Tintin Research Papers - Academia.edu (original) (raw)

L'art de l'affiche et la culture de la bande dessinée de Genève sont désormais officiellement reconnus comme une « tradition vivante » par la Confédération suisse. Certaines organisations locales sont également impliquées dans... more

L'art de l'affiche et la culture de la bande dessinée de Genève sont désormais officiellement reconnus comme une « tradition vivante » par la Confédération suisse. Certaines organisations locales sont également impliquées dans l'utilisation de l'affiche BD pour communiquer leurs messages. L'affiche BD genevoise combine les spécificités de la bande dessinée à celles de l'affiche. Elle hérite de l'affiche sa taille, son support, et son ton mobilisateur. Certaines caractéristiques de la bande dessinée fusionnent la conception traditionnelle de l'affiche suisse. En analysant des oeuvres d'Exem (Emmanuel Excoffier), cet article découvre comment l'affiche et la bande dessinée fonctionnent ensemble en engendrant un média hybride : l'affiche BD.

Hergé es uno de los pocos seres humanos que han sido capaces de cambiar la realidad, es decir de cambiar el mundo, que ya fue un mundo diferente después de la publicación de su obra, cuya influencia en varias generaciones es sin duda... more

Hergé es uno de los pocos seres humanos que han sido capaces de cambiar la realidad, es decir de cambiar el mundo, que ya fue un mundo diferente después de la publicación de su obra, cuya influencia en varias generaciones es sin duda inmensa.

This class will examine the medium of bande dessinée as a particular product of French culture, distinct from American comics or Japanese manga. We will explore the position of BD within French culture, both throughout publication history... more

This class will examine the medium of bande dessinée as a particular product of French culture, distinct from American comics or Japanese manga. We will explore the position of BD within French culture, both throughout publication history and within contemporary culture. The course will predominantly focus on the medium's ability to provide a locus for various types of identity construction. Our readings will progress thematically, exploring constructions of national identity and mythology (Asterix, Superdupont, L'Enfant Cachée), gender and sexual identity (Les Culottées, Le Bleu est une couleur chaude), and colonial and post-colonial identities (Tintin au Congo, Le Chat du Rabin, Persépolis).

Analísis del primer número de la legendaria historieta de Tin Tin.

This article provides the first comprehensive view of Tintin's multilingual career. Almost half of the copies sold worldwide of The Adventures of Tintin are in languages their Belgian creator, Hergé, did not master, but were translated by... more

This article provides the first comprehensive view of Tintin's multilingual career. Almost half of the copies sold worldwide of The Adventures of Tintin are in languages their Belgian creator, Hergé, did not master, but were translated by other people. While the first translations came out in 1930s Portugal and in 1940s Flanders, Belgium's iconic reporter would really gain in visibility after the Second World War, in the original French obviously, but also via English and Spanish translations, which became vectors of global dissemination. In addition, the 21st century has seen an increase in local initiatives, producing individual albums in an ever-growing number of dialects. Wherever possible, credit has been given to the translators toiling away in Hergé's shadow but without whose work Tintin could not have embarked on his spectacular international journey.

Aynı adlı filmin çizgiromanı buradadır
Tenten Altın Post (Tintin and the Golden Fleece / Tintin et le mystère de la Toison d'Or)
Fransızca'dır. Çeviriye ve hatta renklendirmeye ihtiyacı var.

A translation of Michel Serres' 1994 work Atlas. From the Translator's Afterword: Some time back around 1998 or 1999, Anthony Uhlmann embarked on a translation of Atlas. He even had a publisher all lined up and a contract. Yet after he... more

A translation of Michel Serres' 1994 work Atlas. From the Translator's Afterword: Some time back around 1998 or 1999, Anthony Uhlmann embarked on a translation of Atlas. He even had a publisher all lined up and a contract. Yet after he submitted the translation, he never heard back from the publisher (University of Michigan Press). Multiple attempts to contact them were made, all to no avail. He still doesn’t understand why.
Enter myself around early 2020. I had heard about the translation and was given Anthony’s name and email address. So I contacted him to inquire as to why his translation hadn’t been published. He told me the sad story. I suggested just tossing it on to the internet for free. That would be the Serresian solution. I volunteered to go over it and make suggestions. Instead, Anthony invited me to take over the project. I warned him that I would change the translation to fit my style. He agreed. So I have retranslated Atlas based on Anthony’s original. Needless to say, any mistakes are purely my own.
Since the original publishers still own the translation rights and are still not answering emails, even from other interested publishers, I have decided to give it away for free.

