tag:blogger.com,1999:blog-6939793699888006132024-03-28T12:07:37.244-07:00Early ComicsPascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.comBlogger9125tag:blogger.com,1999:blog-693979369988800613.post-71743596013262148512024-03-27T13:16:00.000-07:002024-03-28T12:06:33.459-07:00Early Comics Swipe: Maxime -> Jacobsson<p>An early comic by Maxime published in a Flemish illustrated weekly (<i>De Vlaamsche Patriot</i>), 6 September 1891, but probably published earlier in a French illustrated weekly. Likely it inspired the Swedish artist Oscar Jacobsson for the <i>Adamson</i> gag, originally published in a Swedish weekly, <i>Söndags-Nisse</i>, 4 February 1923. Unfortunately, no further information about Maxime is avaible.<br /></p><p><span class="HwtZe" lang="en"><span class="jCAhz ChMk0b"><span class="ryNqvb">Both artists succeed in telling the joke by pure visual means, but </span></span></span><span class="HwtZe" lang="en"><span class="jCAhz ChMk0b"><span class="ryNqvb">Maxime's
choice to work with silhouettes for his characters is actually not very
efficient in showing the impact of splashing afterwards, contrary to</span></span></span><span class="HwtZe" lang="en"><span class="jCAhz ChMk0b"><span class="ryNqvb"> Jacobsson: notwithstanding his dirty face, Adamson's facial expression is clearly visible and funny.</span></span></span> </p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht75gW4zwk727wwf29so6JDqB8a8i1907ttQpSHJ5Xd7e99tXzrUfFE85pcLd1MhhoqYg759z2N8wixmTRFOuNWzK8lA4tH0AYu-yhpOvK_z4dlA5QO0BCa6MmaZD4_lv8_ZgYhNW46mc6k4ruVHePaUzk32Z0nHfq9sS-Z6Zq8l-3VMhfQvfZnOAX3GQ/s1842/ILL%203%20DVP,jg.4,10,6-9-1891,p116,Maxime,silhouetten.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1842" data-original-width="1262" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht75gW4zwk727wwf29so6JDqB8a8i1907ttQpSHJ5Xd7e99tXzrUfFE85pcLd1MhhoqYg759z2N8wixmTRFOuNWzK8lA4tH0AYu-yhpOvK_z4dlA5QO0BCa6MmaZD4_lv8_ZgYhNW46mc6k4ruVHePaUzk32Z0nHfq9sS-Z6Zq8l-3VMhfQvfZnOAX3GQ/s320/ILL%203%20DVP,jg.4,10,6-9-1891,p116,Maxime,silhouetten.jpg" width="219" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKZR8PVHhxGF4gHyhXYhQfXM_dKL1D6Z7T6YFWq06rAbo5dMPfat7_PnQB3VwZv-fHdBJr6UOKy23LW7zESgDcxsoXSWFVz3CKvFkk03AgRb0j3XnNIpN_tAJUDoUq6YSYK_CnmHlPOWwdMmJ7jglwwbffPTW_0Z-1aDE71Sak-oVcdlXTaJxiCpCPoSc/s2964/Ill%204%20Adamson%20and%20brook%20.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2964" data-original-width="2781" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKZR8PVHhxGF4gHyhXYhQfXM_dKL1D6Z7T6YFWq06rAbo5dMPfat7_PnQB3VwZv-fHdBJr6UOKy23LW7zESgDcxsoXSWFVz3CKvFkk03AgRb0j3XnNIpN_tAJUDoUq6YSYK_CnmHlPOWwdMmJ7jglwwbffPTW_0Z-1aDE71Sak-oVcdlXTaJxiCpCPoSc/s320/Ill%204%20Adamson%20and%20brook%20.jpeg" width="300" /></a></div></div><p></p>Pascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.com0tag:blogger.com,1999:blog-693979369988800613.post-69903951696224008882009-12-26T23:56:00.000-08:002010-07-09T00:29:57.697-07:00Early Japanese comics<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3aNb1_W2SqOy54bVzdXmqY137a7rB8up_dA8UcRCV5MqB4BFNBhIWpl-12cckKKei5pqo0Z_rQt4LkViXeP2yOjwqvSvBgLVVdt-uCjRTvEnN_ZAX6oHYOxNJG4qOjvza2IrsjFM1wj3R/s1600/9_oshogatsu+kopie.jpg"><br /></a><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7LLTh_7n5SPQuKuORMKrOoD6rB0Q5J9aR3OGotWukXXbtBpX768EM0Dl67EvkaVSpwZI1pnDrSvA_F1WUDrNXlXsWAdR_PpZqFdXvFD4PRAEUDg3CzgiK9HV8eAlfjH3Q5MQE5jo40aoU/s1600-h/DSC04864.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7LLTh_7n5SPQuKuORMKrOoD6rB0Q5J9aR3OGotWukXXbtBpX768EM0Dl67EvkaVSpwZI1pnDrSvA_F1WUDrNXlXsWAdR_PpZqFdXvFD4PRAEUDg3CzgiK9HV8eAlfjH3Q5MQE5jo40aoU/s320/DSC04864.JPG" alt="" id="BLOGGER_PHOTO_ID_5423910946145904498" border="0" /></a><span style="font-size:78%;">Kyoto International Manga Museum (photo P. Lefèvre)</span><br /><br /></div><span style="font-size:100%;"><span style="font-family:trebuchet ms;">The <span style="font-style: italic;">Kyoto Seika University International Manga Research Center</span> invited me to participate in their conference </span></span><a href="http://www.kyotomm.jp/english/event/study/isc01_e.php"><span style="font-style: italic;font-family:trebuchet ms;" >Comics Worlds and the World of Comics: Scholarship on a Global Scale</span></a><span style="font-size:100%;"><span style="font-family:trebuchet ms;"> (December 18-20)</span></span> <span style="font-family:trebuchet ms;">of which next year will be published a bilingual anthology (Japanese/English). It was on the whole an interesting dialogue between