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Journal articles on the topic 'French comics'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Debrenne, M. "Image of Russia in French-Language Comics." NSU Vestnik. Series: Linguistics and Intercultural Communication 19, no. 4 (November 22, 2021): 167–80. http://dx.doi.org/10.25205/1818-7935-2021-19-4-167-180.

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This article initiates research on the representation of Russia in French comic books. From 1849 to the present about 400 volumes have been published. In this paper, the notion “comics about Russia” include: a) a book of comics in which the action takes place either in the tsarist Russia, the USSR or contemporary Russia, b) a book in which a character or a place of the above period are involved. After an overview of the types of books and genres of comics about Russia (documentary, historical, adventure, science fiction, comical, as well as literary adaptations), an analysis of the visual aspect of comic books, mainly the covers, is given. Such recurring elements as snow, red color, five-pointed star, trains, blood, weapons, beautiful girls, ugly old ladies, and old cars are considered. We discuss the reasons for the practical absence of such stereotypes as black caviar, bears and some others. Then we analyze the role of the Russian language in the realization of the image of Russia, on the example of borrowed words, toponyms, anthroponyms, and utterances. Сyrillic, transliterated text and insertion of certain letters from Cyrillic into Latin are examined, as well as the presence or absence of translation and its correctness. The author underlines cases in which nonexistent toponyms, names and surnames, remotely resembling Russian words, are used. The question is whether such errors are accidental or indicate the authors' evident lack of interest in the adequate depiction of the reality. At the end of the paper the author proposes a frame for the analysis of any comic book about Russia. Apart from the mentioned above, this frame takes into account such aspects as characteristics of the "Russian" personages and their actions. Hopefully, the frame will make it possible to observe the evolution of the image of Russia, the link between stereotypes and the type of comic book as well as to compare the same image in French mass-media, literature, and movies. In the future we would like to find out whether the use of these stereotypes comes from the authors' insufficient knowledge of the Russian reality, or from their intention to create and reinforce the existing stereotypical image of this country.

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2

BEN-RAFAEL, MIRIAM. "English in French comics." World Englishes 27, no. 3-4 (October 30, 2008): 535–48. http://dx.doi.org/10.1111/j.1467-971x.2008.00589.x.

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3

McKinney, Mark. "Transculturation in French Comics." Contemporary French and Francophone Studies 17, no. 1 (January 2013): 6–16. http://dx.doi.org/10.1080/17409292.2013.742259.

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4

Young, Bradley. "Redrawing French Empire in comics." Journal of Graphic Novels and Comics 6, no. 1 (September 22, 2014): 116–17. http://dx.doi.org/10.1080/21504857.2014.960095.

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5

Delisle, Philippe. "Flemish Comics versus Communist Atheism." European Comic Art 10, no. 2 (September 1, 2017): 66–83. http://dx.doi.org/10.3167/eca.2017.100205.

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It is well known that from 1920 to 1950, Belgian comics, embedded in a Catholic milieu, sometimes promoted anti-Communism. Au pays de la grande angoisse, drawn by Renaat Demoen and published from 1950 to 1951 in Zonneland and Petits Belges, fits into this category. Nonetheless, its ideological stance can be differentiated from that of series appearing in major Franco-Belgian magazines. Au pays de la grande angoisse is Flemish, intended only for the Belgian market, and therefore not subject to the control of the French Control Commission set up by the July 1949 law. Its critique of Eastern bloc countries is more explicit and more violent. Moreover, the story appeared in comics with a religious affiliation. It sets out to denounce the atheism of the Communists and to glorify the resistance of the believers. Ultimately, Au pays de la grande angoisse is as much a Christian comic as an adventure comic.

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6

Carroll, C. "The Colonial Heritage of French Comics." French Studies 66, no. 4 (October 1, 2012): 587–88. http://dx.doi.org/10.1093/fs/kns169.

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7

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

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8

Davidenko, Yan Olegovich. "The phenomenon of news comics based on the case of the French magazine «La Revue Dessinée»." Век информации (сетевое издание) 5, no. 1 (February 1, 2021): 41–54. http://dx.doi.org/10.33941/age-info.com51(14)4.

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News comics occupy a unique niche between news and copyright journalism in modern media space. In this article using the example of French periodical media «La Revue Dessinée», the conceptual features of the format of news comics in particular and comics journalism in general will be considered.

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Semenova, Olena. "THE IMPROVEMENT OF FOREIGN-LANGUAGE LINGUISTIC COMPETENCE BASED ON THE MATERIAL OF COMIC BOOK TEXTS." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 13(81) (May 26, 2022): 108–11. http://dx.doi.org/10.25264/2519-2558-2022-13(81)-108-111.

