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Journal articles on the topic 'Tintin in the Congos'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Boisacq, M.-J. "Le Congo de Tintin." Literator 16, no. 1 (April 30, 1995): 151–62. http://dx.doi.org/10.4102/lit.v16i1.600.

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As any event, whatever it may be, bears the mark of the period and of the society when and where it was conceived, I believed it would be of interest to situate, in its ideological context, Herge's comic, Tintin au Congo, often criticised by readers in spite of its enthusiastic reception. After having briefly recalled Tintin's adventures in the Congo, I then explain the circumstances of the creation of this album and the ideological climate which determined the contents. I go on to recall how the Belgian Catholic middleclass actually imagined Africa to be. In my final point, 1 try to indicate the reasons for the success of Herge 's work

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2

Valencia-García, Louie Dean. "Tintin in the Movida Madrileña." European Comic Art 11, no. 2 (September 1, 2018): 12–33. http://dx.doi.org/10.3167/eca.2018.110202.

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This article traces ways in which comic fanzines of the late 1970s and early 1980s transgressed against and conformed to accepted Spanish constructions of gender and sexuality of the day. Research is drawn from close readings of comics found in zines of the period, such as 96 Lágrimas, Ediciones moulinsart and Kaka de Luxe. Young Madrileños literally drew on images and tropes from a variety of sources, from punk musicians to Tintin in the Congo, making them their own. Through fanzines, often sold in Madrid’s Rastro, a Roma marketplace, young people became cultural producers, creating a culture that was postmodern and anti-fascist.

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3

Maurin Abomo, Marie-Rose. "Tintin au Congo ou La nègrerie en clichés." Textyles, Hors série n° 1 (January 1, 1993): 151–62. http://dx.doi.org/10.4000/textyles.2208.

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4

Langford, Rachael. "Photography, Belgian colonialism and Hergé’s Tintin au Congo." Journal of Romance Studies 8, no. 1 (March 2008): 77–89. http://dx.doi.org/10.3828/jrs.8.1.77.

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5

Delisle, Philippe. "Bande dessinée, propagande missionnaire et masculinité." Social Sciences and Missions 33, no. 3-4 (September 24, 2020): 319–46. http://dx.doi.org/10.1163/18748945-03303007.

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Résumé « Chantal au Katanga », dessiné par Robert Rigot et publié en 1950 dans Âmes Vaillantes, fait écho à la propagande missionnaire et en constitue un vecteur. Ce récit présente la particularité de s’ adresser à des jeunes filles. Mais il s’ inscrit largement dans la lignée de Tintin au Congo, en présentant des missionnaires avant tout civilisateurs et masculins. La force des clichés et le fait que les auteurs soient des hommes expliquent sans doute l’ effacement des religieuses.

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6

Jouin, Soizik, and Hasmig Chahinian. "De Tintin au Congo à Odilon Verjus: le missionnaire, héros de la BD Belge [Tintin from Congo to Odilon Verjus: the Missionary, Hero of the Belgian comics] by Philippe Delisle." Bookbird: A Journal of International Children's Literature 51, no. 4 (2014): 91–92. http://dx.doi.org/10.1353/bkb.2014.0023.

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7

Özdemir Eroğlu, Berhan. "Kolonyal Söylem Aracı ve Mitler Gömüsü Olarak Bir Çizgi Roman Analizi: Tenten Kongo’da." Üsküdar Üniversitesi Sosyal Bilimler Dergisi 6, no. 10 (2020): 157–83. http://dx.doi.org/10.32739/uskudarsbd.6.10.72.

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8

Vaclavik, Kiera. "Damaging Goods? Francophone Children's Books in a Postcolonial World." International Research in Children's Literature 2, no. 2 (December 2009): 228–42. http://dx.doi.org/10.3366/e1755619809000714.