Japanese scholars (amongst others Fusanosuke Natsume</span><span style="font-family:trebuchet ms;">) and their colleagues from abroad (amongst others Thierry Groensteen and Thomas Lamarre). I presented a paper about the necessities of international collaborations for comparative research. The event took place in Japan's first general manga museum <a href="http://www.kyotomm.jp/english/"><span style="font-style: italic;">Kyoto International Manga Museum</span></a>, which features not only interesting exhibitions but has also an impressive library and a research center. The museum is run by the Kyoto Seika University, which was moreover the first Japanese university to set up a proper <a href="http://www.kyoto-seika.ac.jp/eng/3_manga/manga.htm">faculty</a> dedicated to manga. Already on a quantative level it seems to be a huge succes with 852 undergraduate students. </span><br /><span style="font-family:trebuchet ms;">Today in the research center of the museum I had a chanche to browse through some early magazines from between 1900 and 1914 (as <span style="font-style: italic;">Nipponchi</span> and <span style="font-style: italic;">Tokyo Puck</span>). From the few copies of Japanese periodicals I could consult I saw quite a variety in publication formats (though always with soft cover), but all sequential works were drawn in a more or less charicatural style with clear contour lines, mostly with one or more additional color(s). All the characters and locations looked Japanese. On the one hand one can see an important role of politics (as the war with Russia), but on the other hand there is also a lot of purely funny material (as mischief gag comics). I didn't see any translations or reprints of European or American comics - though various magazines clearly refer through their title to <span style="font-style: italic;">'Punch</span>' or '<span style="font-style: italic;">Puck</span>'. </span><span style="font-family:trebuchet ms;"><br /></span><span style="font-family:trebuchet ms;"><br /><br /><br /></span><span style="font-family:trebuchet ms;"></span>Pascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.com0tag:blogger.com,1999:blog-693979369988800613.post-37624732479736485802009-12-23T01:01:00.000-08:002009-12-23T01:38:34.890-08:00New publications<p style="color: rgb(51, 51, 51);font-family:trebuchet;"><span style="font-size:100%;">Two new publications about my continuing research on early comics were recently released.</span></p><p style="color: rgb(51, 51, 51);font-family:trebuchet;"><span style="font-size:100%;">One is in English and focuses on panel arrangements and page layouts of early comics published in Belgium in the five decades before the start of Tintin in 1929. It investigates the degree of standardisation in this pivotal period, in which the old system of graphic narratives with captions evolved to comics with balloons. The years between 1880 and 1929 boasted a variety of publication formats (broadsheets, illustrated magazines for adults and for children, comic strips, artists’ books), within which one can see both similar and different conventions at work.</span></p><p style="color: rgb(51, 51, 51);font-family:trebuchet;"><span style="font-size:100%;">- <span style="color: rgb(51, 51, 51);">Lefèvre, Pascal, <span style="">'</span></span><span style=""><span style="color: rgb(51, 51, 51);">The Conquest of Space. Evolution of panel arrangements and page lay outs in early comics’ in <i>European Comic Art</i>,</span></span><span style="color: rgb(51, 51, 51);"> in <a href="http://eurocomicart.lupjournals.org/" rel="nofollow"><i>European Comic Art</i></a>, Vol. 2, N°2, 2009, p.227-252 .</span></span></p> <p style="color: rgb(51, 51, 51);font-family:trebuchet;"><span style="font-size:100%;">The other article is in Dutch and gives an overview of the publication formats of sequential graphics in Belgium before the 1930s.<br /></span></p><p style="color: rgb(51, 51, 51);font-family:trebuchet;"><span style="font-size:100%;">- <span style="color: rgb(51, 51, 51);">Lefèvre, Pascal, 'Panorama van het vroege beeldverhaal in België (1870-1929)' in <i>Sint-Lukas Galerie Brussel</i>, p. 12-17.