Vol d'images, images en vol. L'intermédialité et l'imitation au secours des superhéros

L'invention du genre « superhéros » est liée au développement des comic books, forme spécifique de la bande dessinée américaine, à la fin des années 1930. Cependant, cette nouveauté suppose la cristallisation et la réinvention d'un vaste ensemble de codes visuels qui dépasse largement son support principal. Parti d'images spécifiques, nous ne pouvons qu'aboutir à l'exploration d'un univers visuel multiple et intermédiatique. Sans cela, l'étude des images de comic books risque de servir uniquement de confirmation à des savoirs déjà établis, plutôt que nous apprendre quelque chose sur la société qui les produit et les consomme.

C'est la plume qui fait le conte : "Die sechs Schwäne" des frères Grimm et "De vilde Svaner" de Hans Christian Andersen

Dans De vilde Svaner (Les cygnes sauvages), conte des Eventyr, fortalte for Børn (Contes, racontés aux enfants), H. C. Andersen raconte une histoire très proche de celle de Die sechs Schwäne (Les six cygnes), des Kinder- und Hausmärchen (Contes de l'enfance et du foyer) des Grimm. On peut fort justement se demander si l'auteur danois ne réécrit pas le Märchen de 1812 lorsqu'il publie son eventyr, en 1838. Mais l'étude de plusieurs récits d'enfants transformés en cygnes - de l'histoire du septième sage du Dolopathos de Jean de Haute-Seille, à la fin du xiie siècle, et Die sieben Schwäne, un Feen-Märchen de 1801, à De elleve Svaner de Winther, en 1823 - montre qu'Andersen réécrit vraisemblablement ce dernier texte danois et que le dialogue intertextuel avec les Grimm s'effectue sur un autre mode. L'auteur des Eventyr, fortalte for Børn se positionne par rapport aux Kinder- und Hausmärchen, développant ainsi une nouvelle conception du genre qui ressort de la comparaison des manières de raconter propres à chaque auteur, leur plume. It is the pen which makes the tale. the Grimm brothers' Die sechs Schwäne and Christian Andersen's De vilde Svaner In De vilde Svaner, a tale from Eventyr, fortale for Børn, H. C. Andersen tells a story that is very close to that of Die sechs Schwäne from the Grimms' Kinder- und Hausmärchen. One could legitimately wonder whether the Danish author was inspired by the 1812 Märchen when he published his own eventyr in 1838. The study of other narratives about children transformed into swans (including the story of the seventh wise man in Jean de Haute-Seille's Dolopathos at the end of the twelth century; Die sieben Schwäne, a Feen-Märchen from 1801; and Winther's 1823 De elleve Svaner) shows that Andersen rewrote this last Danish text and that the intertextual dialogue with the Grimms takes place at another level. Andersen distinguishes himself from the Grimms by developing a new conception of the genre, which becomes clear in his very different way of telling a tale.

Cuando Frankenstein encontró a Dorian Gray: dandysmo, post-identidad y sujetos virtuales

The appearance and popularization of the internet has created new forms of writing, which compel us to think anew about identity and subjectivity. Webjournals or blogs are specially interesting because they are a massive phenomenon that use autobiographical writing in a peculiar way. These forms of writing stress a particular paradox of the genre: the coexistence between a purpose of private, confessional and spontaneous writing and a public image, carefully built, as a result of its writing. The technology is new, but, in fact, the paradox is old. This paper tries to explore this old paradox, our eternal condition of cyborgs, our use of technologies in order to construct a public, unique and recognizably identity. In oder to do so, I will try to show the virtual condition of any written individual ¿this issue has already been dealt with by autobiographical studies¿, focusing on blogs, and especially on concrete example (Lord Whimsy¿s Journal). I will pay attention to gender as a technology that constructs identity and, at the same time, is deconstructed by the autobiographical narratives analyzed. In short, I attempt to show that virtual and autobiographical discourse do not bring forth a new kind of subject but the permanence of an old phenomenon "clearly developed by dandyism, for instance¿: the use of tehnologies to re-invent, re-formulate and re-construct us as multiple, hybrid and mixed subjects."

The Poetics and Politics of the American Gothic : Gender and Slavery in Nineteenth-Century American Literature

Taking as its point of departure recent insights about the performative¦nature of genre, The Poetics and Politics of the American Gothic¦challenges the critical tendency to accept at face value that gothic¦literature is mainly about fear. Instead, Agnieszka Soltysik Monnet¦argues that the American Gothic, and gothic literature in general,¦is also about judgment: how to judge and what happens when¦judgment is confronted with situations that defy its limits.¦Poe, Hawthorne, Melville, Gilman, and James all shared a concern¦with the political and ideological debates of their time, but tended¦to approach these debates indirectly. Thus, Monnet suggests, while¦slavery and race are not the explicit subject matter of antebellum¦works by Poe and Hawthorne, they nevertheless permeate it through¦suggestive analogies and tacit references. Similarly, Melville, Gilman,¦and James use the gothic to explore the categories of gender and¦sexuality that were being renegotiated during the latter half of the¦century. Focusing on The Fall of the House of Usher, The Marble¦Faun, Pierre, The Turn of the Screw, and The Yellow Wallpaper,¦Monnet brings to bear minor texts by the same authors that further¦enrich her innovative readings of these canonical works. At the same¦time, her study persuasively argues that the Gothic's endurance¦and ubiquity are in large part related to its being uniquely adapted¦to rehearse questions about judgment and justice that continue to¦fascinate and disturb.