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Painting the Painter

Meta-Representation and Magic Realism in Joann Sfar's Chagall en Russie

Fabrice Leroy

French cartoonist and filmmaker Joann Sfar has often used the comics medium to reflect on visual representation. His latest bande dessinée, Chagall en Russie ['Chagall in Russia'] (2010-2011), continues some of the meta-pictural elements previously found in his Pascin (2000-2002), which already featured Chagall in several episodes, as well as his acclaimed series, The Rabbi's Cat, where Sfar introduced the character of an anonymous Russian painter, whose biography and artistic stance seemingly referred to that of Marc Chagall. Although Chagall en Russie explicitly refers to the real-life Franco-Russian modernist painter, it is certainly not a standard biographical exercise. By offering a synthetic and often symbolic version of personal and historical events experienced by Chagall, Sfar takes certain liberties with the painter's life story as it was outlined by the artist (in My Life, his 1922 autobiography) and by many biographers and art historians. Sfar does not seek an authentic depiction of his subject's verifiable life journey, but rather views it through a metaphorical narrative, which is itself inspired by Chagall's artistic universe and raises questions about the figurative possibilities of comics.

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Where Environmental Aesthetics Meets Magical Realism

Rodanthi Tzanelli

artistic trend that dominated interwar European art as a rejection of individualistic expressionism, used in his introduction to magical realism in art the term “magic” to indicate that “the mystery does not descend to the represented world, but rather

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John Gillespie, Kyle Shuttleworth, Nik Farrell Fox, and Mike Neary

are no records of conversation between the main actors, Rowlandson makes them up, imagining Che and Sartre talking politics, philosophy, psychology and poetry with dramatic effect late into the night. Rowlandson points out the magical realism in Sartre

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Decolonizing Cambridge University

A Participant Observer’s View

Keith Hart

race, class, gender and generation; how was political authority portrayed; what is magical realism? Second, we would include a couple of ethnographies for comparison: one by Evans-Pritchard along with Clifford Geertz’s commentary in The Anthropologist

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Kate Myers

distinction between seeing and believing’, and in this culture ‘there existed no distinction between fact and fiction; instead a sort of magical realism’. 40 Walser did not find this kind of renewal, just a nascent recurrence of the same status quo and

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Canon Fodder and Conscripted Genres

The Hogarth Project and the Modern Shakespeare Novel

Laurie E. Osborne

simultaneously with independent YA novels based on those same plays. Winterson's and Johnston's novels comfortably inhabit their own distinct genres – literary ‘magical realism’ and YA fiction respectively – but these adaptations explore current sexual

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Jessica Bay, Alaina Schempp, Daniela Schlütz, and R. Colin Tait

male experience belongs mainly to the public domain, women's experiences are widely covered over and misrepresented” (101). Finally, the fifth mode contains comedies of subversion through magical realism such as in Laura Mañá's two films Compassionate