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The recent furore over Tintin au Congo in Britain is symptomatic of Western concerns about the perpetuation of negative racial stereotypes within much classic children's literature. This article interrogates such anxiety via discussion of three texts (by Hergé, Michel Tournier and Maryse Condé) produced for a European readership but set and – crucially – read in other parts of the world. Each text demonstrates the difficulty of predicting responses which frequently confound expectations and vary widely according to the situation of the reader. An ostensibly disparaging text can be a source of pride and hilarity, whilst a work produced to fight the cause of an oppressed community can distress and disturb members of that very group. Critical attendance to the reception of canonical texts within colonial and postcolonial settings will, it is argued, provide the most satisfactory response to the calls for censorship which utterly neglect alternative, resistant readings and non-European readers.

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9

Gyselinck, Sophie. "Signalement van: Kuifje & Tintin kibbelen in Afrika. De Belgische taalstrijd in Congo, Rwanda en Burundi / Evert Kets (2009)." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 69, no. 2 (January 1, 2010): 187. http://dx.doi.org/10.21825/wt.v69i2.12389.

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10

Delisle, Philippe. "Un Tintin au Congo flamand au service des missions chrétiennes : Le bâton du féticheur, de Renaat Demoen (1949-1950)." Revue d'Histoire de l'Eglise de France 101, no. 1 (January 2015): 121–40. http://dx.doi.org/10.1484/j.rhef.5.107560.

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11

Halen, Pierre. "GODDIN (Philippe), Les Tribulations de Tintin au Congo : monographie de Philippe Goddin. [en même temps que] Hergé. Tintin au Congo : 1940-1941, version inédite. [Bruxelles] : Éd. Moulinsart ; [Bruxelles] ; [Paris] : Casterman, 2018, 223 p., ill. en coul. – ISBN 978-2-203-19215-7." Études littéraires africaines, no. 51 (2021): 265. http://dx.doi.org/10.7202/1079619ar.

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12

Pinson, Guillaume. "Tintin avant Tintin." Études françaises 46, no. 2 (September 29, 2010): 11–25. http://dx.doi.org/10.7202/044532ar.

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Cet article entend répondre à une question : que doit Tintin à la fiction du xixe siècle ? Un long processus historique mène de la progressive autonomisation de la figure du reporter au héros du Petit Vingtième. D’abord déconsidéré, consacré aux basses tâches du journal, le reporter est à l’origine un fait diversier qui hante la ville à l’affût de petits événements à noter. Peu à peu, son champ d’action s’élargit, son rayonnement géographique grandit et son statut au sein d’un journal en voie de professionnalisation, autour de 1900, acquiert ses lettres de noblesse, jusqu’à détrôner le chroniqueur dans la hiérarchie du journal. À la même époque, ce succès est nettement perceptible à travers une série de romans : Michel Strogoff et Claudius Bombarnarc de Jules Verne (1876 et 1893), Le Sieur de va-partout de Pierre Giffard, oeuvre située à mi-chemin entre la fiction et le témoignage (1880), La vie des frelons de Charles Fenestrier (1908) et surtout la série de Rouletabille de Maurice Leblanc (1907) — elle-même précédée par un feuilleton méconnu, paru dans Le Matin en 1900 : Que faire ? de Desnard (et son nègre Apollinaire). La lecture de ces romans montre d’une part que la professionnalisation du reporter est en phase avec un processus de délittérarisation des enjeux que porte la fiction du journalisme, et d’autre part que s’inventent à cette époque les procédés poétiques et thématiques qu’Hergé reprendra et adaptera aux contraintes spécifiques de la bande dessinée.

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13

Halen, Pierre. "Couvreur (Daniel), avec la contribution d’Alain De Kuyssche, Tintin au Congo de papa. Textes de Daniel Couvreur. S.l. : Éditions Moulinsart, 2010, 62 p., ill. – ISBN 978-2-87424-212-0." Études littéraires africaines, no. 30 (2010): 170. http://dx.doi.org/10.7202/1027390ar.

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14

Halen, Pierre. "DELISLE (Philippe), Spirou, Tintin et C. Une littérature catholique ? Années 1939 / Années 1980. Paris : Karthala, coll. Tropiques, 2010, 192 p., ill. – ISBN 978-2-81110-305-7 DELISLE (Philippe), De Tintin au Congo à Odilon Verjus. Le missionnaire, héros de la BD belge. Paris : Karthala, coll. Tropiques, 2011, 216 p. – ISBN 978-2-81110-495-5." Études littéraires africaines, no. 36 (2013): 173. http://dx.doi.org/10.7202/1026353ar.