The Adventures of Tintin, the comic book series written by Belgian artist George Remi (under his alias, Hergé), serves as a significant example of twentieth century European popular culture. Featuring the titular reporter, Tintin, the... more

The Adventures of Tintin, the comic book series written by Belgian artist George Remi (under his alias, Hergé), serves as a significant example of twentieth century European popular culture. Featuring the titular reporter, Tintin, the series follows the protagonist and his companions on adventures across the world. Consisting of 23 ‘albums’ published between 1929-1976, the Tintin series has become widely renowned for its political satire and social commentary, coupled with Hergé’s meticulous research of the landscapes and cultures Tintin would encounter (Farr, 2011). Hergé, who drew much inspiration from his Roman Catholic values (de Groot, 2016), incorporated several religious elements to his stories. Of particular note is his depiction of the phenomenon of religious experience. The purpose of these research notes is to consider how two such instances from The Shooting Star (1941) and Tintin in Tibet (1958) demonstrate Hergé’s nuanced attitude towards Catholicism in his early work, in addition to how his developing fascination with Buddhist practices became explicit in his later writing.

Les albums de Tintin sont sans aucun doute les bandes dessinées qui ont suscité le plus d'intérêt en Europe, voire dans le monde. Les recherches effectuées sur ces albums en témoignent : des chercheurs de presque tous les domaines des... more

Les albums de Tintin sont sans aucun doute les bandes dessinées qui ont suscité le plus d'intérêt en Europe, voire dans le monde. Les recherches effectuées sur ces albums en témoignent : des chercheurs de presque tous les domaines des sciences sociales se sont intéressés à cet exemple, pionnier de la bande dessinée ; les psychiatres/psychologues, sociologues, politiciens, les pédagogues, experts de la mode et même les cinéastes. Les auteurs de ce travail ont pour objectif d'enrichir la multitude de recherches et commentaires qui ont été faits sur les Aventures de Tintin. Dans un premier temps ils rappellent l'influence de Tintin dans différents domaines sociaux pour ensuite développer une réflexion autour du langage « tintinesque ». Ils terminent leur travail en attirant l'attention sur les indices intertextuels qui abondent dans les albums. Mots-clés : les Albums de Tintin, bande dessinée, langage des personnages, intertextualité, opéra, littérature, art graphique. TINTIN COMIC BOOKS: REFLECTIONS Tintin's stories and story book albums have undoubtedly drawn large interest throughout Europe as well as all around the world. The research on this subject is vast with researchers from various social fields contributing to findings about this pioneer in comic books. Some examples are: psychiatrists, psychologists, sociologists, political studies experts, fashion aficionados and even cinematographers. The authors of this short study wish to contribute to the multitude of these studies on the adventures of Tintin. The primary objective is to analyze the language 'Tintinesque' with reference to a variety of social fields and references. The second part of the study entails a study of features of intertextuality present within the texts.

This chapter analyses the adaptations of Franco-Belgian comic book classics such as Astérix and Tintin developed by the French company Infogrames in collaboration with the Catalan studio Bit Managers. The "Europeanness" of these games is... more

This chapter analyses the adaptations of Franco-Belgian comic book classics such as Astérix and Tintin developed by the French company Infogrames in collaboration with the Catalan studio Bit Managers. The "Europeanness" of these games is multi-layered because not only were they made in Europe (a successful example of Franco-Hispanic coproduction), they were also based on previous European creations and focused on European characters travelling across European countries. Through a comparative analysis of their reception in French, British, Spanish, and Italian game magazines, as well as a series of interviews with the designers, this chapter addresses how they mobilised national clichés and competing identities while questioning discourses of originality, adaptation, and medium specificity, ultimately confirming the differential and asymmetric quality of European identity, both in and outside of game culture.

