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Vol. 05 No. 1, December 2005

Permanent URI for this collectionhttps://hdl.handle.net/10222/31208

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    Nouveaux sites à signaler
    (Dalhousie University. Electronic Text Centre, 2005-12) Frigerio, Vittorio
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    Contents - Belphégor Vol 5 No 1
    (2005-12) Frigerio, Vittorio
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    BIBLIOBULLES: Bibliographie internationale sélective des études sur la bande dessinée
    (Dalhousie University. Electronic Text Centre, 2005-12) Spehner, Norbert
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    COMICA: Misfit Lit - October 26th, 2005 - ICA, London.
    (Dalhousie University. Electronic Text Centre, 2005-12) Le Duc, Dominique
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    XXIst Century Graphic Novels
    (Dalhousie University. Electronic Text Centre, 2005) Le Duc, Dominique
    This paper looks at the characteristics that have marked contemporary "bande dessinée" production, focusing on the growing interest of the media and publishing industry, and the stance of comic creators and independent publishers. It deals with questions of content (autobiography and reportage), format, and screen adaptations. It also provides an overview of media coverage, the present market situation and the type of readership these publications attract. This is followed by an examination of shelving and classification within Public Libraries and ends on a discussion of the appropriateness of the term graphic novel.
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    'C'est tout mal fait, pardon': The Rhetoric of Politics in Pierre La Police's Comics
    (Dalhousie University. Electronic Text Centre, 2005) Leroy, Fabrice
    This article examines rhetorical strategies of nonsensical political humor in Pierre La Police's Véridique! comics. Applying the Groupe µ's theoretical principles, which posit that various deviations from a standard semantic model constitute the basis of all figures of speech, I propose to establish an inventory of tropes prevalent in La Police's absurdist representation of a political referent, which is a recurring topic in Véridique! Because La Police's panels reflexively play on mimesis, I also discuss the author's subversive treatment of mass culture and media representation, as well as his deconstructive reinvention of the standard comics code.
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    Sens dessus dessous: Lecture sémiolinguistique de l'espace dans l'oeuvre d'Edgar P. Jacobs
    (Dalhousie University. Electronic Text Centre, 2005) Freyermuth, Sylvie
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    Dino Battaglia et Rabelais : Dialogues de l'écriture et de la bande dessinée
    (Dalhousie University. Electronic Text Centre, 2005) Nicaise-Oudart, Val
    Dino Battaglia has adapted quite a number of literary works to comics, one of them being Rabelais' opus, which was published in French by Mosquito (EDITIONS MOSQUITO 1ter, rue des Sablons 38120 Saint-Egrève, mosquito.editions@wanadoo.fr) edited by Michel Jan and Jean-François Douvry. The goal of this paper is to see how Battaglia's version becomes a true adaptation rather than an accidental illustration of the literary text. The result is a true comic, where text and image are indivisible and play with each other, creating a harmonious whole. Battaglia manages to avoid the pratfalls of "banalisation", as Genette calls it in his book Palimpsestes. However, an adaptation into comic book form of Rabelais' work done in the nineteen-seventies is not an easy feat. First of all, it requires a "pragmatic transformation", i.e. a certain number of changes to the original story due to the public this new Gargantua and Pantagruel addresses itself to. The first part of the article deals with the matter of the mechanics of adaptation in comics format by showing how Battaglia tried to balance editorial requirements and the Rabelaisian text, and how the French edition has in turn modified the meaning of the adaptation. Then, an analysis shows how Battaglia managed to stay true to the peculiarities of the style of Rabelais by organizing the page in an original fashion, allowing for the gigantism of the heroes, therefore fully grasping the "graphic potential" of Rabelais' work. The originality of the spatial-topical arrangement is well-served by a remarkable inking that creates a sort of timeless, floating universe steeped in melancholy. The last section suggests that it is in the union of drawing, colour and text that adaptation acquires its true meaning.
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    I'm Not Scared' ...: I'm Marketable
    (Dalhousie University. Electronic Text Centre, 2005) Cristiano, Anthony
    This article is a critical assessment of Niccolò Ammaniti's novel and Gabriele Salvatores' homonymous film I'm not scared in their attempt at portraying the point of view of a child within an Italian family at the end of the 1970s. It argues how such attempt fails to favour the creation of a more marketable product, and the missed opportunity to represent one of the most intriguing and darker ends of decades in Italian contemporary history despite the relevance given to the emblematic year 1978 by the authors.
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    Quand la science-fiction précède la science : La Conception de l'histoire d'Isaac Asimov dans Fondation
    (Dalhousie University. Electronic Text Centre, 2005) Grimoult, Cedric
    In the initial Foundation trilogy (1941-1953), Isaac Asimov adopts a probability-based view of human history, resulting from accidental events brought together by the selective pressure of diverse socio-cultural factors. The author appears then as a pioneer of the modern synthesis, or the evolutionary synthesis (neo-darwinian), that is attracting the attention of contemporary philosophers and historians. It would seem that Asimov has been inspired by his diverse readings in the field of history, by his training as a chemist, and by quality information on the synthesis theory of evolution, which uses accidental genetic mutations, selected according to environmental conditions, to explain the transformations undergone by living species. It so happens that some historians have renewed the methodological basis of contemporary historiography by adapting to it this modern evolutionary theory. In this light, Asimov appears as a pioneer in a particularly fruitful field of modern research. This article also deals with what the famous science-fiction author lacked to become the founder or the initiator of such a method, which remained in his work at a preliminary stage.
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    Douceur du conflit: Commentaire stylistique d'une planche de Michel Greg
    (Dalhousie University. Electronic Text Centre, 2005) Tourrette, Eric
    This article attempts a stylistic analysis of the dialogue between two aristocrats in a story of Achille Talon (entitled « si tu hais, vite le gant d'ire, hâtons ! », album Achille Talon au pouvoir, Mon Oeuvre à moi, t. 2, p. 128). It focuses on the complex interplay of reflections and distortions between the dialogues and between the two pages of the story, and highlights the careful construction of the visual space of the page, the precise positioning of the characters and the visual correspondences between several objects. It goes on to examine the manifestations of humour within the dialogue, in particular the constant use of euphemisms, showing how apparently exclamative sentences are neutralized by what is called in the field of pragmatics an "illocutory trope".
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    ... Car la voie droite était perdue': Les Terres creuses de Luc et François Schuiten, ou les Cercles labyrinthiques
    (Dalhousie University. Electronic Text Centre, 2005) Thibault, Franck
    Within the trilogy entitled Les Terres creuses, the symbol of the circle plays a central role. It evokes at the same time unity and multiplicity, as well as reflection, the tricks mirrors play, as well as the vicious circle of the quest of the other. Paradoxically, the work of the Schuiten brothers manages to be multifaceted and unique at the same time, so that the circular space – simplicity itself – ends up becoming a labyrinthine maze. Playing with the one and the many, the coming and the going, reflections and inversions, Carapaces, Zara and NogégoN take the reader on an endless voyage.
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    Poirrier, Philippe. Les enjeux de l'histoire culturelle. Paris : Seuil, 2004. ISBN : 2-0204- 9245-8
    (Dalhousie University. Electronic Text Centre., 2005-12) Frigerio, Vittorio