Edited Books (as co-editor) by Michel De Dobbeleer
Journal Articles by Michel De Dobbeleer
"Geïnspireerd door de claustrofobische koortsdromen van de quarantaineperiode speurt Michel De Do... more "Geïnspireerd door de claustrofobische koortsdromen van de quarantaineperiode speurt Michel De Dobbeleer zijn herinneringen af naar zijn eerste kijkbeurt van The Shining (1980).
Bezeten door het vluchtige beeld van een man in berenpak vangt hij een decennia overbruggende zoektocht aan die je langs festivalzalen, congreshallen, krankzinnige theorieën en de verlaten kamers van het Overlook Hotel brengt.
Komt dat lezen" [taken from the Kinoautomat Facebook page – thanks!]
The last decade saw the publication of more and more monographs (partially) devoted to the histor... more The last decade saw the publication of more and more monographs (partially) devoted to the history of comics (and/or graphic novels) in smaller or larger geographical/cultural areas around our globe. In this article I first focus on what – if anything – (the relevant chapters in) several of these books tell their readers about the history of comics in the former Republic of Yugoslavia and its successor states, and in Bulgaria, the other Slavic country on the Balkan Peninsula. In doing so, I discuss a (‘Cold War’) misperception about East European comics. In the second part, I probe the usefulness of extending the application range of the terms ‘minor [literatures]’ and ‘ultraminor [literatures]’ to the field of
comics. After that I put forward some suggestions on how future
contributions – scholarly and other – to the cultural transmission or
opening up of the history of (post-)Yugoslav and Bulgarian comics, as well as those of countries/nations/language areas with comparable traditions, could look like.
In 2000 verscheen Joe Sacco’s 229 pagina’s dikke Safe Area Goražde, een eigenzinnige, ontnuchtere... more In 2000 verscheen Joe Sacco’s 229 pagina’s dikke Safe Area Goražde, een eigenzinnige, ontnuchterende strip over wat er in de ondertitel van het werk te lezen staat: The War in Eastern Bosnia, 1992-95. Daarover wordt verslag uitgebracht vanuit het standpunt van de Bosniakken die het oorlogsgeweld meemaakten in de stad Goražde, destijds een enclave in het oosten van Bosnië en Herzegovina, én onmiskenbaar ook vanuit het standpunt van de Maltees-Amerikaanse stripauteur Joe Sacco. In deze bijdrage is het mijn bedoeling om aan de hand van deze strip, in het bijzonder de relatief korte passus over Srebrenica, het vertalen van (en in) strips over een traumatische gebeurtenis als de Bosnische oorlog te thematiseren en te bediscussiëren. Dat leidt tot een besluit omtrent de mogelijk verrijkende omgang van strips met traumatische getuigenissen.
Er bestaan veel studies die een antwoord proberen te geven op de vraag tot welk genre een tekst, ... more Er bestaan veel studies die een antwoord proberen te geven op de vraag tot welk genre een tekst, boek of (ander) kunstwerk behoort. Een terugkerende kritiek daarop is dat het vaak niet bijzonder relevant is om dergelijke genre-toewijzingen rigoureus te gaan beargumenteren, temeer omdat auteurs en andere kunstenaars vandaag minder dan ooit graag in zogenaamde hokjes worden geduwd. Ook deze bijdrage gaat over zo'n genrelabel, maar ik zal nergens pleiten om de drie bundels stripgedichten van Edward van de Vendel en Floor de Goede (2008, 2010, 2017) die hier centraal staan, van een ander, misschien passender etiket te voorzien. Nee, om het over deze drie specifieke werken uit het veelzijdige oeuvre van Van de Vendel te hebben, vormt het genrelabel in kwestie net het meest aangewezen vertrekpunt. Het is namelijk het zelf gecreëerde hokje waarin dichter en tekenaar zich zo'n tien jaar geleden, mede op initiatief van Kidsweek, kennelijk graag lieten duwen, en ook in 2017 nog steeds (laten) duwen. 1 Ik ga er dan ook van uit dat de drie bundels inderdaad stripgedichten zijn en zoek uit hoe die zich dan positioneren tegenover teksten of producten die verwante labels meekregen of -krijgen. En of Kidsweek, Van de Vendel en De Goede enkel de term 'stripgedicht' creëerden (ter invulling van een tot dan 'onbekende x'?), of ook de daarmee bedoelde tekstsoort.
