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Relevant bibliographies by topics / French Comics book

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Journal articles

Academic literature on the topic 'French Comics book'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "French Comics book"

1

Gazzola, Giuseppe, and Karen J. Leader. "Book Reviews." European Comic Art 4, no. 1 (2011): 129–35. http://dx.doi.org/10.3828/eca.2011.9.

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2

RAY, Alice. "Who translates the translation? (Re)traduire les héros marginaux d'Alan Moore." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (2016): 42. http://dx.doi.org/10.21992/t9fk86.

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The retranslation phenomenon is essential to the translation process. It is considered as the logical progression of this process which allows the translated literary work to regenerate in a restless cultural and language space. To a lesser extent, we can observe the same phenomenon in the translation of comics. However, this specific translation requires other competencies and a translating approach somehow different from the ones required to translate fiction literature, especially because of the presence of the visual system of drawings which is strongly bound to its own culture and the end

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3

Lecomte, Guillaume. "Adapting the Rhetoric of Authentication of Riad Sattouf’s La Vie secrète des jeunes." European Comic Art 10, no. 1 (2017): 41–57. http://dx.doi.org/10.3167/eca.2017.100105.

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The comic book series La Vie secrète des jeunes is a sardonic account of French young people’s behaviours witnessed from the voyeuristic viewpoint of its author-illustrator, Riad Sattouf. Despite its caricatural and non-photorealistic visual style, the work conveys a strong sense of authenticity, mixing truth claims borrowed from established non-fiction traditions (journalism, autobiography and documentary). It is also a rare example of a non-fiction comic turned into live action. This article considers the comic and its TV adaptation, and discusses film’s ability to adapt an account of truth

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Intan, Tania. "KOMPARASI BUDAYA JEPANG DAN PRANCIS MELALUI KOMIK DETEKTIF." Jurnal Bahasa Rupa 2, no. 1 (2018): 25–33. http://dx.doi.org/10.31598/bahasarupa.v2i1.214.

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Psychologically, humans have a tendency to love reality and fiction because of life in between. With its unlimited imagination, humans can choose the preferred model of reality or fiction. If he chooses to be a good observer, a good and patient guesser in waiting for answers to important questions, the detective story can be an interesting reading alternative. In general, the detective story developed along with the rapid urbanization as a result of the industrial revolution. Life in big cities becomes insecure because of the increasing population density, unemployment, poverty and crime. To b

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5

Embleton, Sheila. "Names and Their Substitutes." Target. International Journal of Translation Studies 3, no. 2 (1991): 175–206. http://dx.doi.org/10.1075/target.3.2.04emb.

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Abstract The Astérix comic-book series, originally in French, is well-known and widely translated. Each book relates an adventurous episode in which the principal character is Astérix, a small, witty warrior from a fictional Gaulish village, the only village to have successfully resisted the Roman occupation. The series relies on many humorous techniques, but word-play and puns form an integral part. Much humour derives from the names used, combining various comic effects, particularly puns and double entendres. Thus the translator faces not only the usual problems in translating literary name

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6

Ribbens, Kees. "Book review: The Algerian War in French-Language Comics: Postcolonial Memory, History, and SubjectivityComics and Conflict: Patriotism and Propaganda from WWII through Operation Iraqi FreedomComics and the World Wars: A Cultural Record and Dan Ellin and Adam Sheriff, Comics, the Holocaust and Hiroshima." Media, War & Conflict 11, no. 2 (2018): 282–86. http://dx.doi.org/10.1177/1750635218776138.

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7

Kulczewska, Joanna. "L’adaptation de Salammbô en BD en version polonaise – vers une étude éditoriale-péritextuelle." Romanica Cracoviensia 20, no. 4 (2020): 217–25. http://dx.doi.org/10.4467/20843917rc.20.021.13307.

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The Polish edition of the comic book adaptation of Salammbô – towards editorial and peritextual study The author of this paper discusses the problem of peritextual and editorial issues, using the French 19th century novel Salammbô by Gustave Flaubert as an example. The following study consistsof peritextual analysis of the Polish version of Druillet’s comic book adaptation, which is the object ofthis research. The methodological approach is based on semiotic analysis. Umberto Eco’s conceptsof model reader and closed/opened texts are also applied. The aim of this paper is to define the role of

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8

Cabut, Jean (Cabu). "Cabu Reporter." European Comic Art 2, no. 1 (2009): 131–51. http://dx.doi.org/10.3828/eca.2.1.8.

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French editorial cartoonist and comic-strip artist Cabu (pen name of Jean Cabut) is interviewed by Tanitoc, French cartoonist and contributing artist to European Comic Art. They talk about the evolution of political caricature in France, differing reactions of people to being caricatured by a cartoonist or being filmed, and the use of archetypes in caricature. Cabu also discusses the influences of other cartoonists on his own art, the high points of his cartooning career, his cartoon reportages, and various book publications of his work

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9

Winnington, G. Peter, and Stuart Olesker. "News Roundup." Peake Studies 14, no. 2 (2015): 33–41. http://dx.doi.org/10.1515/peakest-2015-0003.

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10

Jones, Colin. "FRENCH CROSSINGS: II. LAUGHING OVER BOUNDARIES." Transactions of the Royal Historical Society 21 (November 4, 2011): 1–38. http://dx.doi.org/10.1017/s0080440111000028.

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ABSTRACTUnder the generic title, ‘French Crossings’, this Presidential Address explores the history of laughter in French society, and humour's potential for trangressing boundaries. It focuses on the irreverent and almost entirely unknown book of comic drawings entitledLivre de caricatures tant Bonnes que mauvaises(Book of Caricatures, both Good and Bad), that was composed between the 1740s and the mid-1770s by the luxury Parisian embroiderer and designer, Charles-Germain de Saint-Aubin, and his friends and family. The bawdy laughter that the book seems intended to provoke gave it its nicknam

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