</span></span></p>Pascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.com0tag:blogger.com,1999:blog-693979369988800613.post-16298397389550361812009-08-29T09:52:00.000-07:002009-09-01T14:59:33.218-07:00Close up on Busch<span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >The Félicien Rops museum in Namur (Belgium) held this summer an interesting exhibition </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >on Wilhelm Busch</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > in collaboration with the Wilhelm Busch Museum of Hannover. Busch (1832-1908) is widely known as one of the crucial comics artists of the nineteenth century, but as the exhibition showed he painted also extensively (about 1,000 paintings). The artist is of course more known for his humoristic stories such as </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Max und Moritz</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >. The exhibition showed some original drawings, which Busch executed on a very small format. Nevertheless this small format, every scene is rendered in striking sketchy, loose lines but they do the trick: the pencil drawings are far more curvy and dynamic than the woodcut versions of the broadsheets. The printed version </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >respects largely the original composition, but </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >alters the drawing by using unbroken contour lines, by leaving some elements out (such as the thick hatching on the left) and adding various elements (eg the hatching on the belly of the man). The flat </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >coloring helps in defining various parts or elements </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >that Busch left undefined in his original pencil strokes</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > (for instance</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > the border between the shirt and the trousers of the man). </span><br /><br /><a style="font-family: trebuchet ms; color: rgb(102, 102, 102);" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVLsfdrcVg-EqiO4mb3s-sz0J4WpjI06ZzKXCL7aitgv8TAwia9RNjjD8PzdtANzxdD9KSAg7ZI8AF4pdVLutr4y5OUyiKW6fEyKc9KWmlxJremD9ZV6hAL42C5J1Uq8bqayqZEymdorY/s1600-h/BuschDieBrille001.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 188px; height: 133px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVLsfdrcVg-EqiO4mb3s-sz0J4WpjI06ZzKXCL7aitgv8TAwia9RNjjD8PzdtANzxdD9KSAg7ZI8AF4pdVLutr4y5OUyiKW6fEyKc9KWmlxJremD9ZV6hAL42C5J1Uq8bqayqZEymdorY/s320/BuschDieBrille001.jpg" alt="" id="BLOGGER_PHOTO_ID_5375684246877952098" border="0" /></a> <div style="text-align: left; font-family: trebuchet ms; color: rgb(102, 102, 102);"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcgPiaUb4N6tmS9S7iW-kJkjAkhMhtfdpGXt-LDhI9r6V7XKO_39AeE-shyc4nyO2vORafusnV5z9Q18oZz6hnlE1q6I_ILBM8qjTzp_hDHx0uQFvD8rhh8wH1VGGRKQS_o4qFhtiY3Uwc/s1600-h/DSC04780.JPG"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 160px; height: 130px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcgPiaUb4N6tmS9S7iW-kJkjAkhMhtfdpGXt-LDhI9r6V7XKO_39AeE-shyc4nyO2vORafusnV5z9Q18oZz6hnlE1q6I_ILBM8qjTzp_hDHx0uQFvD8rhh8wH1VGGRKQS_o4qFhtiY3Uwc/s320/DSC04780.JPG" alt="" id="BLOGGER_PHOTO_ID_5375435318190222498" border="0" /></a></div> <div style="text-align: center; color: rgb(102, 102, 102);font-family:trebuchet ms;"><br /><br /><br /><br /><br /><br /><br /><span style="font-size:85%;"><br />on the left original pencil drawing by Wilhelm Busch (1870)<br />on the right printed (wood cut) version of Münchener Bilderbogen (1870)</span><br /></div> <span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ><br />In the exhibition and the catalogue (only available in French </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Wilhelm Busch, de la caricature à la DB</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >) the fact is stressed that Wilhelm Busch was influenced by the new photographic medium and that he - unlike most of his colleagues - did not solely use long shots, but that he included also close ups in his picture stories. Examples can be found in </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Die Fliege</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > (1861), </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Der Schnuller</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > (1863), </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Max und Moritz </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >(1865).</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > Every time he uses the close up for a clear narrative purpose, namely to make some small but important elements bigger</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >: for instance the crushing of an irritating fly under a foot.