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Adapting the Rhetoric of Authentication of Riad Sattouf’s La Vie secrète des jeunes

Guillaume Lecomte

developed the idea that the visual ontology of comics was its defining feature and was to be differentiated from cinematic photorealism. Hans-Christian Christiansen explored, for instance, the relationship between films and comics in narratological terms

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Adventures of the Proper Name in Tintin in Tibet

Jacques Samson

This reading of Hergé's Tintin au Tibet uses the notions of 'the daydream' and 'the haunting idea' in order to approach the text not at the level of its plot, but at that of the imaginary that underlies it, whose presence is betrayed through two series of obsessive reiterations and wordplays around the name of Tchang, the lost object of Tintin's quest. A digression via Lewis Carroll's Through the Looking Glass establishes it as an important intertext, prefiguring Hergé's album in a number of ways: the metaphorical function of the chess game and its close association with the state of dreaming or daydreaming, and the way in which the use of language, particularly the proper name, becomes analogous to dreamwork as words exceed their literal meaning and slide along the signifying chain, destabilising meaning and identity. The article then focuses on Tintin au Tibet, demonstrating the key importance of the famous large panel on the second page, in which the word 'Tchang', cried out by Tintin on waking, is substituted by Hergé for any images of the dream itself. The reverberation of the word, and of words resembling it, is tracked through the remainder of the text, along with a more generalised problematic around proper names and a compulsive tendency to repetition, symptoms of an unconscious grappling with the elusiveness and fluctuating nature of self and other, ontological questions that linger after narrative resolution has been achieved.

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The Art of Braiding

A Clarification

Thierry Groensteen

of the operation of braiding will be taken as confirmation either of the modernity of Caran d’Ache’s approach, or of the fact that braiding is part of the ontological potential of the medium, present from the outset, part of its very definition

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Rethinking the ‘Memorable Panel’ from Pierre Sterckx to Olivier Josso Hamel

Benoît Crucifix

published in 1954 as serial instalments in Spirou (nos 840–869), at the height of the magazine; although Josso Hamel is redrawing from the album format that he read as a child. 48 Stanley Cavell, The World Viewed: Reflections on the Ontology of Film

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Pogo, Pop and Politics

Robert Benayoun on Comics and Roy Lichtenstein

Gavin Parkinson

introduction to the visual, aural, indexical, ontological, conceptual, narratological and identificatory role of the word balloon almost sinks Lichtenstein’s art in bathos once Boime reduces its use there to a purely compositional one. This is especially the

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Reassembling The Social Organization

Collaboration and Digital Media in (Re)making Boas’s 1897 Book

Aaron Glass, Judith Berman, and Rainer Hatoum

digital tools—be they local databases or public-facing websites—around Indigenous cultural ontologies and epistemologies, so the structural principles of organization and access to digital “objects” and their metadata are drawn from and support Native ways

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Instances of Cinema

Ted Nannicelli

sketch out some ideas about the ontology of art and of cinema in particular. In their explorations of the ontology of art, many philosophers have found it helpful to think about some arts, such as painting, as having “single instances” and other arts

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Editorial

Sandra H. Dudley and Conal McCarthy

ontological dichotomies underpinning repatriation but also brings to the fore the multiple performative and symbolic aspects of the processes at work. It also enables a more complex and nuanced approach to coproduction, cultural hybridity, and, particularly

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Introduction to the Journal of Bodies, Sexualities, and Masculinities

Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

realization and public reflexiveness about the ontological myths that have pervaded men's identities and practices. In short, the mimetic connection between men's bodies, identities, and practices has been fractured, resulting in increasing awareness of the

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Reply to Joseph P. Magliano and James A. Clinton, Paisley Livingston, and Brian Boyd

David Bordwell

the text, as ontologically required by the nature of narrative in general. By this sort of account, Swan Lake has a narrator, who “tells” us the tale through dance and music, as well as an unseen implied author whose values may be at variance with