Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

L'art séquentiel - les bandes dessinées, les mangas, les romans graphiques - est aujourd'hui un des moyens privilégiés de témoigner des catastrophes et d'en transmettre la mémoire. Maus ou Gen d'Hiroshima, qui ont pour objet la Seconde Guerre mondiale, sont devenus des classiques, mais depuis les années 2000, le phénomène s'est accentué. Grâce à l'affirmation de la BD reportage, la compétence du neuvième art pour les sujets sérieux a été reconnue. L'art séquentiel aborde des catastrophes de nature différente : fictionnelles (des gags spectaculaires aux récits de fin du monde) ou historiques, comme les génocides du Rwanda et du Cambodge, naturelles, comme l'ouragan Katrina, nucléaires, comme l'accident de la centrale de Tchernobyl.

Catastrophes --- Bandes dessinées --- Dans les bandes dessinées. --- Thèmes, motifs. --- Violence in comics. --- Disasters in comics. --- Violence in comics

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

La fête peut être l'occasion d'une expérience singulière pour les corps dessinés. Elle est surtout une expérience collective où s'assemblent familles et groupes, amis et voisins, tribus et foules. Nul doute que les bals, les défilés, les manifestations, les concerts, les festivals, les cérémonies qui marquent les âges de la vie, ou encore les matchs de boxe, de basket ou de football sont autant de circonstances qui permettent de saisir la puissance expressive des corps. En effet, les rituels, les costumes, les accessoires, les lieux et les parcours, les poses et les comportements, ordonnés ou débridés, sont autant d'occasions d'observer les liens qui unissent les personnages selon les époques et les genres de la bande dessinée. La silhouette, que Georges Vigarello a étudiée, n'est pas la même au XIXe et au XXe siècle et elle se retrouve dans les récits graphiques qui traversent les imaginaires et les cultures.00L'ouvrage, pluridisciplinaire, entend souligner que la fête peut être tantôt inquiétante, tantôt porteuse d'une énergie ludique culminant lors du carnaval ou d'un vaste rassemblement. Mais qu'elle soit conformiste ou subversive, elle nécessite de porter une grande attention à toutes les configurations festives. Elle fait dialoguer, aussi bien dans les bandes dessinées franco- belges que dans les comics ou encore dans les mangas, les forces du rire et de l'effroi, du plaisir et de la retenue, de la codification et de la démesure. Pour mener à bien l'exploration du corps festif, défilent les scènes théâtrales, mais aussi les chants et la musique, du blues au rock, la danse, le sexe et la goinfrerie.

Comic books, strips; etc. --- Human body in comics --- Sex in comics --- Social aspects --- Comic books, strips, etc. --- Social aspects.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This book explores the historical and cultural significance of comics in languages other than English, examining the geographic and linguistic spheres which these comics inhabit and their contributions to comic studies and academia.The volume brings together texts across a wide range of genres, styles, and geographic locations, including the Netherlands, Colombia, Greece, Mexico, Poland, Finland, Portugal, Ireland, and the Czech Republic, among others. These works have remained out of reach for speakers of languages other than the original and do not receive the scholarly attention they deserve due to their lack of English translations. This book highlights the richness and diversity these works add to the corpus of comic art and comic studies that Anglophone comics scholars can access to broaden the collective perspective of the field and forge links across regions, genres, and comic traditions.Part of the Global Perspectives in Comics Studies series, this volume spans continents and languages. It will be of interest to researchers and students of comics studies, literature, cultural studies, popular culture, art and design, illustration, history, film studies, and sociology.

Comic books, strips, etc --- Identity (Philosophical concept) in literature --- History in comics --- History in literature --- Gender identity in comics --- History and criticism

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Contributions by David M. Ball, Scott Bukatman, Hillary Chute, Jean Lee Cole, Louise Kane, Matthew Levay, Andrei Molotiu, Jonathan Najarian, Katherine Roeder, Noa Saunders, Clémence Sfadj, Nick Sturm, Glenn Willmott, and Daniel Worden Since the early 1990s, cartoonist Art Spiegelman has made the case that comics are the natural inheritor of the aesthetic tradition associated with the modernist movement of the early twentieth century. In recent years, scholars have begun to place greater import on the shared historical circumstances of early comics and literary and artistic modernism. Comics and Modernism: History, Form, and Culture is an interdisciplinary consideration of myriad social, cultural, and aesthetic connections. Filling a gap in current scholarship, an impressively diverse group of scholars approaches the topic from a variety of disciplinary backgrounds and methodologies. Drawing on work in literary studies, art history, film studies, philosophy, and material culture studies, contributors attend to the dynamic relationship between avant-garde art, literature, and comics. Essays by both established and emerging voices examine topics as divergent as early twentieth-century film, museum exhibitions, newspaper journalism, magazine illustration, and transnational literary circulation. In presenting varied critical approaches, this book highlights important interpretive questions for the field. Contributors sometimes arrive at thoughtful consensus and at other times settle on productive disagreements. Ultimately, this collection aims to extend traditional lines of inquiry in both comics studies and modernist studies and to reveal overlaps between ostensibly disparate artistic practices and movements.

Graphic novels --- Philosophy in comics --- Modernism (Art) --- Philosophy --- History and criticism

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In the popular imagination, zombies are scary, decomposing corpses hunting down the living. But since the 1930s, there have also been other zombies shambling across the panels of comic books--zombies that aren't quite what most people think zombies should be. There have been zombie slaves, zombie henchmen, talking zombies, beautiful zombies, and even zombie heroes. Using archival research into Golden Age comics and extended analyses of comics from the 1940s to today, Corpse Crusaders explores the profound influence early action/adventure and superheroic generic conventions had on shaping comic book zombies. It takes the reader from the 1940s superhero, The Purple Zombie, through 1950s revenge-from-the-grave zombies, to the 1970s anti-hero, Simon Garth ("The Zombie") and the gruesome heroes-turned-zombies of Marvel Zombies. In becoming immersed in superheroic logics early on, the zombie in comics became a figure that, unlike the traditional narrative uses of other monsters, actually served to defend the status quo. This continuing trend not only provides insight into the overwhelming influence superheroes have had on the comic book medium, but it also provides a unique opportunity to explore the ways in which zombiism and superheroism parallel each other. Corpse Crusaders explores the ways that truth, justice, and the American way have influenced the undead in comics and turned what is often a rebellious figure into one that works to save the day.

Zombies in comics. --- Horror comic books, strips, etc. --- Comic books, strips, etc. --- History and criticism.