints can be found, but not in one place. The most complete sites I could find are an article by Katie Hornstein (plates no. 2-6, 8, 10-11, 15-18), and a website of the Université de Liège (4, 6-7, 9, 12-13, 17). The remaining plates (1/title page and 14) can be found at Wikimedia Commons.
  • Louise C. Larsen mentioned Peter Kürten in her talk, a German serial killer in the 1920s and 30s. His English and German Wikipedia entries are quite detailed. Kürten’s case is quite similar to that of Fritz Haarmann, which has already been adapted into a comic by Peer Meter (German homepage: – see also Juliane Blank’s talk at last year’s ComFor conference): both committed their crimes at around the same time, both were called “vampire” (“vampire of Düsseldorf” and “vampire (or werewolf) of Hanover”, respectively), and the brains of both were examined and preserved by scientists after their execution.
  • In Rikke Platz Cortsen‘s presentation on Rasmus Klump (a.k.a. Petzi), I saw the original Danish strips for the first time, and realized that the German translations are drastically shortened. Furthermore, the German translations vary from edition to edition: the German website offers an interesting overview of all the German editions.
  • Was Martin Frenzel‘s presentation the longest ever (338 slides)? Not even close. The longest I found on slideshare has 919 slides, and there’s a YouTube video consisting of 1604 slides (although I doubt that these were really shown in a talk).
  • Hartmut Nonnenmacher mentioned a Spanish comic creator called Kim. Could this be the same Kim who was the artist on the German comic Kleiner Thor? No, they are two different people: the Spanish Kim’s real name is Joaquim Aubert Puigarnau (cf. his Spanish Wikipedia entry), whereas the other Kim is from Germany and called Kim Schmidt (German Wikipedia).