In 2011, the poet Lois Pereiro (1958–1996) was honoured at the annual Día das Letras Galegas (Galician Literature Day). The Galician publishing industry released a plethora of texts about Pereiro, including Jacobo Fernández Serrano's comics biography Lois Pereiro: Breve encontro. This article examines the comic as an intermedial text that captures the influence of literature, films, music and comics in Pereiro's own writing. Furthermore, it is analysed as part of a transmedial network, together with other biographies published around the Día das Letras. These texts address the role played by death in the poet's life and work (as he died at an early age of rapeseed oil poisoning and AIDS), and they can therefore be understood as ‘thanatographies’ as much as life writing.
2011 年，诗人 Lois Pereiro（1958-1996 年）在一年一度的 Día das Letras Galegas（加利西亚文学日）上受到表彰。加利西亚出版业推出了大量关于佩雷罗的作品，包括雅各布-费尔南德斯-塞拉诺（Jacobo Fernández Serrano）的漫画传记《露易丝-佩雷罗》：Breve encontro》。本文将漫画作为一种跨媒介文本进行研究，以捕捉文学、电影、音乐和漫画对佩雷罗本人写作的影响。此外，本文还将其与围绕 "文学日 "出版的其他传记一起，作为跨媒体网络的一部分进行分析。这些文本探讨了死亡在诗人的生活和作品中所扮演的角色（因为他早年死于菜籽油中毒和艾滋病），因此它们可以被理解为 "比传"，就像生平写作一样。
{"title":"Intermediality and Transmedial Thanatography in Jacobo Fernández Serrano's Lois Pereiro: Breve encontro","authors":"David Miranda-Barreiro","doi":"10.3167/eca.2023.160203","DOIUrl":"https://doi.org/10.3167/eca.2023.160203","url":null,"abstract":"In 2011, the poet Lois Pereiro (1958–1996) was honoured at the annual Día das Letras Galegas (Galician Literature Day). The Galician publishing industry released a plethora of texts about Pereiro, including Jacobo Fernández Serrano's comics biography Lois Pereiro: Breve encontro. This article examines the comic as an intermedial text that captures the influence of literature, films, music and comics in Pereiro's own writing. Furthermore, it is analysed as part of a transmedial network, together with other biographies published around the Día das Letras. These texts address the role played by death in the poet's life and work (as he died at an early age of rapeseed oil poisoning and AIDS), and they can therefore be understood as ‘thanatographies’ as much as life writing.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"59 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article deals with the relationship between comics and intermediality (the interaction or relation between two media) as well as transmediality (the migration from one medium to another). It defends the idea that inter- and transmediality are inextricably linked and that the interaction between them can shed new light on either dimension, in order to broaden the idea of intermediality (which cannot be reduced to a matter of taxonomy but entails important historical aspects) and that of transmediality (which should include discussions on power relationships between media). The article uses the examples of Jijé and Watchmen. It also aims at emphasising the wide variety of parameters that play a role in inter- and transmediality.
{"title":"Intermediality and Comics","authors":"Domingo Sánchez-Mesa, Jan Baetens","doi":"10.3167/eca.2023.160202","DOIUrl":"https://doi.org/10.3167/eca.2023.160202","url":null,"abstract":"This article deals with the relationship between comics and intermediality (the interaction or relation between two media) as well as transmediality (the migration from one medium to another). It defends the idea that inter- and transmediality are inextricably linked and that the interaction between them can shed new light on either dimension, in order to broaden the idea of intermediality (which cannot be reduced to a matter of taxonomy but entails important historical aspects) and that of transmediality (which should include discussions on power relationships between media). The article uses the examples of Jijé and Watchmen. It also aims at emphasising the wide variety of parameters that play a role in inter- and transmediality.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"23 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article looks at the intersection of web-based comics and print graphic memoirs authored by transgender Brazilian comics artists. Brazilian comics have in recent years opened up to internet platforms, a change that has proved particularly fruitful for LGBTQ+ artists, traditionally marginalised by the Brazilian comics industry. The article examines two case studies – those of Luiza Lemos and Alice Pereira, both authors of comics originally posted on social media and later published in print. By means of a mixed methodology that brings together semi-structured interviews with the authors and close readings, this contribution investigates the dynamics regulating the creative and publishing processes of these works, as well as the relationship that they entertain with the practice of transsexual self-narration and self-portraiture.