O presente artigo tem como objetivo analisar três álbuns dos quadrinhos "As aventuras de Tintim", fazendo um comparativo com "As aventuras de Tintim: o segredo do Licorne", filme lançado em 2011. Partindo de uma análise de conteúdo entre... more

O presente artigo tem como objetivo analisar três álbuns dos quadrinhos "As aventuras de Tintim", fazendo um comparativo com "As aventuras de Tintim: o segredo do Licorne", filme lançado em 2011. Partindo de uma análise de conteúdo entre o filme e os álbuns que inspiraram seu enredo, procurou-se identificar elementos díspares entre as duas mídias, levando-se em conta questões narrativas e estéticas.

The Adventures of Tintin: The Secret of the Unicorn is an animated feature film that blends graphic stylisation with photorealistic surfaces and motion capture to create digital beings in a hyper-realistic style. As a result, the visual... more

The Adventures of Tintin: The Secret of the Unicorn is an animated feature film that blends graphic stylisation with photorealistic surfaces and motion capture to create digital beings in a hyper-realistic style. As a result, the visual style of The Adventures of Tintin is significantly different to the now dominant cartoon stylisation that continues to develop in studios such as Disney, PIXAR and many others. Disney inspired cartoon stylised films, such as Frozen, continue to engage audiences around the world; receiving relatively little criticism for their visual style. Hyper-realistic animation, however, has struggled to achieve the same widespread acceptance. Many people continue to find hyper-realistic characters less engaging than cartoon characters and at times even find them to be somewhat repulsive. Via close analysis of The Adventures of Tintin, this paper illuminates the significance of establishing visual harmony between the elements of shape, surface and motion to sustain appealing and believable hyper-realistic characters.

Les Éditions Moulinsart, qui détiennent les droits des Aventures de Tintin d’Hergé depuis son décès, sont réputées pour leur ligne particulièrement dure quant à la reproduction du personnage mythique du dessinateur. Impossible de... more

Les Éditions Moulinsart, qui détiennent les droits des Aventures de Tintin d’Hergé depuis son décès, sont réputées pour leur ligne particulièrement dure quant à la reproduction du personnage mythique du dessinateur. Impossible de reproduire le moindre personnage, voire le moindre phylactère provenant des Aventures sans risque de procès : en conséquence, alors que les effets citationnels et/ou parodiques sont très nombreux dans la bande dessinée, et alors que d’autres personnages tout aussi célèbres, comme Spirou, connaissent de multiples incarnations, Tintin et ses comparses se voient dénié toute possibilité de reproduction ou de reprise.
Pourtant, cette censure peut également être considérée comme contrainte positive, quasi-OuBaPienne, et a menés plusieurs dessinateurs à chercher de nouvelles solutions pour faire figurer le personnage d’Hergé sans risquer les poursuites juridiques : ainsi Olivier Josso-Hamel se voit-il obligé de redessiner des cases du tome 2 d’Au travail, poussant son style graphique à son extrémité ; dans d’autres domaines, Pierre Fresnault-Deruelle (dans Hergéologie), Jean-Marie Floch (dans Une lecture de Tintin au Tibet) ou encore Albert Algoud (dans Le Dupondt sans peine), malgré leur projet d’analyse de l’univers hergéen, doivent avoir recours à d’autres stratégies encore pour illustrer leurs travaux.
Ce sont par ces exemples que je souhaite interroger la notion de censure comme contrainte positive et créatrice en bande dessinée, prenant volontairement le contrepied des critiques habituellement dirigées vers les Éditions Moulinsart.

Much has been written about the processes of Americanization, often simplifying these processes and studying from a distinctively American perspective. In this paper, I have taken a European point of view, using Tintin as a... more

Much has been written about the processes of Americanization, often simplifying these processes and studying from a distinctively American perspective. In this paper, I have taken a European point of view, using Tintin as a quintessentially Belgian/European cultural product to trace how images of and from American influenced the young reporter; to examine why he received such a cool reception across the Atlantic; and to explain why some newspapers claimed in 2011 that Steven Spielberg, director of 'The Adventures of Tintin' had 'brought Tintin home'. This research will show that transatlantic exchanges are older and more complex than usually given credit for.