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Creolized or semiotically complicated texts are an integral part of our modern life that can be found everywhere – public places, home, office, transport, so their purpose cannot be underestimated. The comic is considered an effective means of teaching foreign linguistic competence, the basis for improving oral speech skills. Since we live in the era of the media space of information, we mainly perceive it comprehensively. Visualized information is interesting and effective for learning. The comic is a multifunctional didactic material that promotes a number of methodological tasks – overlearning grammatical/lexical competence, improvement of speech/linguo-regional studies competence, improving the quality of knowledge/motivation, development of cognitive activity, diversification of forms of work, interactivity of the educational process, development of creative abilities. The linguo-didactic potential of a French comic is determined by reading skills (understanding the authentic text, searching for the necessary information, highlighting meaningful/requested information of the text storyline), monologic/dialogic speech (short/detailed report based on what has been read, discussion, clarification of information, statement of one’s own point of view, providing arguments), writing (keeping notes of the main events/ characters of the previously read comic, reproducing the story from the first person, creation of verbal components of the comic, writing a critical message, expressing one’s own judgment, thoughts, performing written creative projects). Alongside linguistic competence, sociocultural competence also develops, namely: the accentuation/ interpretation of linguo-regionally marked units contained in authentic French comics, a comparative analysis of various aspects of the cultural life of the Ukrainian/French ethnic group. The use of comics in practical classes increases the motivation of students to study foreign languages, improves the skills of the main types of speech activity in the context of teaching social interaction, the ability to conduct a dialogue of cultures and tolerance.

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10

Trantraal, André. "Viewpoint: Some comics that made me and some comics that I made." Art Libraries Journal 48, no. 3 (July 2023): 57–61. http://dx.doi.org/10.1017/alj.2023.10.

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I was seven years old when I read my first comic book. Asterix and Caesar's gift has never really ranked amongst my favourites in the long-running French children's comic book series but the impact it had on me at the time was nothing less than life-changing.

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11

Dodig, Milana L. "QUESTION DE LA FONCTION ET DE LA TRADUCTION DE L’ONOMATOPÉE DANS LA BANDE DESSINÉE." Nasledje Kragujevac XIX, no. 52 (2022): 41–54. http://dx.doi.org/10.46793/naskg2252.041d.

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The aim of this paper is to present the role of onomatopoeia in comics and to emphasize the importance of its translation there. Firstly, we pay attention to the issue of the status of comics. The brief presentation of their evolution allows us to show their legitimacy as the ninth art and the importance of being treated as a full-fledged genre possessing its own language which must be decoded. Secondly, we highlight the peculiarity of the language of comics and analyze one of its essential traits - onomatopoeia. Finally, we focus on the question of the translation of onomatopoeias from our corpus in French and Serbian. The corpus is based on the twelve volumes of the comic book Gaston Lagaffe by author André Franquin, and their version in Serbian, translated by Đorđe Dimitri- jević. This approach allows us to determine the importance of translating onomatopoeia from the source language into the target language and to reveal the processes of their translation through our corpus.

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Niechciał, Paulina. "Zoroastriannism in Comics." Kultura Popularna 60, no. 2 (January 31, 2020): 48–56. http://dx.doi.org/10.5604/01.3001.0013.7332.

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The article focuses on the representations of Zoroastrianism––an ancient religion originating from Iran that has survived until the present day—in comics. The religion is rarely represented in popular culture, including comics, and the article will reflect on two of the most important examples: Zarathushtra (1974) and Silent Was Zarathustra (2014). The article provides an analysis of the texts and their message and explores how Zoroastriansim is represented in the chosen comics from a comparative perspective, reflecting on the social context of respectively Indian and French production that shaped the two publications, as well as their reception.

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Yuliantini, Yuliantini. "French Modality of Verb Modal in Directive Acts on Michel Vaillant's Comic." ELS Journal on Interdisciplinary Studies in Humanities 2, no. 2 (June 30, 2019): 278–90. http://dx.doi.org/10.34050/els-jish.v2i2.6518.

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Each language has a modality to express the speaker's attitude. The form that describes the attitude of the speaker is in the form of grammatical elements and there are also lexical elements. In French, the lexical attitude of the speaker can be characterized by capital verbs such as vouloir, devoir, pouvoir and falloir. This paper discusses the modalities in directive speech acts in its use in French in French-language comics namely Michel Vaillante. This article aims to find out the function of using modal modal verb modalities realized by Michel Vaillante comics. Data is collected from Michel Vaillante comics downloaded from the online version of the Culturethèque website. Data collection was done using the 'see' method, then analyzed using the agih method with the basic technique 'for direct elements'. The last step is the method of presenting data. The author uses formal and informal methods in presenting the results of data analysis. The results show that the function of the French modal modal verb in directive speech acts expresses the meaning of governing, suggesting, and expressing hope. The capital verbs used are devoir, pouvoir, vouloir, and falloir.Keywords: modalities, French, capital verbs, directive speech acts.

