Revues scientifiques académiquesAchtung Zelig ! : deux monstres et un clown au carrefour de l’histoire et de la mémoire médiatique
Mots-clés :
BD/roman graphique, Holocauste, mémoire, carnavalesqueRésumé
Unfolding during the Second World War Achtung Zelig! adopts a mode of narration that is both fantastic and absurd. The comic not only reflects the issues surrounding the representation of the unimaginable and real horrors of the Holocaust but it also exemplifies the presence and functioning of ‘media memories’ or memories of specific cultural productions as well as media and the performing arts (circus, theatre). This article examines the functioning, particularly the generation of connotations, of the key media memories of the carnivalesque, Art. Spiegelman's Maus, Horst Rosenthal's Mickey au camp de Gurs and Charlie Chaplin's The Great Dictator in Achtung Zelig!
Téléchargements
Références
Bakthin M., Rabelais and His World, H. Iswolsky (trad.), Bloomington, Indiana University Press, 1984.
Birek W., « Grafische Stilistik der Comics Krzysztof Gawronkiewiczs. Versuch einer Charakterisierung », [dans :] K. Kupczynska, R. Makarska (dir.), Comic in Polen/Polen im Comic, Berlin, Christian A. Bachmann, 2016.
Bolter J., Grusin R., Remediation: Understanding New Media, Cambridge, MIT Press, 2000.
Bond L. et al., Memory on the Move: Tracing the Dynamics of Memory Studies, New York, Berghahn, 2017.
Bukatman S., The Poetics of Slumberland: Animated Spirits and the Animating Spirit, Berkeley, University of California Press, 2012.
Butler J., Gender Trouble: Feminism and the Subversion of Identity, London, New York, Routledge, 1990.
Carroll N., « Horror and Humor », [dans :] The Journal of Aesthetic and Art Criticism, 1999, no 2.
Cohen J., « Monster Culture (Seven Theses) », [dans :] Idem (dir.), Monster Theory: Reading Culture, Minneapolis, University of Minnesota Press, 1996.
Erll A., Rigney A., « Introduction: Cultural Memory and its Dynamics », [dans :] Idem (dir.), Mediation, Remediation and the Dynamics of Cultural Memory, Berlin, Walter de Gruyter, 2009.
Gawronkiewicz K., Rosenberg K., Achtung Zelig!, W. Kasprzak (trad.), Brussels, Casterman, 2004.
Huyssen A., Present Pasts: Urban Palimpsests and the Politics of Memory, Stanford, Stanford University Press, 2003.
Haudot J., Shoah et bande dessinée, Paris, L'Harmattan, 2012.
Jürgens A.‐S., « The Joker: A Neo‐Modern Clown of Violence », [dans :] Journal of Graphic Novels and Comics, 2014, no 4.
Kotek J., Pasamonik D., Mickey à Gurs : Les carnets de dessin de Horst Rosenthal, Paris, Calmann‐Lévy, 2014.
LaCapra D., Writing Trauma, Writing History, Baltimore, John Hopkins University Press, 2000.
Morgan G., « Speaking the Unspeakable and Seeing the Unseeable: The Role of Fantastika in Visualising the Holocaust, or, More than just Maus », [dans :] The Luminary, 2015, no 6, http://www.lancaster.ac.uk/luminary/issue6/issue6article3.htm.
Neiger M. et al. (dir.), On Media Memory. Collective Memory in a New Media Age, Basingstoke, Palgrave Macmillan, 2011.
Ngai S., Our Aesthetic Categories: Zany, Cute, Interesting, Cambridge, Harvard University Press, 2012.
Rothberg M., « “We Were Talking Jewish”: Art Spiegelman’s Maus as “Holocaust” Production », [dans :] Contemporary Literature, 1994, no 4.
Round J., Gothic in Comics and Graphic Novels: A Critical Approach, Jefferson, McFarland, 2014.
Smolderen T., Naissance de la bande dessinée : De William Hogarth à Winsor McCay, Bruxelles, Les Impressions Nouvelles, 2009.
Spiegelman A., The Complete Maus, London, Penguin Books, 2003.
Updike J., « The Mystery of Mickey Mouse », [dans :] R. Atwan (dir.), The Best American Essays. College Edition, Boston, Houghton Mifflin Company, 1995.
Van Dijck J., Mediated Memories in the Digital Age, Stanford, Stanford University Press, 2007.