Tintin Monster of Marmara - 2
Tenten Marmara Canavarı - 2

Tintin is a cultural icon whose popularity has led to critical assessments accusing the comic of perpetuating orientalist and racist images. This article presents a different reading of Tintin by asking a more fundamental question: what... more

Tintin is a cultural icon whose popularity has led to critical assessments accusing the comic of perpetuating orientalist and racist images. This article presents a different reading of Tintin by asking a more fundamental question: what understanding of the political is manifested in Tintin's Adventures? I argue that Tintin creates a political sphere that fosters an image of peace which does not eradicate conflicts, but facilitates them. Bildung, spatio-temporal conditionality of knowledge, spheres of elasticity, and power ensure that they do not turn into violence. All these are characteristics of the comic and create a powerful visualisation of the human condition of politics.

A gennaio 2019, Tintin compie novanta anni. Le avventure del personaggio creato da Hergé per il “Petit Vingtième” dell’abate Wallez sono una pietra miliare del fumetto e restano un’ottima prima lettura per entrare nel mondo della nona arte.

Over the past two decades comic book fans have become a digitally-empowered minority, with mainstream filmmakers much more likely to yield to fan pressure when adapting comics than in pre-digital times. Nonetheless, this... more

Over the past two decades comic book fans have become a digitally-empowered minority, with mainstream filmmakers much more likely to yield to fan pressure when adapting comics than in pre-digital times. Nonetheless, this fidelity-favouring audience is still only a fraction of the eventual attendance of these blockbuster releases. The larger non-fan audience is frequently drawn to 'comic-book movies' by generic markers carefully positioned by filmmakers and publicity to evoke past successes; with the continued popularity of comic-book movies suggesting these strategies have been successful. To better understand these two broad groups that attend comic book adaptations, audiences at screenings of recent high-profile films Thor and Green Lantern were surveyed. Adopting a similar methodology to Watching The Lord of the Rings, this research was carried out as a quali-quantitative paper survey of filmgoers at three different screenings of each film. The results offered a nuanced picture of the audience(s) for one of the most popular trends in modern cinema. Ultimately, it was found that while the two broad audiences that attend theses adaptations are not mutually exclusive, they do have differing interests and expectations, which the filmmaker and scholar must consider. The September 2007 issue of the popular UK film magazine Empire had an arresting image of a little-known red and yellow clad superhero thrusting his fist into the pavement. By the following summer, Iron Man would be one of the most successful comic book film adaptations of all time, but at this early stage of promotion the magazine's feature writer,

Tintin Monster of Marmara - 3
Tenten Marmara Canavarı - 3

Comment la liste des fiancés de la Castafiore forme un contrepoint aux aventures de Tintin dans une similarité structurale avec les amours de Marcel chez Proust et les Sextus possibles chez Leibniz, élevant la géopolitique au statut... more

Comment la liste des fiancés de la Castafiore forme un contrepoint aux aventures de Tintin dans une similarité structurale avec les amours de Marcel chez Proust et les Sextus possibles chez Leibniz, élevant la géopolitique au statut transcendantal des marionnettes de Kleist en un récit où le secret de La Licorne se révèle avoir le même principe de superposition que les dialogues de Platon.

Chiacchierata sull'amicizia nell'albo Tintin in Tibet, di Hergé. Testo pubblicato il 16 settembre 2014 su afNews.info - araba fenice news ISSN 1971-1824. Contiene anche un'analisi della documentazione relativa alla realizzazione della... more

Chiacchierata sull'amicizia nell'albo Tintin in Tibet, di Hergé. Testo pubblicato il 16 settembre 2014 su afNews.info - araba fenice news ISSN 1971-1824. Contiene anche un'analisi della documentazione relativa alla realizzazione della storia e una ricerca sulle origini del paese di fantasia Vargèse.