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Vigouroux, Cécile B. "Genre, heteroglossic performances, and new identity: Stand-up comedy in modern French society." Language in Society 44, no. 2 (April 2015): 243–72. http://dx.doi.org/10.1017/s0047404515000068.

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AbstractThis article analyses the ways in which stand-up comedy has been taken up by French comics of North and sub-Saharan African origins as a space of visibility and hearability. Following Bakhtin (1986), who argues that a genre reflects the social changes taking place in a society, I argue that such an appropriation should be considered as an important sociolinguistic fact that gives us privileged access to Hexagonal France's contemporary sociopolitical dynamics. I show that through their display of heteroglossic repertoires (viz. Maghrebi Arabic, several varieties of vernacular French, Hexagonal standard French, mesolectal African French, stylized chunks of English) comics challenge, at least symbolically, France's monoglot and highly centralized linguistic ideology. They also contribute to unsettling France's Republican model, which is marked by the institutional denial of the social and cultural diversity of the French population. The comics use heteroglossic resources to align with and disalign from multiple chronotopes associated with different social personae. From this emerges a new identity,urban,which both encompasses and transcends racial and ethnic categories. By contrast, I show that this identity is constructed through and received by the nonratified audience with ambivalence. (France, stand-up comedy, genre, urban, identity, chronotope, intertextuality.)*

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15

Rhoden, W. J. "Drawing France: French Comics and the Republic." French History 26, no. 1 (January 27, 2012): 128–29. http://dx.doi.org/10.1093/fh/crr105.

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16

Hennuy, J. F. "Drawing France: French Comics and the Republic." French Studies 66, no. 2 (April 1, 2012): 284–85. http://dx.doi.org/10.1093/fs/kns069.

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17

Shmelev, Dmitry. "Female Images of French Comics (Bande Dessinée)." ISTORIYA 14, no. 4 (126) (2023): 0. http://dx.doi.org/10.18254/s207987840020073-9.

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The article analyzes the history of female characters of French comics (bande dessinée). The study covers the period from the beginning of the 20th century to the beginning of the 21st century, from the creation of albums telling about the history of Bécassina to the albums devoted to the adventures of Laureline. Analyzing the history of the development of female characters, the authors noted that the feminization of the French bande dessinée coincides with the chronology of the three stages of development of feminism. This circumstance is reflected in the specifics of female characters of comics, their nature, manner of action and gender relations. Moreover, the stories of female characters in the bande dessinée were a reflection of the social and cultural situation of a certain time, the change in the legal and civil status of a woman, the transformation of her role in society and the desire for real equality. The Bécassina’s character, although it fits into the framework of traditional gender relations and the social role of women in France at the beginning of the 20th century, at the same time reflects the beginning of a “rebellion”, an attempt to go beyond the assigned role, to know the outside world. The image of Lili in this context is more modern and more reflective of the post-war spirit of the “beautiful era” marked by the process of female emancipation. In any case, both characters have a choice to play a social role reserved for them by society, or to go beyond the patriarchal framework. In fact, this is the first bright characters bande dessinée, embarked on the path of emancipation. The second wave of feminism contributes to the evolution of female characters bande dessinée. The heroines of the comic books of the 1960—1970s reflect the results of the sexual emancipation of the post-war decades. This can be seen in the Barbarella way, but also in the behavior and lifestyle of Adèle (despite placing her in a completely different historical context). Unlike Bécassina and Lili, they are no longer constrained by the framework of traditional patriarchal relations, social and cultural conformism, expressing a desire to change the world. Finally, to the period of the third wave of feminism, we can attribute two albums telling about the adventures of Isa and the cosmic adventures of Laureline. As in the case of Adèle, the modern character of Isa, transferred to the context of the 18th century, introduces a modern interpretation of the issues of slavery, sexism and male domination. In the albums of the series “Valerian and Laureline”, the female character Laureline first becomes the central figure of the series, which allows us to speak about the end of the feminization of bande dessinée.

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Bigych, Oksana B., and Diana A. Rusnak. "АВТЕНТИЧНІ МЕДІА-РЕСУРСИ ЯК ЗАСІБ ФОРМУВАННЯ У МАЙБУТНІХ УЧИТЕЛІВ ФРАНЦУЗЬКОЇ МОВИ МІЖКУЛЬТУРНОЇ КОМУНІКАТИВНОЇ КОМПЕТЕНТНОСТІ." Information Technologies and Learning Tools 70, no. 2 (April 27, 2019): 165. http://dx.doi.org/10.33407/itlt.v70i2.2440.

