Une guerre sans héros ? La guerre civile dans la bande dessinée espagnole (1977-2009)

International audienceContrary to all other publishing sectors over the past two decades, Spanish comics and graphic novels of the post Franco years have never demonstrated much interest in dealing with the Civil War which tore Spain apart between 1936 and 1939. Also surprising, the representations they offer contrast radically with the classic conventional forms of adventure comics exalting war hero figures. Despite their differences, the works studied in the article, Carlos Giménez’s and Antonio Hernández Palacios’s four-volume opuses, depict but one thing, the war’s tragedy

« Paratexte »

International audienceLe paratexte est, selon la double étymologie du préfixe grec para-, l’ensemble des pages et messages qui entourent et protègent le texte. Sa fonction relève autant de la protection physique (couverture, pages de gardes) ou symbolique (prologue, préface, postface, épigraphe, etc.), que de l’identification (nom de l’auteur, titre de l’ouvrage, nom de l’éditeur, lieu et date d’édition, lieu d’impression, nom de la collection, code barre, etc.), de l’organisation (table des matières, bibliographie, répertoire, index, annexes), de la distinction (couverture souple ou rigide, format du livre, choix du papier) ou de la séduction (jaquette, illustration de surface, graphisme, etc.). […

Triterpene saponins from wisteria floribunda "macrobotrys" and "rosea"

Five oleanane-type saponins were isolated from two cultivars of Wisteria floribunda (Willd.) DC. (Fabaceae): From the roots of Wisteria floribunda "macrobotrys", one new oleanane derivative elucidated as 3- O-β-D-xylopyranosyl-(1→2)-β-D-glucuronopyranosyl-22- O-acetyl-3p,22p,24-trihydroxyolean-12-en-30-oic acid, and two known glycosides, and from the roots of Wisteria floribunda "rosea", two known ones. Their structures were elucidated by a detailed 600 MHz NMR analysis including 1D and 2D NMR (1H, 13C, COSY, TOCSY, ROESY, HSQC, HMBC) experiments and mass spectrometry. Chemotaxonomic conclusions were proposed

Triterpenoid saponins from the root bark of haplocoelum congolanum

peer reviewedTwo undescribed triterpenoid saponins together with 5 known ones were isolated from the root bark of Haplocoelum congolanum Hauman. Their structures were elucidated by spectroscopic methods including one-dimensional and two-dimensional nuclear magnetic resonance experiments in combination with mass spectrometry as 3-O-(4-O-[3-hydroxy-3-methylglutaryl])-α-l-arabinopyranosyl-(1→3)-α-l-rhamnopyranosyl-(1→2)-[β-d-glucopyranosyl-(1→4)]-α-l-arabinopyranosyloleanolic acid and 3-O-α-l-arabinofuranosyl-(1→3)-α-l-rhamnopyranosyl-(1→2)-[β-d-glucopyranosyl-(1→4)]-α-l-arabinopyranosyloleanolic acid. © The Author(s) 201

Triterpenoid saponins from the stem bark of pentaclethra eetveldeana

Two previously undescribed triterpenoid saponins together with 4 known ones were isolated from the stem bark of Pentaclethra eetveldeana De Wild. & Th. Dur. Their structures were elucidated by spectroscopic methods including 1D and 2D NMR experiments in combination with mass spectrometry as 3- O-β- d -glucopyranosyl- (1→2)- [β- d -glucopyranosyl- (1→3)]-β- d -glucopyranosyl- (1→4)- β- d -glucopyranosyl- (1→3)-α- l -rhamnopyranosyl- (1→2)-[β- d-glucopyranosyl- (1→4)]-α- l -arabinopyranosyloleanolic acid and 3- O -β- d -glucopyranosyl- (1→2)-[β- d -glucopyranosyl- (1→3)]-β- d -glucopyranosyl- (1→4)-β- d -glucopyranosyl- (1→3)- α -l -rhamnopyranosyl- (1→2)-[β- d -glucopyranosyl- (1→4)]-α- l -arabinopyranosylhederagenin. © The Author(s) 2019

Suso de Toro: negros primeros pinitos (Ambulancia, Land Rover, Calzados Lola)

International audience, 2001: 171-92. es en Praga' (Manuel en la novela espafwla Es un postulado de Eliot: toda obra literaria es un en-cuentro entre tradici6n e innovaci6n, entre tradici6n y revoluci6n. Siempre ha sido asi, desde la invenci6n de la literatura. El patrimonio llega al autor y este lo toma, lo asume y lo modifica, si es un autor singular. Manuel Vazquez Montalban, Geometrias de la memoria. A simple lectura, la narrativa de Suso de Toro tiene un irrebati-ble sabor a novela negra, sobre todo, quiz.is, en sus primeras produc-ciones 1 • Que los textos de un escritor tan obviamente comprometido con el estatuto periferico de la comunidad a la que pertenece tengan esta impresionista caracteristica no debe de extrafiar: en un contex-to socio-literario como el gallego, a mediados de los afios 80, se en-tiende que entrar en literatura pueda significar entrar en literatura de genero 2 • Pimero, por un motivo de orden linguistico: los escrito-1 Nos referimos a Land Rover (1988), Ambulancia (1990) y Calzados Lola (1997), pri-meras novelas toreanas en sentido generico estricto, a diferencia de Cai.x6n desastre (1983) y Polaroid (1986), textos experimentales de ruptura, dificilmente categorizables como novelas. Las referencias de las obras se dan en la bibliografia final; las citas tex-tuales se identifican entre parentesis despues del extracto citado. 2 La novela negra, que empieza a decaer en lengua castellana con la normalizaci6n democratica que significa el acceso de los socialistas al poder en 1982, produce su primer objeto en lengua gallega en 1984, con la publicaci6n de Crime en Compostela, de Carlos G. Reigosa.-4

« In Defense of Freedom of Adaptation: The Case of El hombre descuadernado, an Adaptation of “The Horla” »

International audienceThis chapter offers a case study of El hombre descuadernado (2009), a comic book adaptation of Guy de Maupassant’s « The Horla » (1886) by Spanish writer Felipe Hernández Cava and Argentinian artist Sanyú. If one considers a good adaptation to be a free adaptation, i.e. one which betrays its source rather than reproduce it, then literary classics provide many opportunities for adaptations insomuch as they are open to multiple readings and to the specific concerns of various eras (in this case, a parallel is made between the figure of the Horla and Alzheimer’s disease). Thus, after exploring Cava’s reasons for adapting the novella with its motifs of disease, madness, fear and the double, this chapter analyzes some of the visual and narrative strategies which, it would seem, aim at embodying madness and involving the reader in it by subverting graphic storytelling codes