Documents found
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93.More information
This paper seeks to provide a formal definition of “heteroreflexivity”, a term which was conceived in order to describe a form of reflexivity specific to self-illustrated books, and whose efficiency may be tested through its application to comic books and graphic novels. Far beyond the obvious phenomenon of intermediality and irreducible to the mere – and apparently redundant – idea of “self-reflexivity”, these mixed media do not always result in a unified reflexive gesture but rather entail series of reflections of the work and the self. As a result of mixed media being modelled on a system that is heterogeneous to it – even though this system is part of the work and the work part of the system – these works can be seen to display a reflexive discontinuity.
Keywords: Réflexivité, intermédialité, illustration, bande dessinée, roman graphique, Reflexivity, Intermediality, Illustrated Book, Comic Book, Graphic Novel
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94.More information
This paper aims to explore the role that the creation of a digital corpus can play in the process of making Québécois comics part of our literary, cultural and linguistic heritage. We believe that Québécois comics deserve a twofold reflection on their patrimonial value. On the one hand, given the place it has carved out for itself in Québec's literary domain, Québécois comics require a critical look at the conservation practices that will facilitate research into this medium; on the other hand, Québécois comics possess a memory whose scope extends beyond the boundaries of the medium to include places, cultural objects, social and linguistic practices of interest to Québec's history. In other words, Québécois comics remember more than just themselves. It is these two relationships to heritage – comics as heritage objects, and as agents of heritage – that we will explore. We will be taking a look at some of the books that have been included in the Ébullition corpus, currently being prepared by the Université de Sherbrooke to facilitate research into Québécois comics.
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99.More information
The Atikamekw Nehirowisiwok pass on their creation tales, called kitci atisokan, orally, from generation to generation. When transcribed, they find new audiences, often in universities, at times a larger public, but also among members of the nation in which they originate. This article follows a particular case, that of Opitciwan storyteller Basile Awashish. The Indigenous Friendship Centre in La Tuque included some of Awashish's stories in a few of their publications from the early 1980s, therefore participating in the reappropriation by the Atikamekw of elements of their culture that may have circulated either amongst Indigenous nations or in fragments within the settler culture. Similarly, in 1982, a Montreal publisher aiming to make Indigenous culture more accessible produced a comic book attributed to Awashish under the title Carcajou, le glouton fripon. The work of reappropriating traditional stories thus takes different forms, reappropriation of stories collected by ethnologists, and reappropriation of the settler language as a space for cultural dissemination.
Keywords: Publications communautaires, récits traditionnels, bande dessinée, Autochtones, décolonisation, Community publications, traditional stories, comic book, Indigenous peoples, decolonization