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首页> 外文学位 >Insavoir and Representation in Comics: Modal and Temporal Intersections in Contemporary Francophone Familial and Historical Graphic Novels.
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Insavoir and Representation in Comics: Modal and Temporal Intersections in Contemporary Francophone Familial and Historical Graphic Novels.

机译：漫画中的动s和表现：当代法语家庭和历史图画小说中的情态和时间交集。

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摘要

French literary theorists Dominique Viart and Bruno Vercier identify the beginning of a new era for French literature in the 1980s, characterized by hypotheses, hesitations, and the general notion that truth and reality cannot be fully grasped by discourse. The 1980s can be considered as transitional for the comics medium as well. Art Spiegelman's Maus (first published in 1980, completed in 1991) demonstrated that comics are not only capable of representing difficult familial and historical pasts, but that visual narratives benefit from formal and aesthetic devices that are inherent to the ninth art's polysemiotic possibilities. In this dissertation, I study francophone comics in which a second- or third-generation individual seeks to understand a familial past that exceeds his or her personal experience and that has previously been silenced or repressed, either individually (by the primary witness) or collectively (by the political hegemony). In the research corpus, the narrator's search elicits modal and temporal intersectional spaces: representation and anti-representation in Chapter One, the past and the present in Chapter Two, the collective and the individual in Chapter Three, and the interplay between memory, history, and imagination in the concluding Chapter Four. In addition to an interdisciplinary theoretical framework, Viart's notion of insavoir [not-knowing] and Pierre Nora's concept of "sites of memory" act as overarching theoretical tools throughout the essay.;The thematic organization of intersectional spaces fosters the identification of recurrent devices as the individual discussions reinforce and nuance one another sequentially and retroactively. Aware of the inherent limitations of representation and the notion of cognitive insavoir, the authors of the research corpus attempt to communicate meaning instead of presupposing understanding or the ability to "know" a traumatic, violent, and repressed past (and the capability to represent such a history through text and image). Such recurrences are symptomatic of an emerging sub-category within the medium, wherein the figure of the intersection is pertinent and productive precisely because these works operate in multi-directional insavoir. Like novels in the literary era identified by Viart and Vericer, the resulting representations oppose binary thought, opting instead for narratives that are self-critical, uncomfortable, thought-provoking, and ultimately, perhaps, more true.
机译：法国文学理论家多米尼克·维亚特（Dominique Viart）和布鲁诺·韦尔西（Bruno Vercier）确定了1980年代法国文学新时代的开始，其特征是假说，犹豫以及无法通过话语完全掌握真理和现实的一般观念。 1980年代也可以被认为是漫画媒介的过渡时期。 Art Spiegelman的《 Maus》（于1980年首次出版，于1991年完成）证明了漫画不仅能够代表艰难的家族和历史往事，而且视觉叙事得益于第九种艺术的多符号可能性所固有的形式和美学装置。在本论文中，我研究法语漫画，其中第二代或第三代人试图了解一个家族的过去，而这个家族的过去超出了他或她的亲身经历，并且以前被沉默或压抑，无论是单独地（由主要见证人）还是集体地（通过政治霸权）。在研究语料库中，叙述者的搜索产生了模态和时间交集空间：第一章中的表示和反表示，第二章中的过去和现在，第三章中的集体和个人，以及记忆，历史，和结论第四章中的想象力。除了跨学科的理论框架外，Viart的“不知所云”概念和Pierre Nora的“记忆位点”概念在本文中也作为总体的理论工具。；交叉空间的主题组织促进了对递归设备的识别。各个讨论顺序地和追溯地相互补充和细化。意识到表征的固有局限性和认知不足的概念，研究语料库的作者试图传达含义，而不是假设理解或具有“了解”创伤，暴力和压抑的过去的能力（以及表达这种能力的能力）。文字和图片的历史）。这种重复是介质中出现的一个子类别的症状，其中，相交的图形是恰当且富有成效的，因为这些工作是在多方向的过程中进行的。就像Viart和Vericer所确定的文学时代的小说一样，由此产生的表示形式也反对二元思想，而是选择自我批评，不舒服，发人深省甚至最终更真实的叙事。

著录项

  • 作者

    Howell, Anna.;

  • 作者单位

    University of Louisiana at Lafayette.;

  • 授予单位 University of Louisiana at Lafayette.;
  • 学科 Romance literature.
  • 学位 Ph.D.
  • 年度 2015
  • 页码 298 p.
  • 总页数 298
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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