{"title":"Brazilian Trans Artivism, Comics and Communities, between Digital and Print","authors":"Nicoletta Mandolini, Giorgio Busi Rizzi","doi":"10.3167/eca.2023.160205","DOIUrl":"https://doi.org/10.3167/eca.2023.160205","url":null,"abstract":"This article looks at the intersection of web-based comics and print graphic memoirs authored by transgender Brazilian comics artists. Brazilian comics have in recent years opened up to internet platforms, a change that has proved particularly fruitful for LGBTQ+ artists, traditionally marginalised by the Brazilian comics industry. The article examines two case studies – those of Luiza Lemos and Alice Pereira, both authors of comics originally posted on social media and later published in print. By means of a mixed methodology that brings together semi-structured interviews with the authors and close readings, this contribution investigates the dynamics regulating the creative and publishing processes of these works, as well as the relationship that they entertain with the practice of transsexual self-narration and self-portraiture.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"4 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study analyses how the comic book La vida es sueño (Life Is a Dream) by Ricardo Vílbor, Alberto Sanz and Mario Ceballos transposes the form and content of Calderón de la Barca's dramatic text La vida es sueño (1635–1636) into the multimodal discourse of the comic. Drawing on Irina Rajewsky's theory of ‘intermediality’ and the concept of mise en scène, introduced as an analytical tool for comics studies by Geraine D'Arcy, the findings present evidence that the design strategies of the adaptation are based on a convergence of the modalities of theatre and comic, and on the imitation of the poetic visuality and musicality of the original via the comic's media-specific means. The resulting comic offers a sophisticated but nonetheless highly accessible reading of the philosophical, political, religious and ethical discourse of the Spanish literary classic.
本研究分析了 Ricardo Vílbor、Alberto Sanz 和 Mario Ceballos 的漫画作品 La vida es sueño（《人生如梦》）如何将 Calderón de la Barca 的戏剧文本 La vida es sueño（1635-1636 年）的形式和内容移植到漫画的多模式话语中。根据伊琳娜-拉杰维斯基（Irina Rajewsky）的 "媒介间性"（intermediality）理论和杰兰-达西（Geraine D'Arcy）作为漫画研究分析工具提出的 "场景"（mise en scène）概念，研究结果证明，改编的设计策略是基于戏剧和漫画模式的融合，以及通过漫画的特定媒体手段模仿原作的诗意视觉和音乐性。改编后的漫画对这部西班牙文学经典的哲学、政治、宗教和伦理论述进行了深入浅出的解读。
{"title":"‘Between Stage and Page’","authors":"Daniela Kuschel","doi":"10.3167/eca.2023.160204","DOIUrl":"https://doi.org/10.3167/eca.2023.160204","url":null,"abstract":"This study analyses how the comic book La vida es sueño (Life Is a Dream) by Ricardo Vílbor, Alberto Sanz and Mario Ceballos transposes the form and content of Calderón de la Barca's dramatic text La vida es sueño (1635–1636) into the multimodal discourse of the comic. Drawing on Irina Rajewsky's theory of ‘intermediality’ and the concept of mise en scène, introduced as an analytical tool for comics studies by Geraine D'Arcy, the findings present evidence that the design strategies of the adaptation are based on a convergence of the modalities of theatre and comic, and on the imitation of the poetic visuality and musicality of the original via the comic's media-specific means. The resulting comic offers a sophisticated but nonetheless highly accessible reading of the philosophical, political, religious and ethical discourse of the Spanish literary classic.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"125 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139347057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study investigates how translation flows of Francophone comic art into the Swedish cultural space contributed to the development of local comics between 1950 and 2020. The data collection and analytical approach is inspired by ‘distant reading’ methods (Moretti 2013), focusing on general features, including author, genre, and mediation practices. The main results show that the importation of internationally established works, such as Tintin, legitimised comics as an aesthetic expression. A sharp divide between children's comics and adult comics is identified in the dataset covering the 1980s, whilst the first decades of the twenty-first century reveal an increase of female author/illustrators corresponding to local creative dynamics and exportation trends. The discussion highlights both Sweden's peripheral position and its achievement of agency in the circulation of comics.
