漫画作为纪念?

Francospheres Pub Date : 2021-06-01 DOI:10.3828/franc.2021.5
Michelle Bumatay
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引用次数: 0

摘要

本文借鉴了以往关于巴纳尼亚标志普遍存在的研究,通过对2003年以来法国和塞内加尔制作的关于蒂赖勒斯·塞内加莱和第一次世界大战的蒂赖勒尔·塞内加莱斯乐队的时间对比,考虑了通过乐队来纪念蒂赖勒斯塞内加来的最新趋势。作为法国和比利时流行视觉文化的重要组成部分,长期以来,bandes dessinées一直是教授和传播主流价值观和主流意识形态的工具,因此也是讲述蒂赖勒夫妇反对殖民时代漫画的历史作品的媒介选择。尽管每个乐队都试图在教育读者了解提拉勒人的同时,在读者中产生共鸣,但对他们遗产的批判性参与因谁创作了文本而有所不同。国家赞助的报道避免了对殖民主义及其伴随的暴力的批评,而是尊重提拉勒人的勇气和忠诚,这有助于共和党价值观的延续。相反,由于与提拉勒人的个人关系而产生的文本预示着他们参与殖民暴力,并表明了他们经历的心理复杂性。
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Comics as commemoration?
Drawing on previous research about the ubiquity of the Banania logo, this article considers the recent trend of commemorating the tirailleurs sénégalais via bandes dessinées through a chronological comparison of bandes dessinées produced in France and Senegal since 2003 about the tirailleurs sénégalais and World War I. As an important part of popular visual culture in France and Belgium, bandes dessinées have long been vehicles for teaching and disseminating mainstream values and dominant ideology, thus the choice of medium for recounting the tirailleurs’ history works against colonial-era caricatures. Though each of the bandes dessinées attempts to engender empathy in the reader while educating them about the tirailleurs, critical engagement with their legacy varies as a function of who produced the text. State-sponsored accounts avoid critiques of colonialism and its attendant violence in favour of honouring the tirailleurs’ courage and loyalty, which bolsters the continuity of republican values. Conversely, texts produced as a result of personal connections to the tirailleurs foreground their participation in colonial violence and demonstrate the psychological complexity of their experiences.
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24 weeks
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