Both mainstream and art comics often use various flourishes surrounding characters' heads. These so-called "pictorial runes" (also called "emanata") help convey the emotional states of the characters. In this paper, using (manipulated)... more

Both mainstream and art comics often use various flourishes surrounding characters' heads. These so-called "pictorial runes" (also called "emanata") help convey the emotional states of the characters. In this paper, using (manipulated) panels from Western and Indian comic albums as well as neutral emoticons and basic shapes in different colors, we focus on the following two issues: (a) whether runes increase the awareness in comics readers about the emotional state of the character; and (b) whether a correspondence can be found between the types of runes (twirls, spirals, droplets, and spikes) and specific emotions. Our results show that runes help communicate emotion. Although no one-to-one correspondence was found between the tested runes and specific emotions, it was found that droplets and spikes indicate generic emotions, spirals indicate negative emotions, and twirls indicate confusion and dizziness.

La presente investigación se centra en los discursos orientalistas en dos álbumes de Las aventuras de Tintín de Hergé, "El Loto Azul" (1934) y "Tintín en el Tíbet" (1960). Nuestra investigación los ratifica en el álbum de 1934, pero... more

La presente investigación se centra en los discursos orientalistas en dos álbumes de Las aventuras de Tintín de Hergé, "El Loto Azul" (1934) y "Tintín en el Tíbet" (1960). Nuestra investigación los ratifica en el álbum de 1934, pero también los saca a la luz en el de 1960. Para este último, la mayoría de investigaciones se han basado en el paradigma de la amistad por haberse sustentado en palabras de Hergé. Empero, si entendemos que el Autor está muerto (Barthes), que una obra se construye a partir de la intertextualidad (Genette), y que en el siglo XXI la exégesis de una obra se debería desempeñar fuera de la estética psicoanalítica sobre el autor (Baetens), Tintín en el Tíbet (1960) alberga un fuerte discurso orientalista. Estos parámetros nos permiten dar una única solución para ambos álbumes puesto que nos aproximamos a ellos desde el prisma de la posmodernidad con conceptos transculturales como la sociedad del espectáculo (Debord) y el simulacro (Baudrillard). Ello nos permite solventar la ambivalencia no resuelta en la recepción crítica del segundo álbum y llegar a la conclusión de que Tintín es el friki posmoderno, transnacional y transhistórico, al servicio de las distintas culturas pop del siglo XX que visita Chinitiad, la proyección imaginada de la zona geo-política llamada China, con el fin de mantener vivas las divergencias entre Nosotros y Ellos.

Tintin Monster of Marmara - 1
Tenten Marmara Canavarı -1

On race and racism in Tintin, and Spielberg's strange way of handling them.

En 1928, un scout de quinze ans nommé Palle Huld se lance dans un tour du monde. Son objectif : aller plus vite que le héros de Verne, Phileas Fogg, et relever le défi en 45 jours. L'année suivante, un autre personnage, aventurier et... more

En 1928, un scout de quinze ans nommé Palle Huld se lance dans un tour du monde. Son objectif : aller plus vite que le héros de Verne, Phileas Fogg, et relever le défi en 45 jours. L'année suivante, un autre personnage, aventurier et adolescent, voit le jour : Tintin. Sans faire un tour du monde, comme Palle Huld il se rend au pays des Soviets....

Resumo O Lótus Azul é a obra de Hergé onde as dimensões históricas, políticas e etnográficas de um país foram mais bem transmitidas. Desde há mais de oitenta anos tem sido a porta de entrada de milhares de crianças (e adultos) para o... more

Wie gelingt es Comic-Bildern, Komik zu erzeugen und Geschichten zu erzählen? Was sind die Mechanismen ihrer pluralen Ikonizität, die das Comic-Panel zugleich als Einzelbild und als Element im Bildverbund behandeln? Der Aufsatz nimmt das... more

Wie gelingt es Comic-Bildern, Komik zu erzeugen und Geschichten zu erzählen? Was sind die Mechanismen ihrer pluralen Ikonizität, die das Comic-Panel zugleich als Einzelbild und als Element im Bildverbund behandeln? Der Aufsatz nimmt das Medium der Bildergeschichte als narrative Gattung ernst, deren Erforschung sich an der Schnittstelle von Kunst- und Literaturwissenschaft bewegt. Hergés Klassiker "Die Abenteuer von Tim und Struppi" liefert das Anschauungsmaterial für einen Parcours zwischen Bild und Text, linearer Erzählung und assoziativer Betrachtung.

La stucture participée par Proust, Platon et Tintin.