<br />So, Busch used close ups long before cinema (</span><a style="font-family: trebuchet ms; color: rgb(102, 102, 102);" href="http://www.youtube.com/watch?v=6ho05y9IMr4"><span style="font-style: italic;">Grandma's Reading Glass</span></a><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > of 1900 is often acclaimed to have used for the first time a close up in a short film narrative). Nevertheless it would still take a long time before the insertion of such close ups became a regular practice in various comics. </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ><br /></span><br /><div style="text-align: center;"><a style="color: rgb(102, 102, 102);" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWi5sqJ7F2R2nk-D_-nsMvG0KqbSo0WsKL0AMgNDJgFXp-ODELw9811TDWhUh6kFCfJCsNoeVHDY631mea48WNonsRv_eP2wQ31mH-3meqj9rjUzvv3brvnZ5KipHzhQ74ojN-i71a_SI_/s1600-h/BuschDieFliege002.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 336px; height: 73px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWi5sqJ7F2R2nk-D_-nsMvG0KqbSo0WsKL0AMgNDJgFXp-ODELw9811TDWhUh6kFCfJCsNoeVHDY631mea48WNonsRv_eP2wQ31mH-3meqj9rjUzvv3brvnZ5KipHzhQ74ojN-i71a_SI_/s320/BuschDieFliege002.jpg" alt="" id="BLOGGER_PHOTO_ID_5376613303038464962" border="0" /></a><span style="font-size:85%;"><span style="font-style: italic;">Die Fliege</span> (1861)</span><br /></div><div style="text-align: center; color: rgb(102, 102, 102);"><br /></div><span style="color: rgb(102, 102, 102);font-size:85%;" > </span><a style="font-family: trebuchet ms; color: rgb(102, 102, 102);" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU1gqpbyJOR6vUHYKCpmca7LyoMobAlBJHj3zv_zOg-OhfT1OX2EBsTm71hLXnYp-xWlZT6sJEzk4IEzbiomoGlymKLZo6b4h57OGFQaXc89yiVqkTO5x7UUSp8R0UXkySkwBvD_uOjM5E/s1600-h/BuschDieSchmuller003.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 318px; height: 139px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU1gqpbyJOR6vUHYKCpmca7LyoMobAlBJHj3zv_zOg-OhfT1OX2EBsTm71hLXnYp-xWlZT6sJEzk4IEzbiomoGlymKLZo6b4h57OGFQaXc89yiVqkTO5x7UUSp8R0UXkySkwBvD_uOjM5E/s320/BuschDieSchmuller003.jpg" alt="" id="BLOGGER_PHOTO_ID_5375685996565486274" border="0" /></a> <div style="text-align: center; color: rgb(102, 102, 102);"><span style="font-style: italic;font-family:trebuchet ms;font-size:85%;" >Der Schnuller</span><span style=";font-family:trebuchet ms;font-size:85%;" > (1863)</span><span style="font-size:85%;"><span style="font-style: italic;"></span></span><br /></div> <span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ><br />More information and visuals on a website about </span><a style="font-family: trebuchet ms; color: rgb(102, 102, 102);" href="http://www.zeno.org/Literatur/M/Busch,+Wilhelm">Wilhelm Busch</a><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ><br />Hans Joachim </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >Neyer (ed.), </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Wilhelm Busch, de la caricature à la DB</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, Oostkamp: Stichting Kunstboek, 2009.</span> <span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > </span>Pascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.com0tag:blogger.com,1999:blog-693979369988800613.post-41367384864095960112009-08-18T07:42:00.000-07:002009-08-22T12:57:40.566-07:00Wanted !<span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >A majority of the comics that were published in Belgium before the birth of </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Tintin</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > in 1929 came from abroad: often the names of the characters are changed and no references to the artists name or the original publication can be found. Therefore I call out to other specialists if they might recognize some of the following characters I found in the Flemish children magazine </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >De Kindervriend</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > early 20th century (unfortunately not dated). </span><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ><br />The two characters called in the Dutch text 'Job & Bob' I've already recognized, i</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >t are the English<span style="color: rgb(204, 153, 51);"> </span></span><span style="font-style: italic; color: rgb(204, 102, 0);font-family:trebuchet ms;" >Weary Willie and Tired Tim</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > by Tom Brown, but does somebody know where and when this gag was first published ?