{"title":"The Agency of the Periphery","authors":"Ylva Lindberg","doi":"10.3167/eca.2023.160105","DOIUrl":"https://doi.org/10.3167/eca.2023.160105","url":null,"abstract":"\u0000This study investigates how translation flows of Francophone comic art into the Swedish cultural space contributed to the development of local comics between 1950 and 2020. The data collection and analytical approach is inspired by ‘distant reading’ methods (Moretti 2013), focusing on general features, including author, genre, and mediation practices. The main results show that the importation of internationally established works, such as Tintin, legitimised comics as an aesthetic expression. A sharp divide between children's comics and adult comics is identified in the dataset covering the 1980s, whilst the first decades of the twenty-first century reveal an increase of female author/illustrators corresponding to local creative dynamics and exportation trends. The discussion highlights both Sweden's peripheral position and its achievement of agency in the circulation of comics.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"188 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77035915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this interview, the political cartoonist Steve Bell reflects on his past career and work, seeing it against the wider tradition of British political cartoons, and in relation to the work of other artists whom he admires. He answers questions as to the fundamental nature of visual satire and speculates as to its likely future in an age of media fragmentation, and ideological polarisation and intolerance. Although we now live in turbulent and divisive political times and in an era where it becomes ever harder for satirical artists to find outlets for their work, Bell is by no means pessimistic as he looks to the future. His view is very much that artistic quality and sharp observational wit will continue to find appreciative audiences, whatever the means or media their makers employ.
{"title":"Interview with Steve Bell","authors":"David Morgan","doi":"10.3167/eca.2023.160106","DOIUrl":"https://doi.org/10.3167/eca.2023.160106","url":null,"abstract":"Abstract In this interview, the political cartoonist Steve Bell reflects on his past career and work, seeing it against the wider tradition of British political cartoons, and in relation to the work of other artists whom he admires. He answers questions as to the fundamental nature of visual satire and speculates as to its likely future in an age of media fragmentation, and ideological polarisation and intolerance. Although we now live in turbulent and divisive political times and in an era where it becomes ever harder for satirical artists to find outlets for their work, Bell is by no means pessimistic as he looks to the future. His view is very much that artistic quality and sharp observational wit will continue to find appreciative audiences, whatever the means or media their makers employ.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135467506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article examines how Baruti and Cassiau-Haurie's Le Singe jaune (2018) subverts the literary adventure tropes that have been associated with the Congo. By examining its complex network of intertextual references, including the controversial Tintin au Congo , the analysis demonstrates that this graphic novel misleads readers into expecting a mere entertaining adventure quest, while leading them instead to learn about the social, economic, political, and historical consequences of a colonial system based on segregation and exploitation. Le Singe jaune , therefore, breathes new life into adventure comics while also subverting the unilateral (neo)colonial representations this tradition has reinforced. It enables readers to embrace alternative perspectives on the common history of the Congo and Belgium and urges them to answer the call for a new dialogue.
{"title":"(Mis)Leading the Reader","authors":"Alicia Lambert","doi":"10.3167/eca.2023.160104","DOIUrl":"https://doi.org/10.3167/eca.2023.160104","url":null,"abstract":"Abstract This article examines how Baruti and Cassiau-Haurie's Le Singe jaune (2018) subverts the literary adventure tropes that have been associated with the Congo. By examining its complex network of intertextual references, including the controversial Tintin au Congo , the analysis demonstrates that this graphic novel misleads readers into expecting a mere entertaining adventure quest, while leading them instead to learn about the social, economic, political, and historical consequences of a colonial system based on segregation and exploitation. Le Singe jaune , therefore, breathes new life into adventure comics while also subverting the unilateral (neo)colonial representations this tradition has reinforced. It enables readers to embrace alternative perspectives on the common history of the Congo and Belgium and urges them to answer the call for a new dialogue.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135467507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article reflects on formal aspects of comics, and on how they inherently undermine a mimetically oriented realism, by drawing on the example of Jeff Lemire's Gideon Falls . Due to its pictorial architecture and narrative structure of drawn panels, the comics medium exhibits the procedures through which it unfurls representational competencies. The message of comics images is that what is depicted is not authentic, but an invention. Comics rely on an illusory world when, aesthetically, they remain a perpetually visible imitation. The concept of ‘graphicality’ is developing ideas about an epistemology of comics. As comics are essentially characterised by iconographical representation, their epistemological level must also be addressed in terms of images. Hence, the graphic basis of the medium must contain an independent media knowledge.