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15

Walker, Tamara J. "The Queen of los Congos." Journal of Family History 40, no. 3 (June 19, 2015): 305–22. http://dx.doi.org/10.1177/0363199015590405.

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16

Lipski, John M. "The Negros Congos of Panama." Journal of Black Studies 16, no. 4 (June 1986): 409–28. http://dx.doi.org/10.1177/002193478601600405.

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17

Midy, Franklin. "Les Congos à Saint-Domingue." Ethnologies 28, no. 1 (March 2, 2007): 173–201. http://dx.doi.org/10.7202/014154ar.

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Dans la mémoire collective haïtienne, le terme congo est une insulte ; il désigne une personne encline à la soumission et à la trahison. C’est là une image paradoxale, au regard des faits et de l’histoire. Cet article tente d’élucider ce paradoxe. Il part de l’hypothèse que ce Congo-là est une construction imaginaire, résultant d’une opération de classement quasi racial et d’assignation identitaire. L’auteur montre qu’il s’agit d’une image dépréciative, élaborée au cours de la guerre d’indépendance, dans la dynamique de la lutte de pouvoir entre les divers groupes d’insurgés pour la direction de cette guerre. Au lendemain de l’indépendance d’Haïti, l’image a été reprise et cultivée par la nouvelle minorité possédante au pouvoir, dans ses efforts pour légitimer sa domination sur la masse des cultivateurs réasservis. Aujourd’hui, la fonction de justification et de légitimation de l’image dépréciative de Congo a beaucoup perdu de sa pertinence et de son efficacité. L’image survit cependant à sa fonction sociale, comme légende incontrôlée : un Congo imaginaire s’est superposé au Congo réel.

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18

Lambert, Y. "Tintin in CMAJ." Canadian Medical Association Journal 172, no. 13 (June 21, 2005): 1665. http://dx.doi.org/10.1503/cmaj.1050007.

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19

Hay, B. L. "Tintin in CMAJ." Canadian Medical Association Journal 172, no. 13 (June 21, 2005): 1665. http://dx.doi.org/10.1503/cmaj.1050008.

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20

McGuire, T. J. "Tintin in CMAJ." Canadian Medical Association Journal 172, no. 13 (June 21, 2005): 1665. http://dx.doi.org/10.1503/cmaj.1050009.

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21

Parmentier, R. "Tintin in CMAJ." Canadian Medical Association Journal 172, no. 13 (June 21, 2005): 1668. http://dx.doi.org/10.1503/cmaj.1050012.

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22

Baker, C. D. "Tintin in CMAJ." Canadian Medical Association Journal 172, no. 13 (June 21, 2005): 1665. http://dx.doi.org/10.1503/cmaj.1050014.

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23

Neveu, D. "Tintin in CMAJ." Canadian Medical Association Journal 172, no. 13 (June 21, 2005): 1668. http://dx.doi.org/10.1503/cmaj.1050018.

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24

Cyr, C. "Tintin in CMAJ." Canadian Medical Association Journal 172, no. 13 (June 21, 2005): 1668. http://dx.doi.org/10.1503/cmaj.1050062.

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25

Stephens, Thomas M., and John M. Lipski. "The Speech of the Negros Congos." Hispania 74, no. 3 (September 1991): 695. http://dx.doi.org/10.2307/344232.

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26

Soto, Carlos Hernandez, and Edis Sanchez. "Los Congos de Villa Mella, Republica Dominicana." Latin American Music Review / Revista de Música Latinoamericana 18, no. 2 (1997): 297. http://dx.doi.org/10.2307/780399.

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27

Hernández Soto, Carlos, and Edis Sánchez. "Los Congos de Villa Mella, República Dominicana." Revista ECOS UASD 6, no. 8 (October 8, 1999): 45–69. http://dx.doi.org/10.51274/ecos.v6i8.pp45-69.