In Mikhail Kheraskov’s Rossiada (Rossiad), praised (for a while) as Russia’s national epic, two c... more In Mikhail Kheraskov’s Rossiada (Rossiad), praised (for a while) as Russia’s national epic, two characters, the mysterious hermit Vassian and the vicious sorcerer Nigrin, occupy a special place because of their capacity to do magic. This article explores whether these magi and their tricks have any historical basis – the Rossiada tells about the successful siege of Kazan’ in 1552 – and also examines the literary predecessors of the two magi have in the rich European epic tradition. Especially Tasso’s Gerusalemme liberata and its parallel plot must have been a great source of inspiration. It turns out that the presence of magic in the Rossiada has little or nothing to do with Kheraskov’s potential interest in authentic Russian magic. Actually, it was the Aristotelian poetical concept of the marvellous which the classicist poet took into account when he constructed his epic plot.
[this article is part of an issue entitled 'Enjeux métafictionnels de la pseudo-traduction / Pseu... more [this article is part of an issue entitled 'Enjeux métafictionnels de la pseudo-traduction / Pseudotranslation and metafictionality' (eds. B. Vanacker & T. Toremans)]
According to world literature studies and polysystem theory, young or so-called peripheral literatures are considered to be particularly receptive to interferences with other literatures. Yet, at times socio-political and cultural turns or literary vacuums in more established and/or central literatures can cause a translation boom, too. The latter seemed to be the case with pseudotranslations of Western popular fiction in early Soviet Russia, where pseudotranslations were thought to fill the lacuna of exciting mass literature. One of the first pseudotranslators was Marietta Shaginian, who presented Mess-mend (1924) as a Russian translation of an American adventure novel by “Jim Dollar”. Near the end of the same decade, the Netherlands experienced a case of pseudotranslation in the other direction of the East-West axis: in the wake of a Dostoevskii hype the ‘translation’ of Boris Robazki’s Why I’m not mad (Waarom ik niet krankzinnig ben, 1929) was hailed as a Dostoevskian work. Quite soon Robazki turned out to be in fact Maurits Dekker, who had outsmarted the reviewers who a few years earlier had criticized his work. By means of a parameter set of reasons why authors play the trick of pseudotranslation, we analyze how Shaginian and Dekker have exploited the peculiarities of their respective literary systems.
In his Geschiedenis van de Russische literatuur [History of Russian Literature, 1985]
the famous ... more In his Geschiedenis van de Russische literatuur [History of Russian Literature, 1985]
the famous Dutch Slavist and essayist Karel van het Reve, links Russian writers, such as Gavriil Derzhavin and Aleksei Pisemskii to Dutch and Flemish ones, such as Vondel and Willem Elsschot. Further on, in the chapter on Lev Tolstoi, Multatuli’s Max Havelaar is cited, although it is clear from the start that none of these Dutch-speaking authors could have had any infl uence on the Russian writers to whom Van het Reve devotes his colourful chapters. In this article I explore the ‘transnational’ potential of Van het Reve’s self-willed literary-historiographical approach. It turns out that Van het Reve mentions most of these Dutch-speaking authors rather to indicate – directly or indirectly – that he (dis)likes them, than to contribute to the achievements of comparative literature. Both in his choice of authors and his way of practicing literary historiography Van het Reve manifests himself as a proponent of the vent (cf. the well-known vorm of vent or manner or man discussion). Nevertheless, some of his observations could be considered as transnational
constellations (in the world-literature sense of the term).