{"title":"The Graphical Epistemology of Comics via Jeff Lemire's Gideon Falls","authors":"Jörn Ahrens","doi":"10.3167/eca.2023.160103","DOIUrl":"https://doi.org/10.3167/eca.2023.160103","url":null,"abstract":"Abstract This article reflects on formal aspects of comics, and on how they inherently undermine a mimetically oriented realism, by drawing on the example of Jeff Lemire's Gideon Falls . Due to its pictorial architecture and narrative structure of drawn panels, the comics medium exhibits the procedures through which it unfurls representational competencies. The message of comics images is that what is depicted is not authentic, but an invention. Comics rely on an illusory world when, aesthetically, they remain a perpetually visible imitation. The concept of ‘graphicality’ is developing ideas about an epistemology of comics. As comics are essentially characterised by iconographical representation, their epistemological level must also be addressed in terms of images. Hence, the graphic basis of the medium must contain an independent media knowledge.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"224 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135467511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Comics adaptations of literary classics often struggle to step out of the shadow of their model. This article explores how the recent adaptation of Miguel de Cervantes's Don Quixote by German comics artist Flix transposes the Golden Age classic to a contemporary German setting, updating the story to speak to some of postmodern society's concerns. Flix's approach is marked by an ironic distance from his textual and pictorial sources, which he repurposes without losing sight of the Spanish novel's story arc, character constellation, and narrative devices. The adaptation restores the original comicality to a classic that has mostly been read as a tragic story. While the adaptation inscribes itself into Germany's cultural fabric, it proposes a Don Quixote that transcends traditional notions of clearly delimited, monolithic national cultures.
{"title":"Don Quixote Unbound","authors":"Tilmann Altenberg","doi":"10.3167/eca.2023.160102","DOIUrl":"https://doi.org/10.3167/eca.2023.160102","url":null,"abstract":"Abstract Comics adaptations of literary classics often struggle to step out of the shadow of their model. This article explores how the recent adaptation of Miguel de Cervantes's Don Quixote by German comics artist Flix transposes the Golden Age classic to a contemporary German setting, updating the story to speak to some of postmodern society's concerns. Flix's approach is marked by an ironic distance from his textual and pictorial sources, which he repurposes without losing sight of the Spanish novel's story arc, character constellation, and narrative devices. The adaptation restores the original comicality to a classic that has mostly been read as a tragic story. While the adaptation inscribes itself into Germany's cultural fabric, it proposes a Don Quixote that transcends traditional notions of clearly delimited, monolithic national cultures.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135467510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The graphic novel Duelo de caracoles [Duel of snails] (2010) by Sonia Pulido (images) and Pere Joan (script) recounts a meal of snails shared by friends, a simple premise upon which Pulido overlays complex layouts that elevate the snail to the conceptual level of metaphor, symbol and allegory. A brief analysis of Estudios psicológicos [Psychological studies], a single-page comic featuring snails by Apel·les Mestres i Oñós, outlines basic principles of layout and the representation of subjectivity/interiority that inform subsequent discussion. Pulido and Pere Joan’s comic privileges Thierry Groensteen’s categories of the shown, the intervened and the signified. Pulido’s poetic mode of composition captures the polyphony of group dynamics, occasioning multiple interpretations of the page within and beyond the inter-iconic space.
索尼娅·普利多(图片)和佩雷·琼(剧本)的漫画小说《蜗牛的决斗》(2010)讲述了朋友们分享的一顿蜗牛大餐，普利多在一个简单的前提上叠加了复杂的布局，将蜗牛提升到隐喻、象征和寓言的概念层面。简要分析Estudios psicológicos[心理学研究]，这是一本由Apel·les Mestres i Oñós创作的以蜗牛为主题的单页漫画，概述了布局的基本原则和主观性/内在性的表现，为随后的讨论提供了信息。普利多和圣女贞德的喜剧赋予了蒂埃里·格伦斯汀关于被展示的，被介入的，和所指的范畴的特权。普利多诗意的构图模式捕捉到了群体动态的复调，在标志性空间内外引发了对页面的多重解释。
{"title":"The Poetry of Snails","authors":"Benjamin Fraser","doi":"10.3167/eca.2022.150204","DOIUrl":"https://doi.org/10.3167/eca.2022.150204","url":null,"abstract":"The graphic novel Duelo de caracoles [Duel of snails] (2010) by Sonia Pulido (images) and Pere Joan (script) recounts a meal of snails shared by friends, a simple premise upon which Pulido overlays complex layouts that elevate the snail to the conceptual level of metaphor, symbol and allegory. A brief analysis of Estudios psicológicos [Psychological studies], a single-page comic featuring snails by Apel·les Mestres i Oñós, outlines basic principles of layout and the representation of subjectivity/interiority that inform subsequent discussion. Pulido and Pere Joan’s comic privileges Thierry Groensteen’s categories of the shown, the intervened and the signified. Pulido’s poetic mode of composition captures the polyphony of group dynamics, occasioning multiple interpretations of the page within and beyond the inter-iconic space.","PeriodicalId":40846,"journal":{"name":"European Comic Art","volume":"14 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74107886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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