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Entre las manifestaciones más comunes de la religiosidad popular dominicana, podemos enumerar las cofradías afrodominicanas, las velaciones de santos, el denominado vodú dominicano, las hermandades de peregrinación y los cultos mesiánicos que surgen y resurgen en determinados momentos históricos (Davis 1987, 185-193). Este artículo se refiere a una peculiar cofradía afrodominicana: la del Espíritu Santo de Villa Mella, conocida también como la Cofradía de los Congos de Villa Mella. Nos proponemos describir brevemente su naturaleza y funciones, las ceremonias rituales en que participan sus miembros o cofrades.

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28

Wang, Bingdong. "Traduire Tintin en chinois." Équivalences 37, no. 1 (2010): 121–32. http://dx.doi.org/10.3406/equiv.2010.1357.

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29

Filc, Dani. "Tintin and Corto Maltese." European Comic Art 13, no. 1 (March 1, 2020): 95–121. http://dx.doi.org/10.3167/eca.2020.130106.

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The Tintin and Corto Maltese series are among the most famous European adventure comics. The adventure genre – both in novels and comics – is deeply related to nineteenth-century colonialism. This article compares the ways in which colonialism and the relationship to the colonial Other appear in Hergé’s and Pratt’s creations, focusing on Tintin and Corto Maltese’s adventures in Africa and Latin America. The comparison between Tintin and Corto shows that although Hergé developed an ambivalent view of European colonialism, Eurocentrism is constant through all his work. Pratt’s Corto, in contrast, shows a more critical, though ambiguous, view of colonialism, and a more egalitarian, though also ambivalent, conceptualisation of the colonial Other.

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30

Delpérée, Francis. "La Constitution de Tintin." Revue française de droit constitutionnel 100, no. 4 (2014): 879. http://dx.doi.org/10.3917/rfdc.100.0879.

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31

Thiébaut, Michel. "« Spirou », « Tintin » et « Regulus »." Médium 11, no. 2 (2007): 97. http://dx.doi.org/10.3917/mediu.011.0097.

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32

Assouline, Pierre. "Hergé sacré, sacré Tintin !" Le Débat 195, no. 3 (2017): 132. http://dx.doi.org/10.3917/deba.195.0132.

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33

Bouchard, Mathieu. "Tintin au Moyen-Orient." Confluences Méditerranée N°75, no. 4 (2010): 227. http://dx.doi.org/10.3917/come.075.0227.

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34

Baetens, Jan. "Tintin père et fils." Critique 671, no. 4 (2003): 314. http://dx.doi.org/10.3917/criti.671.0314.

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35

Bentahar, Ziad. "Tintin in the Arab World and Arabic in the World of Tintin." ALTERNATIVE FRANCOPHONE 1, no. 5 (May 18, 2012): 41–54. http://dx.doi.org/10.29173/af12250.

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Les aventures de Tintin d’après Hergé ont été traduites en plus de 80 langues et dialectes, dont l’arabe. Cependant, une seule des histoires ou Tintin voyage dans le monde arabe fut traduite en arabe. Qu’est-ce-qui rend cette histoire exceptionnelle, et pourquoi les autres furent-elles jugées inaptes a êtres adaptées en arabe ? Les choix éditoriaux de la maison d’édition arabe des albums de Tintin, même lorsque le choix est de ne pas traduire, relèvent non seulement de questions ayant à voir avec la représentation de la langue arabe dans l’œuvre de Hergé, mais montrent également des difficultés culturelles particulières à l’adaptation du personnage belge le plus célèbre pour les audiences arabes et islamiques. Cet article se penche sur les manières dont l’arabe et ceux qui le parlent sont représentés dans les aventures se déroulant dans le monde arabe, afin de clarifier les défis qui jusque-là ont fait obstacle à une édition arabe de ces histoires. De plus, un examen de l’arabe employé par Hergé dans les albums originaux en français contribue aux études sur Hergé et son art de manière générale, et ses tendances réalistes en particulier ; et ce à travers une évaluation de la justesse de l’arabe qu’il emploie, ainsi qu’une analyse des manières dont les livres de Tintin peuvent être appréciés par les lecteurs bilingues (qui connaissent l’arabe, mais lisent le livre en français ou en anglais par exemple).

