Drawing (in) the Feminine: Bande Dessinée and Women: Studies in Comics and Cartoons
Editat de Margaret C. Flinnen Limba Engleză Paperback – 19 feb 2024
Contributors:
Armelle Blin-Rolland, Véronique Bragard, Michelle Bumatay, Benoît Crucifix, Isabelle Delorme, Jacques Dürrenmatt, Margaret C. Flinn, Alexandra Gueydan-Turek, Jennifer Howell, Jessica Kohn, Sylvain Lesage, Catriona MacLeod, Mark McKinney
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Specificații
ISBN-13: 9780814259009
ISBN-10: 0814259006
Pagini: 279
Ilustrații: 26 b&w images
Dimensiuni: 152 x 229 x 22 mm
Greutate: 0.41 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Studies in Comics and Cartoons
ISBN-10: 0814259006
Pagini: 279
Ilustrații: 26 b&w images
Dimensiuni: 152 x 229 x 22 mm
Greutate: 0.41 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Studies in Comics and Cartoons
Recenzii
“From the portrayal of women in comics in relation to environmental concerns and social/political debates over abortion, to women in sub-Saharan African and MENA comics, the scholarship in Drawing (in) the Feminine is at the forefront of current conversations in both gender and comics studies.” —Ann Miller, author of Reading Bande Dessinée: Critical Approaches to French-Language Comic Strip
“Drawing (in) the Feminine seamlessly integrates a French corpus that is neither comics nor graphic novel with a cultural studies approach to graphic narrative, keeping the best of each. Even for scholars trained in the Francophone corpus and research tradition, it will hold many new discoveries.” —Jan Baetens, author of Novelization: From Film to Novel
“Drawing (in) the Feminine seamlessly integrates a French corpus that is neither comics nor graphic novel with a cultural studies approach to graphic narrative, keeping the best of each. Even for scholars trained in the Francophone corpus and research tradition, it will hold many new discoveries.” —Jan Baetens, author of Novelization: From Film to Novel
Notă biografică
Margaret C. Flinn is an Associate Professor in the Department of French and Italian and the Department of Theatre, Film, and Media Arts at The Ohio State University. She is the author of The Social Architecture of French Cinema, 1929–1939.
Extras
Like the other two major traditions of global graphic narrative (American comics and Japanese manga), bande dessinée has a long history of dramatic and sexist marginalization of women creators and characters, as well as a persistent tendency to occlude nonmale readership and to sideline women critics within a highly masculine fan-skewed critical culture. In a nutshell, bande dessinée is in no way paritaire (numerically equal). Contributions to this volume push back against the ways in which the reduction of women to the margins of bande dessinée history have minimized their significant contributions to that history and extend forward to explore the diversity of a flourishing contemporary production. While still far from achieving parity with their male counterparts, female creators are occupying an increasingly significant portion of the French-language comics publishing industry, and creators of all genders are putting forth stories that represent and reflect on the diversity and richness of women’s and gender-nonconforming people’s experiences. In this introduction, I would like to present (if necessarily briefly) some of the cultural obstacles and specificities of women in the Franco-Belgian tradition of comics, connecting those to trends in bande dessinée scholarship. Nuanced explorations of historical materials as well as analyses of the increasingly diverse forms of contemporary bande dessinée production by and about women will, in the essays that make up the body of this book, offer a deeper and more detailed understanding of how women have created and been represented throughout the history of bande dessinée.
Before advancing further, it may be helpful to include a few brief remarks about the terminology used in this introduction and elsewhere in the volume. Like the Japanese term “manga,” bande dessinée as used here refers to a particular publishing context and object that is not adequately rendered either by the American English terms “comic book” or “graphic novels.” While comics artist/cartoonist or comics/cartoons can be appropriate terms to describe the creators discussed in this book (a decision left to each contributor as a function of their specific corpus), authors in this volume may often prefer bande dessinée (or its abbreviation BD), and bédéiste in order to respect the cultural and artistic specificity of the Franco-Belgian comics tradition. It is also, however, the umbrella term for “comics” in French, and as such, many bande dessinée scholars prefer to use “comics” when writing in English. (This is of course setting aside specific discussions of the professions and practices of caricaturists, colorists, illustrators, letterers, scénaristes, etc., which, depending upon the historical moment and individual, may or may not be overlapping categories and identities as that of artist, author, or bédéiste.) The “Franco-Belgian tradition” is and of itself complicated: some of this volume’s contributors deal with material specifically from or set in France; some carefully excavate the ways that there is a European French-language comics culture that is too French-centered to be truly “Franco-Belgian.” Others deal with material that is not European at all but nonetheless negotiates with French-speaking Europe through the history and legacies of European colonialism as it is configured in the fields of education, publishing, and so forth. The primary texts in question throughout this volume are at least published in French or include French as one language of a multilingual publication. I deliberately sought to include chapters on materials that emanate from and represent multiple corners of the perennially problematic realm of “Francophonie,” without making the single and driving priority of this volume to be complete and even geographical coverage of “Global French”—a move that likely would have necessarily led to the sacrifice of historical coverage, due to the way that historical “Francophone” publishing outside of France has been a crushingly white and Euro-North American enterprise.