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In the article it is identified the role of authentic media-resources for development of students – prospective French language teachers intercultural communicative competency at language practice lecture room studies. All components of intercultural communicative competency as the target for development at language high education institution are specified. Taking into account the authenticity as a powerful feature among the innovative tools of teaching foreign languages and cultures media-resources are highlighted. Among modern approaches for teaching foreign language the communicative approach, as well as for studying culture sociological, anthropological and semiotic approaches are chosen. In the context of the sociological approach any cultural event is seen as a social phenomenon and their common role in the society is studied. In the context of the anthropological approach culture questions are treated in terms of everyday life. The semiotic approach studies the culture as a sign language that can save and spread some information. As a result of scientific research types (printed, electronic, audio, visual, mixed audio-visual) and forms of authentic media-resources were identified. They are used during teaching the students foreign languages and cultures. Didactic potential of French advertisement, comic pictures (comics), movies (comedies, short films), soap operas, songs, printed and electronic media-video and multimedia reports as tools for development of students – prospective French language teachers intercultural communicative competency were researched. In the context of semiotic approach cultural signs of advertisements and comic pictures (comics) are analyzed. The feature films and video-clips are seen in the context of the anthropological approach. Articles of print media and video and multimedia reports are treated in the context of the anthropological and sociological approaches. The availability of authentic media-resources for lecturer in the Internet was emphasized. It allows its active use as modern tools for teaching students French language and culture at language practice lecture room studies.

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Scholz, Janek. "Utopia, Heterotopia, Dystopia – Water in Portuguese and Brazilian comics." Brasiliana: Journal for Brazilian Studies 5, no. 2 (October 15, 2017): 269–80. http://dx.doi.org/10.25160/bjbs.v5i2.24631.

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The article tends to analyze several comics from the Portuguese-speaking world regarding the symbolic functions of water within the stories. Therefore, the text picks on the ideas of the Brazilian philosopher Vilém Flusser about mutual interference of nature and culture, combining it with the theory of Foucault’s heterotopias and Deleuze’s and Guattari’s ideas on smooth and striated spaces. The question on the different functions of water is raised, depending on its appearance as rain or ocean. Furthermore, it will be discussed whether a general approach to the topic is intelligible or if differences between Brazilian and European tendencies can be detected. To compare the results of the analysis with comic-stories from other countries, British and French comic-authors will be referred to, whenever necessary.

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Spalding, Steven, and Nicholas Romine. "Views of the city in French sci-fi comics and graphic novels." Journal of Urban Cultural Studies 7, no. 1 (March 1, 2020): 93–103. http://dx.doi.org/10.1386/jucs_00020_1.

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This article looks at important French comics and graphic novels from the small but highly influential tradition of French science fiction in order to assess their distinctive formal and narrative contributions to the genre. Taking cues from theoretical definitions of bandes dessinées formulated by Thierry Groenstein and Thierry Smolderen, it identifies specific ways two major works, Futuropolis and L’Incal, reshaped the narrative range and scope of French sci-fi comics and graphic novels and recast their artistic possibilities. We also draw comparisons to Valérian et Laureline. The ways in which cityscapes are depicted in each serve as the privileged focus for measuring the similarities and differences among these works, both ideologically and formalistically.

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Erkalan Çakır, Nesibe, and Yasin Murat Demir. "Translation of Songs in The Comics: Les Aventures de Tintin." Selçuk Üniversitesi Edebiyat Fakültesi Dergisi, no. 51 (June 25, 2024): 97–108. http://dx.doi.org/10.21497/sefad.1343412.

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In the texts of the comics, it is aimed to convey the message to the target audience by creating a humorous effect through metaphoric language and puns. In the translation of such texts, the same humorous effect is expected to be conveyed with similar metaphoric language and puns. This expectation is one of the difficulties that translators may encounter in the process of the translation of comics. At this point, it is assumed that the translator will overcome these difficulties by following various translation strategies and methods in the translation process, as long as s/he has a grasp of both cultures and languages. In this study, we tried to figure out how the songs we frequently encounter in comics are translated into another language. A case-study approach was chosen to conduct this exploratory study. In this context, the songs in the comic book series Les Aventures de Tintin (The Adventures of Tintin), whose original language is French, were analysed according to Hurtado Albir's "fidelity approach in translation". Overall, this study highlights that during the translation of the songs in the comics, the translator can reflect the humorous effect in a similar way to the target language when s/he deverbalizes the source text and translates the song under the norms of the target language.

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Reyns-Chikuma, Chris. "Comics in French: The European by Laurence Grove." French Review 86, no. 1 (2012): 181–82. http://dx.doi.org/10.1353/tfr.2012.0026.

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Ousselin, Edward. "Redrawing French Empire in Comics by Mark McKinney." French Review 88, no. 1 (2014): 248–49. http://dx.doi.org/10.1353/tfr.2014.0163.

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Laberge, Yves. "Comics in French: The Bande Dessinée in Context." Modern & Contemporary France 20, no. 1 (February 2012): 133–34. http://dx.doi.org/10.1080/09639489.2011.640131.

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Cirella-Urrutia, Anne. "Redrawing French Empire in Comics by Mark McKinney." Children's Literature Association Quarterly 40, no. 1 (2015): 93–97. http://dx.doi.org/10.1353/chq.2015.0007.

