Contemporary Graphic Narratives of the End: Sketching an Ecopolitics of Disorientation and Solidarity through Sf Bande Dessinée

This article focuses on visions of the end in contemporary science fiction “bande dessinée” to explore the combined potentialities of the sf genre and the comics medium for imaginaries of world-rebuilding in the Anthropocene, and to develop an ecopolitics of disorientation and solidarity for a collapsing world. Bringing an ecocritical approach to queer and feminist theorizations of the politics of disorientation, it first discusses texts that draw (counter-)narratives of Anthropocenic futures, in which other-than-human agencies, spatialities and temporalities take centre stage in unsettling ways and collapse Western master narratives of the environment. In Jérémy Perrodeau’s “Crépuscule”, the non-linear storylines of an artificially created and now contaminated planet collide and assemble to disrupt the myth of a ‘virgin land’, rendering the erasure and slow re-inscription of genocidal and ecocidal violence. In Enki Bilal’s trilogy “Coup de sang”, it is the illusory hyper-separation of humans from nature that is dismantled through post-apocalyptic elemental graphics. The article then explores ways in which disorientation becomes fully productive as part of an ecopolitics when it is entwined with solidarity, a term that here extends beyond the human and is understood as a praxis of both care and resistance, drawing on ecofeminism and environmental philosophy. This is explored through Ludovic Debeurme’s trilogy “Epiphania”, which critiques and dissolves the human-animal boundary into enmeshed relationalities in sf visions toward multispecies communities and bodily and ethical mutations; and Jeanne Burgart Goutal and Aurore Chapon’s “ReSisters”, a choral narrative that makes use of comics’ potential for diffractive and participatory readings to draw the outlines of an ecofeminist uprising.Este artículo analiza las visiones del fin en la “bande dessinée” contemporánea de ciencia ficción y examina el potencial de este género de cómic para la creación de imaginarios de reconstrucción en el Antropoceno, a través de una ecopolítica de desorientación y solidaridad en un mundo que se derrumba. Aportando un enfoque ecocrítico a las teorizaciones queer y feministas de la política de la desorientación, primero se analizan textos que dibujan (contra)narrativas de futuros antropocénicos, en los que voluntades, espacialidades y temporalidades distintas a las humanas cobran protagonismo de manera inquietante y colapsan las narrativas maestras occidentales del medio ambiente. En “Crépuscule” de Jérémy Perrodeau, las tramas no lineales de un planeta creado artificialmente y ahora contaminado chocan y se ensamblan para desbaratar el mito de una “tierra virgen”, borrando y reinscribiendo lentamente la violencia genocida y ecocida. En la trilogía “Coup de sang” de Enki Bilal, es la ilusoria hiperseparación de los humanos de la naturaleza lo que se desmantela a través de una estética gráfica postapocalíptica de los elementos naturales. A continuación, el artículo explora las formas en que la desorientación se vuelve plenamente productiva como parte de una ecopolítica cuando se entrelaza con la solidaridad, un término que aquí se extiende más allá de lo humano para ser entendido como una praxis tanto de cuidado como de resistencia, inspirándose en el ecofeminismo y la filosofía medioambiental. La trilogía “Epiphania” de Ludovic Debeurme disuelve las fronteras entre lo humano y animal para proponer una relacionalidad entre comunidades multiespecie junto con mutaciones corporales y éticas. Por su parte, “ReSisters” de Jeanne Burgart Goutal y Aurore Chapon, es una narración coral que hace uso del potencial de los cómics para ofrecer lecturas difractivas y participativas que dibujen el comienzo de un levantamiento ecofeminista

Adapting Brittany:The Ker-Is legend in Bande Dessinee

This article examines two bande dessinée versions of the Breton legend of the flooded city of Ker-Is, Robert Lortac’s 1943 À la découverte de Ker-Is (published in children’s magazine O lo lê) and Claude Auclair and Alain Deschamps’s 1981 Bran Ruz. It argues that through the continuation or appropriation of the legend, these comics offer ideologically filtered views of Bretonness and Brittany from two different politico-historical contexts, occupied France and the postcolonial era. The article also analyses how comic art can be used in productive ways to represent Brittany as a stateless culture, including through text-image reiteration or supplementarity, and using the double page for a bilingual parallel textual-visual practice. It concludes by suggesting that the study of internal colonialism and peripheries such as Brittany is an important addition to research into postcolonial comics.</jats:p

Becoming Musicomic: Music and Comics in Resonance

What happens when music and comics are created and experienced together? Taking music–comics interactions as its impetus, this article investigates intermediality and audiovisuality through the concept of ‘resonance’, drawing in particular on its use in Deleuzian philosophy. It examines resonance as the process through which (audial, visual, medial) elements interrelate, thereby triggering, through medial dissemination (‘dissemediation’) and the explosive potential of sound and image, a transformation into a new heterogeneous, shifting and transient whole (‘musicomic’). This is explored across three different formats: digital comics, comics performances, and comics-music albums (which combine a comic book and a music album). The article analyses resonance in a range of case studies from the Francophone field: in the inextricable audiovisuality of Marietta Ren’s 2016 digital 'bande défilée Phallaina'; the dialogue between music and comics as performing arts in the 'concert de dessins' series at the Festival International de la Bande Dessinée d’Angoulême; and, in relation to music-comics albums, through politico-aesthetic resonance as an act of remembrance in Jacques Tardi and Dominique Grange’s '1968–2008… N’effacez pas nos traces!' (2008), and the (dis)orienting experience of the sound-landscape of Baladi and Ghostape’s 'Charge' (2014). These audiovisual practices explore and bridge the gap(s) between music and comics, and orchestrate their resonance in differing ways, involving the experiencer in this process as she oscillates between reader, listener, viewer, and/or synchroniser