T. Hermans, G. Martens, N. Theisen (red.), CLW 7. Cahier voor literatuurwetenschap. Grote gevoelens in de literatuur, Gent, Academia Press, 2015, p. 65-78., 2015
This contribution explores how traditional western images of the Balkans (as unspoiled, savage an... more This contribution explores how traditional western images of the Balkans (as unspoiled, savage and romantic, but also politically unstable and dangerous, a powder keg) were differently constructed in the two Macedonia-based novels (Oriënt-Express, 1934; De bruiloft der zeven zigeuners [The wedding of the seven gypsies], 1939) by A. den Doolaard, the Dutch journalist-writer who has recently received much biographical attention in the Netherlands as well as in Macedonia. At the same time, it is demonstrated in which way these images can be rather easily connected with several posture-related aspects of Den Doolaard's authorship and artistic (self-)representation. The contribution argues why the artificial splitting up, in Macedonia, of the image of the writer may have thwarted his popularity over there, regardless of the recent inauguration of a Den Doolaard monument in that country.
Although the practice of adapting the classics of world literature into the comic medium has alwa... more Although the practice of adapting the classics of world literature into the comic medium has always been popular, there seems to be a shift in preference away from the classical adventure stories toward the more experimental (or, at least, less realist and “adaptogenic”) texts from the literary canon. If we concentrate on the “Slavic” situation, among the more recent graphic narrative adaptations we do not discover only the usual suspects with a rich adaptation history such as Lev Tolstoy and Fyodor Dostoevsky, but also less obvious names such as Bohumil Hrabal (Une trop bruyante solitude (2004) by Lionel Tran, Ambre, and Valérie Berge) and Bruno Schulz (Heimsuchung und andere Erzählungen von Bruno Schulz (1995) by Dieter Jüdt).
This essay explores the Hrabal and Schulz examples in order to tackle the question of the adaptability of modernist or at least less realist – in this case: grotesque – literature into visual artistic media – in this case: comics. As Linda Hutcheon has demonstrated, adaptations are the result of a complex process of “creative reinterpretation” and “extensive, particular transcoding”. What this essay focuses on, therefore, is whether, and if so, how these graphic narrative adaptations of modernist fiction have reinterpreted and transcoded the typically grotesque features of their literary counterparts.
The analysis shows that comics adapters can choose, on multiple levels, between a plethora of more or less medium-bound devices to compensate in an inventive way for the so-called “sacrifices” made during the adaptation process. In their adaptation Tran, Ambre and Berge, while omitting the more ludicrous traits of Too Loud a Solitude, managed to retain the intriguing complexity of both the content and the form of the protagonist’s inner musings over his own tragedy. Jüdt, for his part, may have sacrificed part of the equivocality of Schulz’s phantasmagoric literary world, but he clearly succeeded in visually rendering the grotesque imagery, the semiotic density as well as the narrative salience of the adapted text. As critical readings of their literary counterparts, finally, Jüdt’s work hints at the dominance of semiosis over mimesis in Schulz’s stories, whereas the Hrabal adaptation demonstrates the universal applicability of the novella’s humanist theme.
Studies in Comics, 2011
Having grown up entirely within the Franco-Belgian comics tradition, I confess that I read Watchm... more Having grown up entirely within the Franco-Belgian comics tradition, I confess that I read Watchmen for the first time in 2009. On page 2, I realized that I would need to look up several historical facts and names in order to make sense – more than twenty years after publication – of the complex background of gloomy Cold War tensions against which the action takes place. (Vainly) desiring to get the full picture and bridge the cross-cultural gap(s), I Googled terms like 'Vice-President Ford', 'KT-28' and 'Keene Act', which made me realize that Watchmen, to my surprise, has its own 'Wiki', and more important, that it displays a uchronia, or alternate history. Different scholars have fruitfully studied Moore's playing with the narratological levels of story and discourse. While they have focused on the manipulations at the discourse-level, this article divides the story in separate levels to probe the mechanisms of reading 'uchronical' comic stories. Partially inspired by Wolf Schmid's narratological model (2008), I hypothesize the level of 'uchronical Geschehen'. Comparing Watchmen to some other uchronical works, I try to explain why Alan Moore's gradual disclosure of the alternate-historical information generates two particular 'uchronical reading pleasures'.
PRIMERJALNA KNJIZEVNOST, Jan 1, 2009
A small 'journalistic' piece, written during a three-month research stay in Bulgaria, about the S... more A small 'journalistic' piece, written during a three-month research stay in Bulgaria, about the Sofia metro and the intriguing Central Station building there. [The opening paragraph unfortunately reveals that I hadn't seen the great Moscow, Saint Petersburg, Kiev ... metro networks at the time.]