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Iakovleva, K. V. "Personified illness in french comics: friend or foe?" Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 8, no. 2 (June 30, 2023): 82–94. http://dx.doi.org/10.18522/2415-8852-2023-2-82-94.

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The article explores the tradition of the French autobiographical comics about illness, and the personification of illness, which is a characteristic trait of such works. A personified illness as an independent character first appeared in David B’s “Epileptic”, and this type of representation quickly became a tradition. At the moment, a new phenomenon is emerging within this tradition: a personified illness is not always in conflict with the author-narrator, sometimes the main character is able to reconcile or even ‘make friends’ with it. Thus, the authors seek to show that illness and recovery are complex experiences. The depiction of ‘friendship’ with a personified illness is a way for the authors to explore various problems: secondary gains of an illness, imperfection of the health care system, difficulties in relationships with others, and self-identification issues – both during the illness and after the recovery. ‘Friendship’ with illness becomes a metaphor for loneliness and self-destruction, and at the same time it symbolizes self-acceptance. Thus, comics which show ‘friendship’ with a personified illness, can become a form of self-therapy, a support for other patients with similar experience, and also inform readers about problems of people suffering from various health issues.

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Vann, Michael G. ":Postcolonialism and Migration in French Comics." Journal of Modern History 96, no. 1 (March 1, 2024): 217–18. http://dx.doi.org/10.1086/728546.

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Gandolfo, Amadeo, and Pablo Turnes. "Fresh off the Boat and Off to the Presses." European Comic Art 12, no. 2 (September 1, 2019): 45–76. http://dx.doi.org/10.3167/eca.2019.120204.

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This article aims to analyse the origins and development of the comics industry in Argentina from a comparative and transnational perspective, positing its business model, professionalisation of artistic and editorial work and adoption of certain styles as part of a triangle in which Argentine comics are in constant dialogue with European (mainly Spanish, French and English) and US comics traditions. The article places a special emphasis on the latter. As part of the overall process of cultural modernisation, the early twentieth century encompasses a period in which the production of comics grew, was established and modified its creative patterns in all the countries involved in the study. Comics in Argentina consistently moved between innovation and imitation, with some original narrative and formal solutions that were sparked by a process of adaptation and mistranslation.

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McKinney, Mark, and Farid Boudjellal. "Interview with Farid Boudjellal." European Comic Art 4, no. 1 (January 1, 2011): 1–28. http://dx.doi.org/10.3828/eca.2011.2.

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Farid Boudjellal (b. 1953), a French cartoonist of Algerian and Armenian heritage, outlines his approach to comics. He discusses important inspirations and influences, including cartoonists from France (Gébé), Italy (Hugo Pratt) and the United States (Milton Caniff). He speaks of themes that are important to his work, especially temporality, a multiplicity of characters, dreams and fantasy. Boudjellal also distinguishes his comics from autobiography, a genre that he shuns, and critiques the sociological reductionism often found in the critical reception of his comics. He discusses his artistic techniques, including black-and-white line drawing, watercolor, and interconnected speech balloons. His interview provides an overview of his career and his ongoing projects in comics, which he situates against the general evolution of comics in France from the 1960s up to the present.

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Sarkar, Ritam, and Somdatta Bhattacharya. "‘I don’t see any limitations when it comes to comics’: An interview with Simon Lamouret." Studies in Comics 13, no. 1 (November 1, 2022): 153–64. http://dx.doi.org/10.1386/stic_00080_1.

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In this interview, Ritam Sarkar and Somdatta Bhattacharya talk to the French comics artist Simon Lamouret, to discuss his comics The Alcazar. Lamouret is a graphic novelist and illustrator based out of Toulouse, France. He has produced two graphic novels: Bangalore (part of the Angouleme International Comics Festival selection) and L’Alcazar (Winner of the debut award ADAGP/Quai des Bulles, France, 2021). L’Alcazar was published in India in 2022 as The Alcazar. In this conversation, Lamouret talks about his creative process, his experiences of living in Bangalore and the relationship comics share with cities. The interview was conducted on 3 July 2022 via Microsoft Teams. It has been edited for length and clarity.

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McArthur, Tom, and John Pint. "Riders of the Purple Page." English Today 2, no. 4 (October 1986): 34–35. http://dx.doi.org/10.1017/s0266078400002479.

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Lindberg, Ylva. "The Power of the Periphery: Circulation of Cross-Cultured Languaging Through the Importation of Francophone Comics in the Nation-State of Sweden, 1900–2020." Bandung 9, no. 1-2 (February 24, 2022): 223–47. http://dx.doi.org/10.1163/21983534-09010009.