</span><br /><br /><a style="color: rgb(102, 102, 102);" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsXMiDfk9v8lJNAPAoQj4XTXqf4UpVAoV5IX_B5_3CX3Hd0oktiY_EwnQtMcq_6NoysYMpTGwBCELkRoFluywrYtjYX5OSDbqC2S4boi2qW2CtrvUYC9qMonU3QMHWkdmyUVnTRpkSeKkr/s1600-h/220_01+kopie.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 364px; height: 234px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsXMiDfk9v8lJNAPAoQj4XTXqf4UpVAoV5IX_B5_3CX3Hd0oktiY_EwnQtMcq_6NoysYMpTGwBCELkRoFluywrYtjYX5OSDbqC2S4boi2qW2CtrvUYC9qMonU3QMHWkdmyUVnTRpkSeKkr/s320/220_01+kopie.jpg" alt="" id="BLOGGER_PHOTO_ID_5371317124032172050" border="0" /></a><div style="text-align: center; color: rgb(102, 102, 102);"><span style="font-size:85%;">Tom Brown's <span style="font-style: italic;">Weary Willie and Tired Tim</span> called <span style="font-style: italic;">Job & Bob</span></span><br /><span style="font-size:85%;">in the Flemish children's magazine <span style="font-style: italic;">De Kindervriend</span> (N° 220) </span><br /></div><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >The next panel features some mischievous children, quite resembling to the </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Katzenjammer Kids. </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >Steve Holland mailed me and suggested that it are: "</span><span style="color: rgb(204, 102, 0);font-family:trebuchet ms;" >The Bunsey Boys</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ><span style="font-style: italic;">which appeared in </span>The Wonder<span style="font-style: italic;"> in 1901 and continued in </span>The Jester and Wonder <span style="font-style: italic;">when </span>Wonder<span style="font-style: italic;"> changed title (but continued its numbering) in 1902. Apparently, the strip was drawn by Leonard Shields when it appeared in the latter, although it is likely he was not the original artist</span>.</span>"<br /><br /><div style="text-align: center; font-family: trebuchet ms; color: rgb(102, 102, 102);"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj16sNw40AoHnn0E6KQ4vwfS-k69apyGuhnyxNZhXzuu9iVVGvj9Zg-GV9-TV83iDRK4s9mv_2H0EAQqEzYa1mZM87Q54ZJlQzoxRzDluibhcDuh38hdrDN992XfoaFOTbIwg1Z2cA6FM-C/s1600-h/221_01+kopie.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 343px; height: 268px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj16sNw40AoHnn0E6KQ4vwfS-k69apyGuhnyxNZhXzuu9iVVGvj9Zg-GV9-TV83iDRK4s9mv_2H0EAQqEzYa1mZM87Q54ZJlQzoxRzDluibhcDuh38hdrDN992XfoaFOTbIwg1Z2cA6FM-C/s320/221_01+kopie.jpg" alt="" id="BLOGGER_PHOTO_ID_5371317445063151714" border="0" /></a><span style="font-size:85%;">from <span style="font-style: italic;">De Kindervriend</span> (N° 221) </span></div><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ><br />Here's another yet unidentified comic character, probably from the British press.</span><br /><br /><div style="text-align: center; color: rgb(102, 102, 102); font-family: trebuchet ms;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilN7_ioIiri_amCicyf9C6vDOW7nXt3nC_jQFh2opQoEcVcNn1tnk2flTuVy5VA20saTS83LKIUl3XDoaerOIc-1VEcucbFXoVlfRKzhFbNf9JIZ6D586hFusgMbri4vi6LzeGHD-Sgq1U/s1600-h/222_01+kopie.jpg"><img style="cursor: pointer; width: 306px; height: 258px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilN7_ioIiri_amCicyf9C6vDOW7nXt3nC_jQFh2opQoEcVcNn1tnk2flTuVy5VA20saTS83LKIUl3XDoaerOIc-1VEcucbFXoVlfRKzhFbNf9JIZ6D586hFusgMbri4vi6LzeGHD-Sgq1U/s320/222_01+kopie.jpg" alt="" id="BLOGGER_PHOTO_ID_5371318001234404322" border="0" /></a></div><div style="text-align: center; color: rgb(102, 102, 102);font-family:trebuchet ms;"><span style="font-size:85%;">from <span style="font-style: italic;">De Kindervriend</span> (N° 222)</span><br /></div><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ><br />And who's the author and the original of this elephant called '<span style="color: rgb(204, 102, 0);">Jimmy</span>' in the translation by </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >De Kindervriend</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >.