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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.
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To mark the fifteenth anniversary of Éditions La Pastèque, the Montréal Museum of Fine Arts opened its space to fifteen Quebec comic strip/graphic novel artists as part of the exhibition Comics at the Museum, held from November 6, 2013, to March 30, 2014. Each author chose a work from the Museum's collection and used it to create a comic strip consisting of a few panels. The transmediality at work in these productions, based on a relationship between the source work and the target work—or, in the words of Genette, between hypotext and hypertext—leads to a very specific kind of complexity. Going beyond adaptation, it involves the generation of new poetic propositions relying on quotation, borrowing, imitation, amplification, and placing in context, while a reflexive look is turned on mediums—movement from painting to drawing, from colour to black and white, etc.—and on the media that preside ontologically over the enunciated frameworks of the new works. This article analyzes such processes and shows how the meeting between comics and the museum, in renewing our understanding of both works of art and narratives consisting of images through a particularly fruitful approach to plasticity, authorizes us to ratify the legitimation of a genre expressing a long-denied understanding of the world of visual and narrative creation.
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Inspired by historical events that occurred after the first Punic war, Gustave Flaubert published Salammbô in 1862, an exotic, vibrant epic that reveals him to be an exponent of Orientalism in literature. While he was against the illustration of the novel for aesthetic reasons, the subject would inspire numerous painters and engravers. In 1978, a little over a century after the publication of the work, the illustrator Philippe Druillet published a first version of Salammbô in the magazine Métal Hurlant, spread over three volumes in the early 80s. Finally, in 2003, a computer game, Les périls de Carthage, was released. We will study the comic artwork that the game incorporates and the relationship that it maintains with the works that it adapts into another language according to its own diegetic imperatives, and that, in addition, obey the gameplay. In this article, we will analyse the meanderings of the work and its metamorphoses in a selection of episodes. We will ask ourselves why a particular character, element or motive is valued over another in the diegesis of the comic book and in the video game.