Book Sections by Michel De Dobbeleer
The very first monograph in Bulgarian on the history of Bulgarian literature appeared in 1884, in... more The very first monograph in Bulgarian on the history of Bulgarian literature appeared in 1884, in Kiustendil. On the cover of this book, we read: “История на българската литература отъ А. Н. Пипина И В. Д. Спасовича. Превелъ оть русски Г. Н. Колушкий” (“History of Bulgarian Literature by A.N. Pypin and V.D. Spasovich. Translated from the Russian by G.N. Kolushki”). In this contribution I will discuss all parts of this peritextual information in order to shed light on the specific nature and context of this publication, and to answer the research question: is this indeed a translation, as the book cover suggests, or rather an adaptation of the original text?
Първата монография за историята на българската литература на български език се появява през 1884 г. в Кюстендил. На корицата на тази книга четем: “История на българската литература отъ А. Н. Пипина И В. Д. Спасовича. Превелъ оть русски Г. Н. Колушкий”. В тази статия обсъждам всички части на тази перитекстуална информация, за да хвърля светлина върху специфичния характер и контекст на тази публикация и да отговоря на въпроса: наистина ли това е превод, както подсказва корицата на монографията, или по-скоро адаптация на оригиналния текст?
Starting from Marcel Cornis-Pope and John Neubauer’s deliberately transnational History of the Li... more Starting from Marcel Cornis-Pope and John Neubauer’s deliberately transnational History of the Literary Cultures of East-Central Europe (2004-2010), this article explores the ‘transnationality’ of Johannes Scherr’s (re)presentation of the young East European literatures in his Allgemeine Geschichte der Literatur (1851), the first edition of what would become the most successful of the then booming genre of world literary history. One of Scherr’s strategies to ‘open up’ the unfamiliar literatures of Eastern Europe consists in linking its authors or works to more or less comparable ones that were expected to be familiar to the average German reader. Additionally, Scherr tends to impose on each of these literatures three quite easily recognizable phases, in the last one of which the literature in question becomes nationally distinctive. While I ‘visualize’ and discuss Scherr’s mentions of comparable authors/works with the help of David Damrosch’ well-known figure of the ellipse, Scherr’s phase-oriented approach leads me to the conclusion that for him a literature cannot be transnational(ly recognized) without first having become distinctly national.
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Edited Books (as co-editor) by Michel De Dobbeleer
Journal Articles by Michel De Dobbeleer
Bezeten door het vluchtige beeld van een man in berenpak vangt hij een decennia overbruggende zoektocht aan die je langs festivalzalen, congreshallen, krankzinnige theorieën en de verlaten kamers van het Overlook Hotel brengt.
Komt dat lezen" [taken from the Kinoautomat Facebook page – thanks!]
comics. After that I put forward some suggestions on how future
contributions – scholarly and other – to the cultural transmission or
opening up of the history of (post-)Yugoslav and Bulgarian comics, as well as those of countries/nations/language areas with comparable traditions, could look like.
According to world literature studies and polysystem theory, young or so-called peripheral literatures are considered to be particularly receptive to interferences with other literatures. Yet, at times socio-political and cultural turns or literary vacuums in more established and/or central literatures can cause a translation boom, too. The latter seemed to be the case with pseudotranslations of Western popular fiction in early Soviet Russia, where pseudotranslations were thought to fill the lacuna of exciting mass literature. One of the first pseudotranslators was Marietta Shaginian, who presented Mess-mend (1924) as a Russian translation of an American adventure novel by “Jim Dollar”. Near the end of the same decade, the Netherlands experienced a case of pseudotranslation in the other direction of the East-West axis: in the wake of a Dostoevskii hype the ‘translation’ of Boris Robazki’s Why I’m not mad (Waarom ik niet krankzinnig ben, 1929) was hailed as a Dostoevskian work. Quite soon Robazki turned out to be in fact Maurits Dekker, who had outsmarted the reviewers who a few years earlier had criticized his work. By means of a parameter set of reasons why authors play the trick of pseudotranslation, we analyze how Shaginian and Dekker have exploited the peculiarities of their respective literary systems.