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36

Bidaud, Samuel. "À propos des noms de personnages de Tintin. Note d'onomastique littéraire." Irish Journal of French Studies 16, no. 1 (December 1, 2016): 209–25. http://dx.doi.org/10.7173/164913316820201580.

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Cet article traite des noms de personnages dans les Aventures de Tintin. Les noms de personnages de Tintin peuvent être étudiés dans trois perspectives. Ils reflètent d'abord, si on les considère de façon autonome, une caractéristique du personnage, qu'il s'agisse d'une caractéristique géographique, sociale, d'un trait de personnalité ou d'une fonction narrative. Les noms de personnages de Tintin font ensuite partie de deux réseaux isotopiques: celui de la faune et de la flore d'une part, et celui des quatre éléments d'autre part, qui sont présents dans les noms des personnages principaux. Enfin, nous montrons que les noms de personnages ont une fonction thématique, et qu'ils renvoient, par leur mode de formation fondé sur le redoublement, que ce dernier soit interne (Tintin, Coco, Didi, Tchang-Tchong Jen, etc.) ou externe (Dupond et Dupont, le capitaine Haddock et son ancêtre François de Hadoque, pour lesquels l'orthographe diffère, etc.), à une identité problématique.

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37

Delisle, Philippe. "Tintin ‘In Black and White’." European Comic Art 14, no. 1 (March 1, 2021): 7–20. http://dx.doi.org/10.3167/eca.2020.140102.

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The Tintin albums that were first printed in black and white offer a revealing picture of the conservative, Catholic, nationalist climate in which the young Hergé was immersed in the 1920s and 1930s. Taken together, they offer a coherent vision of the world. Tintin sometimes takes on the role of a pious young hero, and a character such as Rastapopoulos may seem like a perfect illustration of the enemy as defined by a writer like Charles Maurras. But Belgian conservative Catholics also had a powerful social mission. From the Congolese escapade up to L’Oreille cassée [ Tintin and the Broken Ear ], Tintin is combating the same proponents of Anglo-American cosmopolitan capitalism. Conversely, he comes to the help of the poor and needy, reactivating a whole Christian iconography of charity, as, for example, when he rescues Tchang from drowning in Le Lotus bleu [ The Blue Lotus ].

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38

Delisle, Philippe. "Tintin ‘In Black and White’." European Comic Art 14, no. 1 (March 1, 2021): 7–20. http://dx.doi.org/10.3167/eca.2021.140102.

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The Tintin albums that were first printed in black and white offer a revealing picture of the conservative, Catholic, nationalist climate in which the young Hergé was immersed in the 1920s and 1930s. Taken together, they offer a coherent vision of the world. Tintin sometimes takes on the role of a pious young hero, and a character such as Rastapopoulos may seem like a perfect illustration of the enemy as defined by a writer like Charles Maurras. But Belgian conservative Catholics also had a powerful social mission. From the Congolese escapade up to L’Oreille cassée [ Tintin and the Broken Ear ], Tintin is combating the same proponents of Anglo-American cosmopolitan capitalism. Conversely, he comes to the help of the poor and needy, reactivating a whole Christian iconography of charity, as, for example, when he rescues Tchang from drowning in Le Lotus bleu [ The Blue Lotus ].

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39

Dworkin, Steven N., and John M. Lipski. "The Speech of the Negros Congos of Panama." Hispanic Review 60, no. 3 (1992): 347. http://dx.doi.org/10.2307/473565.

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40

Silva-Corvalán, Carmen, John M. Lipski, and Carmen Silva-Corvalan. "The Speech of the Negros Congos of Panama." Language 68, no. 2 (June 1992): 439. http://dx.doi.org/10.2307/416980.

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41

Prabhaswari, Putu Indry, Made Budiarsa, and Ida Ayu Made Puspani. "THE WORD “SHOOT” ANALYZED BY NATURAL SEMANTIC METALANGUAGE." International Journal of Language and Literature 5, no. 2 (July 12, 2021): 66. http://dx.doi.org/10.23887/ijll.v5i2.23979.