Introduction: Comics and Adaptation

This introduction to this special issue of European Comic Art on ‘Comics and Adaptation’ provides a brief overview of the field of adaptation studies, with a particular focus on its considerable developments and expansion since the late 1990s, as it has moved beyond a comparative novel-to-film approach to centre instead around questions of intertextuality and hypertextuality. This special issue aims to contribute to this field and to the growing body of works on comics and adaptation. The authors explore questions of transnational circulation of visual, narrative and generic motifs (Boillat); heteronormalisation and phallogocentrism (Krauthaker and Connolly); authenticity of drawn events (Lecomte); identity in a stateless minoritised culture (Blin-Rolland); ‘high’ and popular culture (Blank); reverence in comic adaptations of the literary canon (de Rooy); and documentary and parody (Ripley).</jats:p

Narrativas gráficas contemporáneas del fin: Esbozando una ecopolítica de desorientación y solidaridad a través de la bande dessinée de ciencia ficción

This article focuses on visions of the end in contemporary science fiction bande dessinée to explore the combined potentialities of the sf genre and the comics medium for imaginaries of world-rebuilding in the Anthropocene, and to develop an ecopolitics of disorientation and solidarity for a collapsing world. Bringing an ecocritical approach to queer and feminist theorizations of the politics of disorientation, it first discusses texts that draw (counter-)narratives of Anthropocenic futures, in which other-than-human agencies, spatialities and temporalities take centre stage in unsettling ways and collapse Western master narratives of the environment. In Jérémy Perrodeau’s Crépuscule, the non-linear storylines of an artificially created and now contaminated planet collide and assemble to disrupt the myth of a ‘virgin land’, rendering the erasure and slow re-inscription of genocidal and ecocidal violence. In Enki Bilal’s trilogy Coup de sang, it is the illusory hyper-separation of humans from nature that is dismantled through post-apocalyptic elemental graphics. The article then explores ways in which disorientation becomes fully productive as part of an ecopolitics when it is entwined with solidarity, a term that here extends beyond the human and is understood as a praxis of both care and resistance, drawing on ecofeminism and environmental philosophy. This is explored through Ludovic Debeurme’s trilogy Epiphania, which critiques and dissolves the human-animal boundary into enmeshed relationalities in sf visions toward multispecies communities and bodily and ethical mutations; and Jeanne Burgart Goutal and Aurore Chapon’s ReSisters, a choral narrative that makes use of comics’ potential for diffractive and participatory readings to draw the outlines of an ecofeminist uprising.Este artículo analiza las visiones del fin en la bande dessinée contemporánea de ciencia ficción y examina el potencial de este género de cómic para la creación de imaginarios de reconstrucción en el Antropoceno, a través de una ecopolítica de desorientación y solidaridad en un mundo que se derrumba. Aportando un enfoque ecocrítico a las teorizaciones queer y feministas de la política de la desorientación, primero se analizan textos que dibujan (contra)narrativas de futuros antropocénicos, en los que voluntades, espacialidades y temporalidades distintas a las humanas cobran protagonismo de manera inquietante y colapsan las narrativas maestras occidentales del medio ambiente. En Crépuscule de Jérémy Perrodeau, las tramas no lineales de un planeta creado artificialmente y ahora contaminado chocan y se ensamblan para desbaratar el mito de una “tierra virgen”, borrando y reinscribiendo lentamente la violencia genocida y ecocida. En la trilogía Coup de sang de Enki Bilal, es la ilusoria hiperseparación de los humanos de la naturaleza lo que se desmantela a través de una estética gráfica postapocalíptica de los elementos naturales. A continuación, el artículo explora las formas en que la desorientación se vuelve plenamente productiva como parte de una ecopolítica cuando se entrelaza con la solidaridad, un término que aquí se extiende más allá de lo humano para ser entendido como una praxis tanto de cuidado como de resistencia, inspirándose en el ecofeminismo y la filosofía medioambiental. La trilogía Epiphania de Ludovic Debeurme disuelve las fronteras entre lo humano y animal para proponer una relacionalidad entre comunidades multiespecie junto con mutaciones corporales y éticas. Por su parte, ReSisters de Jeanne Burgart Goutal y Aurore Chapon, es una narración coral que hace uso del potencial de los cómics para ofrecer lecturas difractivas y participativas que dibujen el comienzo de un levantamiento ecofeminista

Back and forth between written and spoken : studies of transposed voices in Celine's "Voyage au bout de la nuit", Queneau's "Zazie dans le metro" and their adaptations

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