the famous Dutch Slavist and essayist Karel van het Reve, links Russian writers, such as Gavriil Derzhavin and Aleksei Pisemskii to Dutch and Flemish ones, such as Vondel and Willem Elsschot. Further on, in the chapter on Lev Tolstoi, Multatuli’s Max Havelaar is cited, although it is clear from the start that none of these Dutch-speaking authors could have had any infl uence on the Russian writers to whom Van het Reve devotes his colourful chapters. In this article I explore the ‘transnational’ potential of Van het Reve’s self-willed literary-historiographical approach. It turns out that Van het Reve mentions most of these Dutch-speaking authors rather to indicate – directly or indirectly – that he (dis)likes them, than to contribute to the achievements of comparative literature. Both in his choice of authors and his way of practicing literary historiography Van het Reve manifests himself as a proponent of the vent (cf. the well-known vorm of vent or manner or man discussion). Nevertheless, some of his observations could be considered as transnational
constellations (in the world-literature sense of the term).
This essay explores the Hrabal and Schulz examples in order to tackle the question of the adaptability of modernist or at least less realist – in this case: grotesque – literature into visual artistic media – in this case: comics. As Linda Hutcheon has demonstrated, adaptations are the result of a complex process of “creative reinterpretation” and “extensive, particular transcoding”. What this essay focuses on, therefore, is whether, and if so, how these graphic narrative adaptations of modernist fiction have reinterpreted and transcoded the typically grotesque features of their literary counterparts.
The analysis shows that comics adapters can choose, on multiple levels, between a plethora of more or less medium-bound devices to compensate in an inventive way for the so-called “sacrifices” made during the adaptation process. In their adaptation Tran, Ambre and Berge, while omitting the more ludicrous traits of Too Loud a Solitude, managed to retain the intriguing complexity of both the content and the form of the protagonist’s inner musings over his own tragedy. Jüdt, for his part, may have sacrificed part of the equivocality of Schulz’s phantasmagoric literary world, but he clearly succeeded in visually rendering the grotesque imagery, the semiotic density as well as the narrative salience of the adapted text. As critical readings of their literary counterparts, finally, Jüdt’s work hints at the dominance of semiosis over mimesis in Schulz’s stories, whereas the Hrabal adaptation demonstrates the universal applicability of the novella’s humanist theme.
Book Sections by Michel De Dobbeleer
Първата монография за историята на българската литература на български език се появява през 1884 г. в Кюстендил. На корицата на тази книга четем: “История на българската литература отъ А. Н. Пипина И В. Д. Спасовича. Превелъ оть русски Г. Н. Колушкий”. В тази статия обсъждам всички части на тази перитекстуална информация, за да хвърля светлина върху специфичния характер и контекст на тази публикация и да отговоря на въпроса: наистина ли това е превод, както подсказва корицата на монографията, или по-скоро адаптация на оригиналния текст?
Bezeten door het vluchtige beeld van een man in berenpak vangt hij een decennia overbruggende zoektocht aan die je langs festivalzalen, congreshallen, krankzinnige theorieën en de verlaten kamers van het Overlook Hotel brengt.
Komt dat lezen" [taken from the Kinoautomat Facebook page – thanks!]
comics. After that I put forward some suggestions on how future
contributions – scholarly and other – to the cultural transmission or
opening up of the history of (post-)Yugoslav and Bulgarian comics, as well as those of countries/nations/language areas with comparable traditions, could look like.
According to world literature studies and polysystem theory, young or so-called peripheral literatures are considered to be particularly receptive to interferences with other literatures. Yet, at times socio-political and cultural turns or literary vacuums in more established and/or central literatures can cause a translation boom, too. The latter seemed to be the case with pseudotranslations of Western popular fiction in early Soviet Russia, where pseudotranslations were thought to fill the lacuna of exciting mass literature. One of the first pseudotranslators was Marietta Shaginian, who presented Mess-mend (1924) as a Russian translation of an American adventure novel by “Jim Dollar”. Near the end of the same decade, the Netherlands experienced a case of pseudotranslation in the other direction of the East-West axis: in the wake of a Dostoevskii hype the ‘translation’ of Boris Robazki’s Why I’m not mad (Waarom ik niet krankzinnig ben, 1929) was hailed as a Dostoevskian work. Quite soon Robazki turned out to be in fact Maurits Dekker, who had outsmarted the reviewers who a few years earlier had criticized his work. By means of a parameter set of reasons why authors play the trick of pseudotranslation, we analyze how Shaginian and Dekker have exploited the peculiarities of their respective literary systems.