</span><br /><div style="text-align: center; font-family: trebuchet ms; color: rgb(102, 102, 102);"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYyiewMAP-Hx6eTzH2z5k_p2TU9b3D4M0S9ozwQlF7R0G01AzabW2CwCVkYwUU5_ZLBM0VWSkox3_azDBdRkPPGN0ivAqh5RHfjcE4eb1rt2XSJIAa8y9I4cYBAsj3Q2GzId5slvhli2bq/s1600-h/214_01+kopie.jpg"><img style="cursor: pointer; width: 325px; height: 336px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYyiewMAP-Hx6eTzH2z5k_p2TU9b3D4M0S9ozwQlF7R0G01AzabW2CwCVkYwUU5_ZLBM0VWSkox3_azDBdRkPPGN0ivAqh5RHfjcE4eb1rt2XSJIAa8y9I4cYBAsj3Q2GzId5slvhli2bq/s320/214_01+kopie.jpg" alt="" id="BLOGGER_PHOTO_ID_5371318337661555650" border="0" /></a><br /><span style="font-size:85%;">An elephant called 'Jimmy' in <span style="font-style: italic;">De Kindervriend</span> (N° 214)</span><br /></div><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ><br />So any help with the identification of these comics would be greatly appreciated. </span><br /><div style="text-align: center; font-family: trebuchet ms; color: rgb(102, 102, 102);"> <!--[if gte mso 9]><xml> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:hyphenationzone>21</w:HyphenationZone> <w:punctuationkerning/> <w:drawinggridhorizontalspacing>18 pt</w:DrawingGridHorizontalSpacing> <w:drawinggridverticalspacing>18 pt</w:DrawingGridVerticalSpacing> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:dontgrowautofit/> <w:dontautofitconstrainedtables/> <w:dontvertalignintxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="276"> </w:LatentStyles> </xml><![endif]--> <style> <!-- /* Font Definitions */ @font-face {font-family:Arial; 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mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <!--StartFragment--></div>Pascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.com2tag:blogger.com,1999:blog-693979369988800613.post-19143209467632330022009-08-12T15:01:00.000-07:002009-08-13T12:06:49.500-07:00International Research Society for Children's Literature 2009 conference in Frankfurt am Main<div style="text-align: center; font-family: trebuchet ms; color: rgb(102, 102, 102);"><div style="text-align: left;"><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsxFzClEe2NE4C8QseyU2HaWJ0igk915n59cu36WaszJM9cfz8VFkeRVqL6nYg0YeymvHEVM_CMa1vE21wKlzFPntvm53asqU98nvm9ZqfTJP88r1kLZ3UAZqUWdS_HG9QVKavmtm35Co/s1600-h/DSC04651.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 420px; height: 312px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsxFzClEe2NE4C8QseyU2HaWJ0igk915n59cu36WaszJM9cfz8VFkeRVqL6nYg0YeymvHEVM_CMa1vE21wKlzFPntvm53asqU98nvm9ZqfTJP88r1kLZ3UAZqUWdS_HG9QVKavmtm35Co/s320/DSC04651.JPG" alt="" id="BLOGGER_PHOTO_ID_5369201656057229266" border="0" /></a><span style="font-size:78%;"><span style="font-style: italic;">I.G.-Farben-Haus</span> by Poelzig (1930)<br />today G</span><span style="font-size:78%;">oethe University in</span><b> </b><span style="font-size:78%;">Frankfurt am Main (photo Pascal Lefèvre)</span><br /></div><br />I've just returned from the largest academic conference I ever attended to, the 19th biennial congress of IRSCL (International Research Society for Children's Literature) hosted by the <span style="font-style: italic;">German Intitut für Jugendbuchforschung</span> at the <span style="font-style: italic;">Goethe-Universität Frankfurt am Main</span>. Some 400 delegates came from all around the globe to the modern Westende campus, with the famous building by Hans Poelzig, <span style="font-style: italic;">I.G.-Farben-Haus</span> which was once the home of the production administration of Zyklon B. After the war it served for the American army, but in 2001 the Goethe university renamed the building the <span style="font-style: italic;">Poelzig-Bau</span>. The architect Poelzig (1869-1936) fled in 1936 for the Nazi's to Turkey, where he died. He was not only an architect but also a painter and set designer for the movies (<span style="font-style: italic;">Der Golem, wie er in die Welt kam</span>, 1920)<br />Anyhow his building is impressive and the campus is quite pleasing. The organisation of the conference was perfect - except for the fact that our half day off was planned on a Monday when almost all the musea were closed. With some plenary lectures (unfortunately Zohar Shavit was too ill to travel, so she sent a videotape) and 15 concurrent sessions during 5 days we had an enormous choice. Furthermore English was not the only conference language, but there were lectures and complete panels in French, German or Spanish, which is in itself a good thing if there's at least a translation available - otherwise one only preaches to the already converted.