Documents found
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211.More information
Keywords: Adaptation, théâtre, bande dessinée, texte de lecteur
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AbstractMarc-Antoine Mathieu, a graphic artist and sometimes cartoonist, gives a highly unusual direction to the storylines in Le processus [The Process] and Le début de la fin/La fin du début [The Beginning of the End/The End of the Beginning]. Mathieu uses the motifs of the spiral and Möbius strip to construct complex narrative labyrinths. These geometric figures, which serve as foundations for the plot, can be pinpointed in both the text and the image. Their analysis makes it possible to grasp the subtleties of a chronology shattered by the intrusion of the dream into the hero's universe.
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219.More information
The article examines the presence of reflexive processes in the series Obscure Cities, in particular through a comparison between the two versions of the first album, Samaris. In these comic books, which already in their title give priority to urban spaces rather than to the adventures of characters, the spectacular exhibition of the world tends to prevail over the story. The author shows how Schuiten and Peeters' reflexive approach is not in contradiction with an emphasis on worldbuilding. Even if some motifs that intertwine text and image refer to characteristics of the language of comic books and are treated in such a way that they produce a discourse on the possibilities of the medium, immersion into the fiction is not attenuated; it is paradoxically reinforced by a subtle interplay between real world and the world of fiction, which gives the latter a fascinating power of absorption.
Keywords: Réflexivité, simulacre, construction d'un monde, intermédialité, récit, Reflexivity, Worldbuilding, Simulacrum, Intermediality, Storytelling
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It's hard to prove objectively, but it is safe to say that the Paul series is undoubtedly the most influential work in the history of Quebecois comics. In my paper, I will attempt to identify and explain the reasons for this success. In particular, I will show that beyond the narrative and graphic qualities of Michel Rabagliati's series, there are aspects that operate on a subjective, emotional level: the choice of the autofictional genre, the transparency of the comic artist, his sensitivity, his astonishing ability to recreate the past (personal as well as collective), the geographical and historical anchoring, the accuracy of the language, the proximity of the dramatic stakes for readers. I will elaborate on all of these aspects that contribute to readers being challenged and connecting with the story, as well as on more technical aspects, such as the highly graphic drawing style, which gives the hero a schematic face that acts like a mask, onto which every reader can project his or her own face. Paul is a lot like Rabagliati… and a little like each one of us.