the famous Dutch Slavist and essayist Karel van het Reve, links Russian writers, such as Gavriil Derzhavin and Aleksei Pisemskii to Dutch and Flemish ones, such as Vondel and Willem Elsschot. Further on, in the chapter on Lev Tolstoi, Multatuli’s Max Havelaar is cited, although it is clear from the start that none of these Dutch-speaking authors could have had any infl uence on the Russian writers to whom Van het Reve devotes his colourful chapters. In this article I explore the ‘transnational’ potential of Van het Reve’s self-willed literary-historiographical approach. It turns out that Van het Reve mentions most of these Dutch-speaking authors rather to indicate – directly or indirectly – that he (dis)likes them, than to contribute to the achievements of comparative literature. Both in his choice of authors and his way of practicing literary historiography Van het Reve manifests himself as a proponent of the vent (cf. the well-known vorm of vent or manner or man discussion). Nevertheless, some of his observations could be considered as transnational
constellations (in the world-literature sense of the term).
This essay explores the Hrabal and Schulz examples in order to tackle the question of the adaptability of modernist or at least less realist – in this case: grotesque – literature into visual artistic media – in this case: comics. As Linda Hutcheon has demonstrated, adaptations are the result of a complex process of “creative reinterpretation” and “extensive, particular transcoding”. What this essay focuses on, therefore, is whether, and if so, how these graphic narrative adaptations of modernist fiction have reinterpreted and transcoded the typically grotesque features of their literary counterparts.
The analysis shows that comics adapters can choose, on multiple levels, between a plethora of more or less medium-bound devices to compensate in an inventive way for the so-called “sacrifices” made during the adaptation process. In their adaptation Tran, Ambre and Berge, while omitting the more ludicrous traits of Too Loud a Solitude, managed to retain the intriguing complexity of both the content and the form of the protagonist’s inner musings over his own tragedy. Jüdt, for his part, may have sacrificed part of the equivocality of Schulz’s phantasmagoric literary world, but he clearly succeeded in visually rendering the grotesque imagery, the semiotic density as well as the narrative salience of the adapted text. As critical readings of their literary counterparts, finally, Jüdt’s work hints at the dominance of semiosis over mimesis in Schulz’s stories, whereas the Hrabal adaptation demonstrates the universal applicability of the novella’s humanist theme.
Първата монография за историята на българската литература на български език се появява през 1884 г. в Кюстендил. На корицата на тази книга четем: “История на българската литература отъ А. Н. Пипина И В. Д. Спасовича. Превелъ оть русски Г. Н. Колушкий”. В тази статия обсъждам всички части на тази перитекстуална информация, за да хвърля светлина върху специфичния характер и контекст на тази публикация и да отговоря на въпроса: наистина ли това е превод, както подсказва корицата на монографията, или по-скоро адаптация на оригиналния текст?
[Nur wenige Ereignisse hatten einen größeren Einfluss auf die christliche Welt als die Belagerung und Eroberung Konstantinopels 1453 durch die Osmanen unter Sultan Mehmed II. Ein und dieselbe Prophezeiung – über die Befreiung der Stadt durch ein blondes (russisches?) Volk – diente seit dem 16. Jahrhundert national(istisch)en Bestrebungen so unterschiedlichen Ländern wie Russland und Griechenland. Indem diese und andere Prophezeiungen in mehr oder weniger maßgebende (historiografische) Texte eingebunden wurden, wurde die tragische Erzählung vom Fall Konstantinopels durch einen neuen (epischen) Plot umgedeutet. Die zwei hier diskutierten Texte, Nestor-Iskinders russischer Bericht über den Fall Konstantinopels (spätes 15. Jahrhundert) und die griechische Visionen des Agathangelos (eine Fälschung der 1750er Jahre), werden mithilfe der von Hayden White und Michail Bachtin inspirierten (Em)plot(ment)theorie untersucht. In ihrem Umschreiben der Geschichte betonen beide Texte die Rolle von Byzanzs letztem Kaiser, Konstantin XI. und seinem Heldentod.]
