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Thierry Groensteen

, in the literary field, underpinned Oulipo—that is to say, the use of predetermined formal rules that the work must obey and from which it would in fact derive. This workshop was a foundational moment: without it, the inauguration of Oubapo, l

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Mark McKinney and Hervé (Baru) Baruleau

This is the second portion of an interview with Hervé Barulea, or Baru, one of the most accomplished French cartoonists living today, conducted at his home in France on 15 July 2011. The first part of the interview was published in European Comic Art 4.1 (fall 2011), 213-237. Baru talks here about a broad range of important topics, including autobiography, the roles of work and leisure in his comics, boxing (his focus in two comics), the society of the spectacle, representations of women and minorities in comics, the heritage of classic French and Belgian comics (series such as Tintin, Yves-le-Loup ['Ivan-the-Wolf'] and Spirou) and the clear-line drawing style, experimentation by Oubapo, space, his drawing style and techniques for making comics, his current and future projects, his former teaching position in the Ecole des beaux-arts in Nancy, and the relationship of comics to fine art.

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Re-viewing the Past and Facing the Future

Laurence Grove, Anne Magnussen, and Ann Miller

chateau of Cerisy-la-Salle in Normandy, and the founding and subsequent development of the Oubapo movement. He begins by setting the scene: Cerisy had attained mythical status among French intellectuals as a place where literary heavyweights came to joust

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Ekaterina Tikhonyuk and Mark McKinney

deserve a place alongside important contributions by other artists to our understanding of the formal properties and possibilities of comic art, ranging from Töpffer and McCay to Oubapo and Marc-Antoine Mathieu. Mark McKinney Miami University, Ohio

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

overview from the OuLiPo in the 1960s to the OuBaPo in the 1990s, which both experiment with the notion of storytelling. Baetens examines both Queneau’s Exercices de style and its reworking by Madden, titled 99 Ways to Tell a Story , to present and