Before advancing further, it may be helpful to include a few brief remarks about the terminology used in this introduction and elsewhere in the volume. Like the Japanese term “manga,” bande dessinée as used here refers to a particular publishing context and object that is not adequately rendered either by the American English terms “comic book” or “graphic novels.” While comics artist/cartoonist or comics/cartoons can be appropriate terms to describe the creators discussed in this book (a decision left to each contributor as a function of their specific corpus), authors in this volume may often prefer bande dessinée (or its abbreviation BD), and bédéiste in order to respect the cultural and artistic specificity of the Franco-Belgian comics tradition. It is also, however, the umbrella term for “comics” in French, and as such, many bande dessinée scholars prefer to use “comics” when writing in English. (This is of course setting aside specific discussions of the professions and practices of caricaturists, colorists, illustrators, letterers, scénaristes, etc., which, depending upon the historical moment and individual, may or may not be overlapping categories and identities as that of artist, author, or bédéiste.) The “Franco-Belgian tradition” is and of itself complicated: some of this volume’s contributors deal with material specifically from or set in France; some carefully excavate the ways that there is a European French-language comics culture that is too French-centered to be truly “Franco-Belgian.” Others deal with material that is not European at all but nonetheless negotiates with French-speaking Europe through the history and legacies of European colonialism as it is configured in the fields of education, publishing, and so forth. The primary texts in question throughout this volume are at least published in French or include French as one language of a multilingual publication. I deliberately sought to include chapters on materials that emanate from and represent multiple corners of the perennially problematic realm of “Francophonie,” without making the single and driving priority of this volume to be complete and even geographical coverage of “Global French”—a move that likely would have necessarily led to the sacrifice of historical coverage, due to the way that historical “Francophone” publishing outside of France has been a crushingly white and Euro-North American enterprise.
Cuprins
Part 1 Industry, Audience, and Platforms
Chapter 1 Women Cartoonists: A New Avenue for Understanding a Little-Known Profession?
Chapter 2 Women in Color: Comics Artists and the Ninth Art in France
Chapter 3 Between Ah! Nana and Okapi: Nicole Claveloux at the Crossroads
Chapter 4 Gender Equality? Hshouma! Women, Sexuality, and Comics Activism in Morocco
Part 2 Geographies of Identity
Chapter 5 Graphic Entanglements: Images of Women, Nature, and Brittany in Contemporary Comics
Chapter 6 The Feminine Plural in Africa and the Diaspora: Quartets of Women in Aya de Yopougon and La vie d’Ebène Duta
Chapter 7 Revolutionary Comics: Samandal’s Feminist Topography of Resistance
Chapter 8 Unveiling IVG: Representations of Women’s Experiences of Abortion in the Bande Dessinée
Part 3 Representations and History (Herstories)
Chapter 9 The Face of Women in Early Bandes Dessinées: Töpffer, Cham, Musset, Gustave Doré
Chapter 10 The Amazons of Dahomey in French and African Comics
Chapter 11 Catel: Portrait of the Twenty-First-Century Feminist Artist and Author of Drawn Biography
Chapter 12 The Women behind the Woman behind the Man: Women Drawing Plural Collective Voices onto the Page in Emilie Plateau’s Noire
Chapter 1 Women Cartoonists: A New Avenue for Understanding a Little-Known Profession?
Chapter 2 Women in Color: Comics Artists and the Ninth Art in France
Chapter 3 Between Ah! Nana and Okapi: Nicole Claveloux at the Crossroads
Chapter 4 Gender Equality? Hshouma! Women, Sexuality, and Comics Activism in Morocco
Part 2 Geographies of Identity
Chapter 5 Graphic Entanglements: Images of Women, Nature, and Brittany in Contemporary Comics
Chapter 6 The Feminine Plural in Africa and the Diaspora: Quartets of Women in Aya de Yopougon and La vie d’Ebène Duta
Chapter 7 Revolutionary Comics: Samandal’s Feminist Topography of Resistance
Chapter 8 Unveiling IVG: Representations of Women’s Experiences of Abortion in the Bande Dessinée
Part 3 Representations and History (Herstories)
Chapter 9 The Face of Women in Early Bandes Dessinées: Töpffer, Cham, Musset, Gustave Doré
Chapter 10 The Amazons of Dahomey in French and African Comics
Chapter 11 Catel: Portrait of the Twenty-First-Century Feminist Artist and Author of Drawn Biography
Chapter 12 The Women behind the Woman behind the Man: Women Drawing Plural Collective Voices onto the Page in Emilie Plateau’s Noire
Descriere
Celebrates and examines the richness of contemporary women’s production in French and Francophone comics art while questioning the notion that women have been absent from bande dessinée history.