unser Konzept eines Chronotopos des (Kriegs-)Rates vorstellen (Kapitel 2). Der dritte und vierte Teil dieses Beitrags haben narratologischen Charakter: Wir werden die Ebenen in Karlheinz Stierles Fabula in Geschehen und Geschichte aufteilen. Im letzten Teil (Kapitel 5) untersuchen wir, wie vermittels des Chronotopos des (Kriegs-)Rates im Comic Geschehen in Geschichte umgesetzt wird. Zur Illustration
unserer Analyse untersuchen wir vor allem Attilio Micheluzzis Sibérie (1991), einen realistisch gestalteten Comic über das Leben des Grafen Gabriel Kovalensky vor dem Hintergrund der Russischen Revolution. Da wir nachweisen wollen, dass unsere Erkenntnisse nicht nur für diese Art realistischer Comics Bedeutung haben, werden wir manchmal auch auf einen humoristischen Comic aus der franco-belgischen Tradition verweisen: auf Lambil und Cauvins L’oreille de Lincoln (2001) aus der Serie Les Tuniques Bleues.
coined as an instrument to discuss the literary works of Western writers who are largely, if not completely unaware of the ‘real’ Bulgaria, is applicable to one of the main characters in Ivan Turgenev’s Russian On the Eve (1860).
The conclusion (p. 223) of this contribution reads:
We could end by suggesting that historiography as well as epic poetry can function along the established lines of (mono)mythic formulas.
Strikingly enough it seems that the more such lines – like Campbell’s – can be retraced, the further-reaching the consequences are on the ideological plane. This observation fits in well with the tenor of the
criticism (as Manganaro’s, cf. note 1) which Campbell’s work during the last decades had to take. Indeed, the monomyth is authority-confirming and, due to its roots in aristocratic patrimony and culture, usually supports the reigning ideology.
Campbell might have seemed rather blind to this. People, whether they are oppressed or not, will always like heroes (whether they are historical or not) whose deeds remind them of the mythic heroes of olden days. The fact that the components of these deeds are likely to echo those of the monomyth probably makes it easier to empathise with the
heroes, as well as with their sacrifices. We demonstrated how the latter, depending on focalisation and plot, could be situated either on a psychological (Rossiad) or on a more literal, bloodier (Tale of Constantinople) plane. Whatever the sacrifice may be, it should
stimulate the reader’s empathy so he can experience a kind of Aristotelian catharsis, and with respect to this it does not matter at all whether the genre in which the sacrificing leader is involved is (semi)historiographic or epical, or even (melo)dramatic or lyrical.
During 'StaatNed 2018', the baseline measurement ("nulmeting") of the language use of the inhabitants of Suriname took place, a former colony of the Netherlands where Dutch is still being spoken. In my report I probe the feasibility of a (kind of) baseline measurement of the 'state' of the Dutch and other language( use)s among the so-called 'Ghent Bulgarians', i.e., the many inhabitants of Ghent (East Flanders, Belgium) of Bulgarian(-Turkish) descent.
Cross-Over 27-28 februari 2015 Poznań. Het tweejaarlijkse congres van de internationale neerlandistiek / Cross-Over 27-28 February 2015 Poznań. The Biennial International Conference on Netherlandic Studies
Dieter De Bruyn & Michel De Dobbeleer. 'Classics Interpreted: Graphic Narrative Adaptations of Slavic Literary Works'. 150-153.
Katy Sosnak. 'The Many Faces of Raskolnikov: Prestuplenie i nakazanie As 1950s Popaganda'. 154-174.
Michel De Dobbeleer & Dieter De Bruyn. 'Graphic Grotesque? Comics Adaptations of Bohumil Hrabal and Bruno Schulz'. 175-202.
José Alaniz. '([Post-]Soviet) Zone of Dystopia: Voronovich/Tkalenko’s ‘Sterva’'. 203-228.