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Abstract The objective with this study is to shed light upon how international exchanges on the comic art market contribute to democratization processes and renegotiation of hegemonies in the literary field worldwide. The focus is on how the variation in imported comics from a central language, in this case French, to the peripheral space of Sweden, can be observed during the time-period 1900–2020, as well as on which diversity importation of comics has been allowed over time. Theoretically anchored in sociological perspectives in literary studies highly influenced by Casanova’s ([1999]2004) seminal work, this contribution challenges established approaches in the field that depart from central cultural spaces in the world. Instead, this analysis highlights how the periphery gains agency on the international market and challenges relations of domination through translation practices. One hypothesis put forward consists of the idea that Francophone author-illustrators from the global South would be identifiable in the data in 1990’s, as is the case in the literary field. However, in the comics field this change emerges later, and does not appear distinctively until 2005. The change is paired with a promotion of Francophone female author-illustrators in Swedish translations, equally from the global South and the global North. The results also highlight that Sweden positions the Francophone space as hyper-central within the comics field. The specific practices adopted in the importation point to how a periphery creates agency to define a medium and a genre locally and play a role in international cultural exchanges.

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Vermette, Rosalie A. "The Colonial Heritage of French Comics by Mark McKinney." French Review 86, no. 2 (2012): 405–6. http://dx.doi.org/10.1353/tfr.2012.0111.

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Sparks, Benjamin. "Postcolonialism and Migration in French Comics by Mark McKinney." French Review 95, no. 3 (2022): 232. http://dx.doi.org/10.1353/tfr.2022.0032.

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Geesey, Patricia. "Postcolonialism and Migration in French Comics by Mark McKinney." French Review 96, no. 1 (October 2022): 202. http://dx.doi.org/10.1353/tfr.2022.0182.

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Ousselin, E. "Comics in French: The European Bande Dessinee in Context." French Studies 65, no. 3 (June 28, 2011): 411. http://dx.doi.org/10.1093/fs/knr085.

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Lecomte, Guillaume. "Adapting the Rhetoric of Authentication of Riad Sattouf’s La Vie secrète des jeunes." European Comic Art 10, no. 1 (March 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 rooted in comics ontology. The article first provides a theoretical structure that details the intricacy of repeating the truth from comic to film. Second, it highlights the way in which the comic develops its authenticity by constantly reaffirming Sattouf’s presence and subjectivity. The article aims to show that the adaptation anonymises this viewpoint in order to re-construct the authenticity of its reality.

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Boillat, Alain. "Perspectives on Cinema and Comics." European Comic Art 10, no. 1 (March 1, 2017): 9–23. http://dx.doi.org/10.3167/eca.2017.100103.

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This article focuses on the relatively little-known editorial context of children’s French-language comics serials at a time when they constituted the main distribution channel of the bande dessinée medium (before the album became the dominant format), from the immediate post-war years to the mid-1950s. I examine the importance given to the adaptation of films into bande dessinée by studying the editorial strategy to which this practice of adaptation contributes (focusing on the magazine L’Intrépide [The daredevil], which, at the time, specialised in adaptation) and the narrative and figurative aspects of the adapters’ approaches. I show in particular how bandes dessinées are inscribed in genres that structure the periodical publications, where these were previously established in the cinematographic domain such as the swashbuckler and the western. The processes of condensation or amplification of the narrative, as well as the use of the feuilleton, are at the centre of the case studies.

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Chmiel-Bożek, Halina. "The potential of the dynamic platform webtoons.com/fr in the teaching/learning of French as perceived by students of Romance philology." Neofilolog, no. 62/2 (June 26, 2024): 396–408. http://dx.doi.org/10.14746/n.2024.62.2.4.

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Reading is an important element of independent work on the language, but offering students additional reading to improve their linguistic and cultural competences is an extremely difficult task, due to the evolving tastes of young people and the variability of the media they use. Given the popularity of manga and digital comics in France, Romance philology students were asked to read a series selected from the webtoons.com/fr platform in French. A survey was then carried out to find out their views on how this tool could be used in French language learning. The results of the survey clearly indicate that the webtoons.com/fr platform can be used as an effective tool for learning French. According to the respondents, reading the selected series allowed them, above all, to develop lexical resources and was also an enjoyable pastime that increased motivation to learn the language. Students also paid attention to the combination of word and image, appreciating both the aesthetic and practical side of reading digital comics. Finally, the practicality of using the platform, its ease of use and accessibility was emphasised.

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Tanesya, Agiska, and Myrna Laksman-Huntley. "Le niveau d’équivalence de l’interjection dans Spirou et Fantasio et sa traduction en Indonésien." Digital Press Social Sciences and Humanities 3 (2019): 00002. http://dx.doi.org/10.29037/digitalpress.43275.