<br />Except for keynotes, I attended 19 papers (in four different languages) of the concurrent sessions, so I can't judge the global conference. I chose foremost the comics-related papers, but also talks on early representations of Africa. As always, the level was quite variable: I heard some very interesting presentations, such as Giulia Pezzuolo's talk about extraterrestrials in Italian fantastic literature for children, early 20th century. For her most books aimed to convey the dominant values rather than entertain or develop one's critical mind. Sandra's Beckett's visual exploration of the very different contemporary versions of <span style="font-style: italic;">Little Red Riding Hood</span> was quite entertaining. This famous fairy tale figure can be transposed to virtually any cultural setting: from an African in a leopard-skin to a Japanese in a kimono.<br />Comics specialists should for certain become more active in these circles of children's literature. Browsing through the program it seems that most academics focus rather on content, translation problems or on cultural, ideological aspects, but for instance very few attention is given to the economical side of children's literature. Most scholars were indeed from education or literary departments. It must be also one of the few fields were women outnumber their males colleagues.<br />I was in a panel on children's media and (post-)colonialism with excellent colleagues from the Netherlands: Lies Wesseling (on the 'adoption plot' in missionary discourse and children's literature), Sybille Lammes (on post-colonial computer games), Helma van Lierop (on the construction of Africa in Dutch children's literature around 1900) and Astrid Surmatz (on representations of Lappland in two Swedish children's book).<br />Frankfurt turned out a rather pleasant location with interesting musea such as their Film Museum and the Communication's Museum (which are almost neighbors). This winter the archaeological museum will feature an exhibition on the tapestry of Bayeux in collaboration with the French Centre Guillaume le Conquérant, the National Museum in Kopenhagen and the Viking Ship Museum of Roskilde.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_enI0EBZSWRqb9uC-yNMs0MfqAEHFA8Nncb_qvG_aHSKe0ZYSp4nRS723WIWb-fIOEqg4u5gaGh045OxpYPDF2GktfkPdN1HKilb019LItCznBvz8bfuilhuigprVQ5mhDfJb5OLkhLb7/s1600-h/DSC04699.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 437px; height: 323px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_enI0EBZSWRqb9uC-yNMs0MfqAEHFA8Nncb_qvG_aHSKe0ZYSp4nRS723WIWb-fIOEqg4u5gaGh045OxpYPDF2GktfkPdN1HKilb019LItCznBvz8bfuilhuigprVQ5mhDfJb5OLkhLb7/s320/DSC04699.JPG" alt="" id="BLOGGER_PHOTO_ID_5369202357673288962" border="0" /></a><br /><div style="text-align: center;"><span style="font-size:78%;"><span>the mischievous </span><span style="font-style: italic;">Max and Moritz</span> still live on<br />in the streets of Frankfurt am Main (photo Pascal Lefèvre)</span><br /></div><br /></div></div>Pascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.com0tag:blogger.com,1999:blog-693979369988800613.post-81520154080235397722009-08-07T14:13:00.001-07:002009-09-07T05:14:55.291-07:00A city symphony from São Paulo<div style="text-align: center; font-family: trebuchet ms; color: rgb(102, 102, 102);"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Brv937v6MLooVwu1PGLpFt1S2q3blt9P3TqqAxdiYJ6XoYqCK4m4_jb4v_vzdfVy_FBGSSb-59ahWuU8PvmvrmSZpv07U3iEABqUVecZqlGondovEsxyjIQFE3Lf9LC-yjK0gOJPg8Ri/s1600-h/SaoPaulo.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 262px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Brv937v6MLooVwu1PGLpFt1S2q3blt9P3TqqAxdiYJ6XoYqCK4m4_jb4v_vzdfVy_FBGSSb-59ahWuU8PvmvrmSZpv07U3iEABqUVecZqlGondovEsxyjIQFE3Lf9LC-yjK0gOJPg8Ri/s320/SaoPaulo.jpg" alt="" id="BLOGGER_PHOTO_ID_5369198688271085570" border="0" /></a><span style="font-size:78%;">still from site <span style="font-style: italic;">Tampere Short Film Festival 2006</span></span><br /></div><p style="font-family: trebuchet ms; color: rgb(102, 102, 102);">The German Film Museum of Frankfurt screened a rarely shown Brazilian ´city symphony´, namely Rodolpho Rex Lustig´s and Adalberto Kemeny´s <em>São Paulo, Sinfonia da Metrópole</em> (1929<em><a href="http://www.catalisadora.com.br/"><em>, link</em></a></em>), because only recently restored by the <span style="font-style: italic;">Fundação Cinemateca Brasileira</span>. The screening was part of a larger program on city symphonies (a.o. also one about Tokyo) curated by a PhD-candidate working on this genre, Chris Dähne. <em><br /></em></p><p style="font-family: trebuchet ms; color: rgb(102, 102, 102);"><em>São Paulo, Sinfonia da Metrópole</em> was made by two Hungarian born directors, but who worked in the German film industry after WOI. In the 1920s they emigrated to Brazil, where they were also responsible for the first sound newsreels <span style="font-style: italic;">A Voz do Brasil</span>.