Please use this identifier to cite or link to this item: http://hdl.handle.net/1893/10111
Appears in Collections:Literature and Languages Journal Articles
Peer Review Status: Refereed
Title: European Comic Art and Quebec
Authors: Marshall, Bill
Contact Email: w.j.marshall@stir.ac.uk
Issue Date: Jul-2012
Publisher: Berghahn
Citation: Marshall B (2012) European Comic Art and Quebec , European Comic Art, 5 (1), pp. 4-8.
Abstract: First paragraph: The welcome attention paid to Quebec in this issue of European Comic Art immediately points to a cluster of intellectual questions concerning identity, territory and academic discipline(s). What need was there for grouping a corpus, and analysis of it, according to this category, and what meanings are implied in that selection? And what problems are evoked by the adjective 'European'? These are familiar questions for all those Quebec specialists working in French ('and Francophone' Studies), as well as, in my case, Film Studies. On the one hand, Quebec culture in all its forms of expression possesses a relevance and richness, due to historical and spatial factors I shall outline below, but is largely off the radar of the disciplines and sub-disciplines it could enrich. This is no more true than in French Studies, where it is difficult, but also necessary, topical (witness the continuing debate, five years after the manifesto, around littérature-monde) and urgent, to challenge the hierarchy implied in the centre and periphery generated by '(and) Francophone'. The challenge is to place Quebec in an endlessly comparative relationship with other French-speaking cultures, with other Atlantic spaces etc. in order to break down the barriers implied in an often ghettoised 'specialisation'. Here bande dessinée scholarship has an interesting advantage, in that, despite the phenomenal cultural weight of the art form within metropolitan French life, a decidedly non-metropolitan space, i.e. Belgium, offers a central position. The opportunity is there to emphasise lateral connections that bypass as well as include metropolitan France, hence the work here on Tintin in Quebec.To an extent, bande dessinée monde, to coin a phrase, is already a reality.
Type: Journal Article
URI: http://hdl.handle.net/1893/10111
URL: http://berghahn.publisher.ingentaconnect.com/content/berghahn/eca/2012/00000005/00000001/art00002
DOI Link: http://dx.doi.org/10.3167/eca.2012.050102
Rights: This item has been embargoed for a period. During the embargo please use the Request a Copy feature at the foot of the Repository record to request a copy directly from the author. You can only request a copy if you wish to use this work for your own research or private study. This is a post-peer-review, pre-copyedited version of an article published in European Comic Art . The definitive publisher-authenticated version European Comic Art, Volume 5, Number 1, July 2012 , pp. 4-8 is available online at: http://berghahn.publisher.ingentaconnect.com/content/berghahn/eca/2012/00000005/00000001/art00002
Affiliation: SLCR: French

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