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<p class="Papertitle" style="margin-top:0in">This article deals with the level of correspondence of the translations of French interjections into Indonesian in the comics <font face="Cambria, serif"><span style="font-size: 10pt;">Spirou et Fantasio</span></font> and its translation. Using qualitative methods and literature techniques, data were analyzed based on Leech's (1981) component analysis theory and Williams' equivalence theory (2013). Types of shape changes were analyzed using Catford's (1965) shift theory. The results that show more total equivalence indicate that translators maintain correspondence and messages even though French interjections are more varied than in Indonesian. However, the translation equivalent of interjections in Indonesian is considered more appropriate for the function in the context of images than in French. The onomatopic-type interjection usually consists solely of a collection of vowels or consonantal combinations serves to support the expressions and feelings of the characters. This type of interjection dominates other forms of interjection. Although the translation of onomatopoeia into Indonesian is done only by the repetition of previous translations, the onomatopoeia that is used has different meanings depending on the context. Compared to other comics, genre humor Spirou and Fantasio is more likely to bring up the story in the picture, so the interjections and simple sentences felt quite favorable to the picture. The use of simple sentences in this comic indicates that there is no change of form is found other than the displacement of the word class in Indonesian translation<br></p>

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Strömberg, Fredrik. "Schemata in the Graphic Novel Persepolis." European Comic Art 13, no. 2 (September 1, 2020): 91–119. http://dx.doi.org/10.3167/eca.2020.130205.

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It has repeatedly been suggested that the art in the graphic novel Persepolis by Iranian French artist Marjane Satrapi contains numerous connections to ancient Persian art forms, to the point of this becoming a ‘truism’, although the claim has not been subjected to in-depth analysis. The present formal analysis employs Gombrichian schema theory to identify visual elements in the graphic novel potentially connected to Persian visual cultures to discern if and how they might relate to their proposed influences and how they integrate with styles and visual conventions in comics. The results indicate that there are indeed connections, although integrated into the art form of comics through combination and accommodation, and that this reinforced the Persian theme of the graphic novel and potentially enriched the art form of comics.

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Christensen, Mark, and Sébastien Rocher. "The persistence of accountant beancounter images in popular culture." Accounting, Auditing & Accountability Journal 33, no. 6 (June 19, 2020): 1395–422. http://dx.doi.org/10.1108/aaaj-09-2019-4163.

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PurposeIn analysing the beancounter image's trajectory, from its birth to its persistence, in European French language comics between 1945 and 2016, this paper explores why artists continue beancounter image usage in popular culture.Design/methodology/approachBeancounter characters have been studied in an application of Iconology (Panofsky, 1955) in order to unravel how individuals make sense of cultural artefacts and how, in turn, the visuals shape cultural belief systems at a given time.FindingsThis study reveals that comics artists usage of the beancounter image results from their critical reactions to management and capitalism whilst at other times the usage is an indication of authenticity. Motivation for the usage is not constant over time nor is the impact of the beancounter image. Both appear dependant of the level of artistic freedom experienced by the artist.Research limitations/implicationsBased on a single media (comics) with a unique characters (European French language) this study deepens exploration of the ways in which accounting becomes entwined with the everyday and implies that further research is needed.Originality/valueExtends the work of Smith and Jacobs (2011) and Jacobs and Evans (2012) by focusing on a genre of popular culture over a long period, and by adopting a critical viewpoint. Also expands the possible applications of Panofsky's (1955) Iconology in accounting studies.

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Dauncey, Hugh. "History and Politics in French-Language Comics and Graphic Novels." Modern & Contemporary France 20, no. 1 (February 2012): 123–24. http://dx.doi.org/10.1080/09639489.2011.640121.

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Hand, Richard J., and Michael Wilson. "Transatlantic Terror! French Horror Theater and American Pre-Code Comics." Journal of Popular Culture 45, no. 2 (March 28, 2012): 301–19. http://dx.doi.org/10.1111/j.1540-5931.2012.00926.x.

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Lefèvre, Pascal, and Morgan Di Salvia. "A Creative Culture Where It Is Hard to Make a Living." European Comic Art 4, no. 1 (January 1, 2011): 59–80. http://dx.doi.org/10.3828/eca.2011.5.

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On the initiative of the research office of the non-profit SMartBe Professional Association for Creative Professions, an exploratory survey into the current socio-economic circumstances of comics authors and illustrators in Belgium has been undertaken for the first time. The replies of 191 French-speaking and 72 Dutch-speaking artists to the online questionnaire have given an idea of the profile of comics authors and illustrators in Belgium (in terms of gender, age, place of residence, educational background), their professional activities and the type of publications in which their work appears, and their employment status and income. The results show that, in general, their monthly income falls below the Belgian median, and that many artists, particularly in the younger age range, are reliant on supplementing their earnings from other sources. A number of differences emerged between the situation of French-speaking and Dutch-speaking artists. The role of creative grants (especially subsidies from the government) is shown to be crucial.

