Documents found
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482.More information
When one goes back to the graphic roots of what Hoberman called vulgar modernism the influence of Sterne's Tristram Shandy on the first albums drawn by Cham and Gustave Doré in the romantic age appears particularly significant. As it happens, both authors, during the 1840s and 1850s, introduced typically Sternian gestures of facetious reflexivity into the genre of picture stories invented by Töpffer.While identifying the factors that contributed to the robust inscription of this spirit of playful reflexivity in the tradition of humoristic drawing (up to the modern comic strips of the 20th century), we will try to understand why no visible trace of reflexive humour appears in the stories drawn by the “inventor of the comic strip” in spite of the fact that he was himself a dedicated reader of Sterne's work.
Keywords: Modernisme vulgaire, Rodolphe Töpffer, Cham, Gustave Doré, Laurence Sterne, Tristram Shandy, Vulgar Modernism, Rodolphe Töpffer, Cham, Gustave Doré, Laurence Sterne, Tristram Shandy
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483.
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484.More information
Since their first appearance in the 1930s, American comic books have been presented as collective works dependent on collaboration between a variable number of actors, namely writers, illustrators, inkers, colorists, letterers, and publishers. In the fast-moving world of serial comic book publishing (new works are generally released monthly), this teamwork-based approach is necessary for ensuring continuous productivity. This work method, having proven effective, was also adopted by the majority of Quebec comic book publishers from the early 1980s onward. However, in these cases, collaboration sometimes moves beyond the sharing of work between creators employed by the same publisher. In fact, correspondence between publishers and the peritexts of their published works reveal that a spirit of collegial solidarity unites rival producers, who exchange both ideas and advice about their respective series, and in doing so, contribute indirectly to the content of comic books published by their competitors. Nevertheless, the reasons giving rise to this mutual aid between publishers may be worth questioning. From a sense of friendship between colleagues to pure commercial opportunism, what issues specific to the field of comic book publishing in Quebec does this apparent sense of fraternity reveal? What are the conditions that contribute to the exchange of services between publishers, scriptwriters, and illustrators? In short, how can this sense of solidarity between competing producers evolving within the same competitive market be explained? This article will answer these questions in an effort to shed more light on the social dimension of serial comic book production in Quebec and Canada. It will reveal that collaboration among actors evolving in the québécois field of comic book publishing (and sometimes also in the Anglo-Canadian and American spheres) serves to consolidate the position independent publishers occupy in the constrained market in which they are attempting to invest themselves. The sense of fraternity that unites them is welcome and necessary in that it fosters interpersonal relationships that are more transactional than conflictual in nature, which can transform potential competitors into advertising or legitimating entities, and perhaps even into creative partners. This dynamic creates an alliance in which all parties benefit from a collaborative approach, which acts as a collective defence against the threat of market domination by comic book publishing industry giants.
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486.More information
This paper focuses on the numerous comic book adaptations of Dante Alighieri's Divine Comedy, released in Italy and in several countries (France, the Netherlands, Germany, the United States, Japan) in the 20th and 21st centuries. This major phenomenon of a rapidly expanding media universe - the Dante pop - is interpreted according to two complementary theoretical approaches. On the one hand, the criteria governing parodic diversion according to structuralist theory (Genette, Kristeva, Hutcheon) make it possible to grasp the cultural issues involved in the Italian comic book adaptations; on the other hand, the reflections carried out around the notions of transculturality (De Toro) and transmediality (Rajewsky) highlight some common tendencies in the comics inspired by Dante's Inferno and published in the French editorial market, such as the processes of character actualisation, the narrative frameworks driven by the cultural industry, and the transnational evolution the adjective Dantesque and its meaning.
Keywords: Dante Alighieri, La Divine comédie, L'enfer, adaptations en bande dessinée, intertextualité, intermédialité, transmédialité, Dante Alighieri, Dante's studies, The Divine Comedy, Hell, comic book adaptations, intertextuality, intermedia studies, transmedia studies
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