De « Sidekicks and Underlings » à « Faire-valoir et seconds couteaux » : remarques sémantiques

La thématique de ce numéro d’ESSAIS, « Faire-valoir et seconds couteaux », est la « traduction » française de l’intitulé du colloque organisé en octobre 2014 à l’Université Bordeaux Montaigne par l’équipe CLIMAS, « Sidekicks and Underlings ». Formulé initialement en anglais, le titre de la manifestation a posé un certain nombre de problèmes quand est venu le moment d’en proposer une traduction. Si sidekicks et underlings sont pour des locuteurs anglophones des termes relativement univoques, l..

BD, mangas et comics : différences et influences

International audienceno abstrac

« Fun in four colors »

La bande dessinée comme moyen d’expression autonome (c’est‑à‑dire, pour simplifier, une séquence d’images assorties chacune d’un texte dont l’ensemble raconte une histoire suivie) prit son essor commercial à la fin du XIXe siècle après que les progrès technologiques de l’imprimerie de masse eurent rendu possible l’impression de dessins en couleurs. En effet, si le type de narration graphique spécifique à la bande dessinée était apparu grosso modo un demi‑siècle auparavant avec les premières é..

BD, comics, historietas, quadrinhos : les circulations transnationales de la bande dessinée au sein de l’espace américain

Le tout premier événement culturel consacré à la promotion de la bande dessinée fut la Exposição Internacional de Histórias em Quadrinhos qui se déroula le 18 juin 1951 à São Paulo – quatorze ans avant le salon de Bordighera (Italie) qui est habituellement présenté comme le tout premier « festival » de bande dessinée. Cet événement organisé au Brésil avait la particularité de mettre en avant non pas les productions locales mais les comics états-uniens. Il y avait eu quelques « expositions » c..

BD, comics, historietas, quadrinhos: as circulações transnacionais das histórias em quadrinho no espaço americano

O primeiro evento cultural dedicado à divulgação das histórias em quadrinhos foi a Exposição Internacional de Histórias em Quadrinhos que ocorreu em 18 de junho de 1951, em São Paulo — 14 anos antes do salão de Bordighera (Itália), comumente mencionado como o primeiro “festival” de história em quadrinhos. Esse evento organizado no Brasil tinha como particularidade o fato de apresentar não as produções locais, mas os comics estadunidenses. Algumas “exposições” consagradas às histórias em quadr..

Bandes dessinées, comics, historietas, quadrinhos, the transnational circulation of comics throughout the Americas

The very first cultural event for the promotion of comics was the Exposição Internacional de Histórias em Quadrinhos which took place on June 18, 1951 in São Paulo, fourteen years prior to the Bordighera salon (in Italy) usually cited as the very first comics festival. The specificity of the event in Brazil was that it presented not local but US productions. There had previously been various “exhibitions” on comics in the US (1944, 1948), in France (1948) and Italy (1950), but these had been ..

“Corpses … coast to coast!” Trauma, gender, and race in 1950s horror comics

During the 1950s, a moral panic around youth culture and delinquency dominated the contemporary imagination. Rock n' roll and the new wave of youth-focused films seemed to critics to posit an alternative culture antagonistic to that of older generations. One cultural form sparked particular censorious intent: the horror comic book. Many critics of the 1940s and 1950s dwelt obsessively on the impact of horror comics on youthful readers. The culmination of this movement was the 1954 Senate Subcommittee Hearings on Juvenile Delinquency, which resulted in the implementation of a harsh new self-regulatory comics code and the end of the horror and crime genres. In this study, we argue that rather than (or perhaps as well as) promoting juvenile delinquency, horror comics served an important social function in that they presented a challenge to the dominant culture in cold war America. They corroborated the veteran experience; questioned faith in science and industry; recognised women as victims of war; and embodied, on occasion, many of the themes of the early Civil Rights movement. It was because of these countercultural impulses that the horror genre in comics was, ultimately, brought to an untimely end