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Luca, Ioana. "Transnationalizing Memories of Post/Socialism: Diasporic Graphic Lives." Comparative Literature Studies 59, no. 3 (August 1, 2022): 568–89. http://dx.doi.org/10.5325/complitstudies.59.3.0568.

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ABSTRACT The article focuses on The Wall: Growing Up Behind the Iron Curtain (Peter Sís, 2007) and Marzi (Sylvain Savoia and Marzena Sowa, 2004–2017), two widely translated autobiographical comics written in English and French, respectively, as an entry point into the afterlives of European state socialisms in global contexts. The author examines how Sís, a Czech-born illustrator and children book author, who defected to the United States, and Sowa, a Polish-born writer who left for France, remember their lives under state socialism, and how they make them legible to present-day transgenerational and transnational audiences. The author explores how comics, specifically the seriality, multimodality, and the meanings created at the intersection of texts and images, undermine the cultural scripts which inform the narratives of these two diasporic artists. By focusing on paratextual elements, the author also demonstrates that the transnational trajectories of the two works are path-dependent on mainstream tropes about state socialism. Lastly, given that the two comics feature internationally in school curricula and are adopted by teachers as important methodological tools, the author argues for the crucial importance of comics and life writing pedagogy when teaching graphic autobiographies about post/socialism.

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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 (November 22, 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 endless mutations it goes through. The comic book Watchmen (Les Gardiens, in the first French translation) by Alan Moore and Dave Gibbons, is known in the whole world as the comic which had not only remodeled the vision we had of super-heroes, but had also given the comic books another voice. Watchmen was published between 1986 and 1987 in the United States and translated in French from 1987 to 1988. Fifteen years after this first translation by Jean-Patrick Manchette, Panini publishing decided to retranslate this famous comic in 2007. However, if the reviews of the first translation were laudatory, the retranslation did not enjoy a great reception from the readers or from the reviewers. This paper proposes a comparative analysis of both these translations and of their original version as well as an experiment on the readers, comic books readers or not, in order to establish why the first translation was a success and the retranslation a failure. Thus, we could withdraw the elements which allow us to understand the reception of comic translation.

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Salikhova, Oksana Konstantinovna. "Features of Text-Forming Function of Onyms in the French Comics." Filologičeskie nauki. Voprosy teorii i praktiki, no. 2 (February 2021): 465–69. http://dx.doi.org/10.30853/phil210049.

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Cirella-Urrutia, Anne. "Drawing France: French comics and the republic, by Joel E. Vessels." Journal of Graphic Novels & Comics 3, no. 1 (June 2012): 121–22. http://dx.doi.org/10.1080/21504857.2012.670657.

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Ochi, Khaled, and Arij Mohsni. "La bande dessinée dans les manuels scolaires Tunisiens : étude de son rôle dans l’apprentissage linguistico-culturel." Traduction et Langues 22, no. 2 (December 31, 2023): 101–26. http://dx.doi.org/10.52919/translang.v22i2.953.

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Comics in Tunisian School Textbooks: Study of its role in linguistic and cultural learning Comics, also referred to as graphic novels, have enjoyed widespread popularity as a form of entertainment for people of all ages over many years. However, in recent times, they have garnered recognition not only as a source of entertainment but also as an effective tool for teaching and learning foreign languages and cultures. In Tunisia, where French is taught as a foreign language (FLE), school textbooks play a pivotal role in foreign language and cultural education. The content of these textbooks is expected to align with specific pedagogical and cultural standards. Consequently, the inclusion of comics in FLE textbooks in Tunisia prompts inquiries into their appropriateness concerning pedagogical objectives and adherence to Tunisian cultural norms. To address these inquiries, a study was undertaken to scrutinize the role of comics as a tool for linguistic and cultural learning in Tunisian FLE textbooks. The study comprised two main parts. The initial part concentrated on diverse modalities of incorporating comics into foreign language teaching and learning. Previous research has demonstrated that comics serve as effective tools for imparting various language skills and cultural aspects of a foreign language. They facilitate the acquisition of vocabulary, grammar, and syntax, while also aiding in the understanding of cultural facets, such as social interactions, customs, and traditions. Moreover, comics contribute to creating an enjoyable and interactive learning environment, fostering critical thinking skills among learners. The second part of the study delved into the linguistic and cultural messages conveyed by comics in Tunisian FLE textbooks, as well as their reception by learners. The analysis, conducted through an analytical and descriptive approach, sought to address the following questions: How are comics utilized in Tunisian FLE textbooks for linguistic and cultural learning? What cultural messages do they convey, and how are these messages perceived by learners? In conclusion, this study underscores the potential of integrating comics into Tunisian FLE textbooks as a potent tool for teaching foreign languages and cultures. Comics offer an engaging and interactive approach to improving language skills and deepening cultural understanding. Through the incorporation of comics into language education, educators can establish a dynamic learning environment that enhances learners' linguistic proficiency and cultivates a nuanced appreciation of diverse cultures.

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