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To Bear Witness After the Era of the Witness

The Projects of Christophe Boltanski and Ivan Jablonka

Donald Reid

the “ossification of memory” and of rhetoric distanced from both the historical event and the victims being honored. 4 As what Annette Wieviorka has termed the “era of the witness” to the Holocaust comes to a close, Jablonka has pursued “the creative

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What a Museum Cannot Bear Witness To

Bursa City Museum and the Representation of the Jewish Minority

Sercan Eklemezler

, cemeteries and collections, festivals, anniversaries, agreements, minutes, monuments, holy places, associations, and foundations are all outlier witnesses to another era; they are what Nora calls the dreams of eternity (2006). “These are the rituals of a

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Guillaume Lecomte

collected in three volumes, La Vie is a crude and acerbic exploration of the everyday behaviour of young French people exposed through the point of view of the illustrator. 6 On each page, Sattouf depicts random events he witnessed himself and found

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Gauguin and Van Gogh Meet the Ninth Art

Postmodernism and Myths about Great Artists

Matthew Screech

Gauguin may have invented the whole thing; no witnesses were present, and Gauguin only mentioned it years later in his unreliable memoirs Avant et après . 33 Dramatic effects eclipse facts when the pianist glimpses Van Gogh through the window about to

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Antonio Lázaro-Reboll

Abstract

This article traces the formation of comics art scholarship in Spain from 1965 to 1975. This decade witnessed the beginning of the study of comics as a serious object of cultural analysis. Reading formations surrounding the medium – in particular, historical and critical reading protocols – and a set of key critical debates were concurrent with the establishment and the development of mass communication studies as an incipient field of research in Spain in the mid-1960s. The aim of this article is to provide a close examination of the first generation of critics participating in and writing about the scene in relation to hitherto overlooked local and transnational contexts that shaped the constitution of the Spanish field of comics.

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Bill Marshall

The welcome attention paid to Quebec in this issue of European Comic Art immediately points to a cluster of intellectual questions concerning identity, territory and academic discipline(s). What need was there for grouping a corpus, and analysis of it, according to this category, and what meanings are implied in that selection? And what problems are evoked by the adjective ‘European’? These are familiar questions to all those Quebec specialists working in French (‘and Francophone’) Studies, as well as, in my case, Film Studies. On the one hand, Quebec culture in all its forms of expression possesses a relevance and richness, due to historical and spatial factors I shall outline below, but is largely off the radar of the disciplines and sub-disciplines it could enrich. This is no more true than in French Studies, where it is difficult, but also necessary, topical (witness the continuing debate, five years after the manifesto, around littérature-monde) and urgent, to challenge the hierarchy implied in the centre and periphery generated by ‘(and) Francophone’. The challenge is to place Quebec in an endlessly comparative relationship with other French-speaking cultures, with other Atlantic spaces, in order to break down the barriers implied in an often ghettoised ‘specialisation’. Here bande dessinée scholarship has an interesting advantage, in that, despite the phenomenal cultural weight of the art form within metropolitan French life, a decidedly non-metropolitan space, namely Belgium, offers a central position. The opportunity is there to emphasise lateral connections that bypass as well as include metropolitan France, hence the work here on Tintin in Quebec. To an extent, bande-dessinée-monde, to coin a phrase, is already a reality.

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Harriet Kennedy, Elizabeth (Biz) Nijdam, Logan Labrune, and Chris Reyns-Chikuma

Hillary L. Chute , Disaster Drawn: Visual Witness, Comics, and Documentary Form (Cambridge, MA: Harvard University Press, 2016). 376 pp. ISBN: 978-0-6745-0451-6 ($35) As Hillary Chute notes in the introduction to Disaster Drawn: Visual Witness

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Flemish Comics versus Communist Atheism

Renaat Demoen’s Au pays de la grande angoisse (1950–1951)

Philippe Delisle

wire, overlooked by observation towers. Johnny points out that this must be a ‘work camp’, and then he witnesses the escape of a character who turns out to be a priest 35 (see Figure 2 ). We should recall that in a country like Czechoslovakia, it was

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Introduction

Comics and Adaptation

Armelle Blin-Rolland, Guillaume Lecomte, and Marc Ripley

2004 and 2014 with a sardonic look at everyday situations its author witnessed involving French young people. Lecomte interrogates claims to truth in Sattouf’s comic and its subsequent screen adaptation on Canal+, arguing that, despite the greater

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The Art of Braiding

A Clarification

Thierry Groensteen

have a very different tonality: Jimmy witnesses the (suicidal?) fall of a man dressed as Superman; as a child, James watches, under a shower of confetti, the parade at the World’s Columbian Exhibition in 1893. However, it is difficult to distinguish