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This study is focusing on the mapping of word shoot meanings. The collected data was qualitatively analyzed, it was starting by reading some sources, finding a word to be analyzed, reading carefully the source text and the target text, taking note, analyzed the text by NSM approach by Wierzbicka (1999). The data in this writing was taken from Colour Magazine Garuda Indonesia and used one of the prevalent comic series of Tintin entitled The Adventures of Tintin: Tintin in America and Tintin the shooting star. The technique of this study were three steps, they are finding the word which want to analyzed, read the text carefully, finding the word with its translation which want to discuss, directly noted the word which was according to the topic. The result of this study showed that the findings of three meanings of one word shoot. Some of the translation could convey the meaning therefore the reader in target language is easily read and understood.

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42

Brague, Rémi. "Tintin, ce n’est pas rien !" Le Débat 195, no. 3 (2017): 136. http://dx.doi.org/10.3917/deba.195.0136.

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43

Bouyer, Sylvain. "Tintin entre pierre et neige." Littérature 97, no. 1 (1995): 87–95. http://dx.doi.org/10.3406/litt.1995.2364.

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44

Coyne, John. "Tintin in the Ruptured Crypt." International Journal of Surgical Pathology 18, no. 2 (March 21, 2010): 150. http://dx.doi.org/10.1177/1066896909360803.

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45

Förstl, H., R. Howard, O. Almeida, B. Beats, A. Burns, and R. Levy. "Tintin and the Capgras syndrome." Psychiatric Bulletin 14, no. 12 (December 1990): 705–7. http://dx.doi.org/10.1192/pb.14.12.705.

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Only around 300 cases of the Capgras syndrome have been reported in the medical literature. We report a widely read but scientifically neglected case of a mad scientist who showed this misidentification syndrome with classical and potentially dangerous features. The current literature on the psychopathology and neuropsychology of the Capgras-syndrome is briefly reviewed and discussed in the light of this new case.

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46

Morton, Brian. "Tintin and the eternal search." Chesterton Review 38, no. 1 (2012): 299–302. http://dx.doi.org/10.5840/chesterton2012381/245.

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47

Grove, L. "Herge reporter: Tintin en contexte." French Studies 66, no. 2 (April 1, 2012): 266–67. http://dx.doi.org/10.1093/fs/kns037.

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48

Medrano, J., P. Malo, J. J. Uriarte, and A. P. Lopez. "Stigma and prejudice in Tintin." BMJ 339, dec16 3 (December 16, 2009): b5308. http://dx.doi.org/10.1136/bmj.b5308.

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49

Apostolides, Jean-Marie. "Tintin and the Family Romance." Children's Literature 13, no. 1 (1985): 94–108. http://dx.doi.org/10.1353/chl.0.0302.

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50

Bidaud, Samuel. "Proust et Hergé : de quelques points communs entre À la recherche du temps perdu et Les Aventures de Tintin." Interlitteraria 23, no. 2 (January 3, 2019): 414–26. http://dx.doi.org/10.12697/il.2018.23.2.15.

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Proust and Hergé: on some similarities between À la Recherche du temps perdu and Les Aventures de Tintin. Part II. This article forms the second part of our study, whose first part was published in Interlitteraria’s previous issue. We have already underlined that Proust and Hergé both adopt the principle of the return of the characters, that their works attach a great importance to the imaginary of space and that their characters use language very specifically. We continue this comparison between Proust and Hergé, focusing here on the problem of time and temporality in À la recherche du temps perdu and Les Aventures de Tintin. Time, in Proust’s Recherche, is essentially internal and defined by the juxtaposition of different moments of the narrator’s life, whereas in Tintin temporality is linear and logical on the one hand, and cyclical and immobile on the other hand. Moreover, while the past of Proust’s narrator is fundamental, Tintin seems to have no past. Proust and Hergé, eventually, focus on the problem of lost and regained time, to which they propose two different answers.

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