<br />São Paulo was in that period a booming city, by 1930 about 2,5 immigrants had already entered the city . This film was clearly produced before the economic crisis of 1929, because <em>São Paulo, Sinfonia da Metrópole</em> is showing with much pride how well the economy and the government is doing - though the film does not forget the blue collar workers in poor clothings. <em>São Paulo, Sinfonia da Metrópole</em> represents in a categorical organisation various parts of São Paulo´s public and economic live, it´s almost a patriotic propaganda film claiming the coming of an even better society with a ´a better race´(as one of the intertitles says). Remarkably is the long sequence of the city´s new prison. The text explains that crime results from poverty and ignorance, therefore the authorities try to convert the prisoners into better citizens by instructing them manual labour on the fields (´so that they learn to care for plants´), by obliging them to do physical exercises in large groups, drilling them as marching soldiers, educating them (learning to write), and providing - although not obligatory - catholic faith. While the film suggests that we follow one day in the city, from dawn till dusk, this prison sequence proves that it is a condensed montage of various days of filming - in fact the images of this film were taken over a period of two years. Moreover, though the broad composition of the film is categorical, in some sequences there are also small narrative lines interwoven. In the prison sequence we follow a newly arrived prisoner, number 1945: after a introducing aerial shot of the prison, we see number 1945 his fingerprints been taken, superficially examined by the prison doctor. Afterwards number 1945 will reappear in various parts of the prison sequence. While the prisoners are mostly shown as a group in long shots, the camera and the montage sometimes single out prisoner 1945: we see him at the blackboard in the class scene, praying in the church, receiving family visit etc. So, events may be more staged and less documentary than expected. Though the directors largely work with street scenes and with real people, some scenes are not as natural as one could expect from a documentary. Anyhow the directors do not hide this. At a certain point there´s some kind of flash back, we are supposed to see Brazilian soldiers celebrating the indepence in 1822, but the origin of these images remains unclear: were they staged for this film or shot from a contemporary rememberance show or taken from another ´historical film´? Moreover these European emigrant directors must have seen various films from their continent. Of course there´s the influence of other city symphonies (such as Walter Ruttmann´s <em>Berlin: Die Sinfonie der Großstadt</em>), but there are - however not well motivated - references to abstract films (eg. a turning spiral and animated geometrical shapes), to the kind of shots Soviet directors as Eisenstein made famous (close ups of non identified hands grabbing for money)... The overall rhythm of <em>São Paulo, Sinfonia da Metrópole</em> is rather slow and various sequences are not terribly fascinating. It is for certain a less poetic film than the more famous city symphonies. Sometimes the directors use fancy techniques (as graphic matches, special filters), but seldom in a very consistent way. Their film lacks a coherent stylistic approach.<br />One could have expected at the end of the film a sequence of the city´s night life (bars, vaudeville etc.), but nothing came. Probably this didn´t fit into the overall idea of celebrating uplifting work for a better society. How bright things may look in this film, history didn´t run exactly in the proclaimed direction, because the economic crisis plunged the city in huge problems and the revolution of 1930 would dethrone São Paulo´s political supremacy.</p>Pascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.com2tag:blogger.com,1999:blog-693979369988800613.post-77129293065496990182009-08-04T06:30:00.000-07:002009-08-05T07:20:02.677-07:00The Sadistic Laughter in Mischief Gag Comics<div style="text-align: center;"> <span style=";font-family:lucida grande;font-size:85%;" ><span style="color:black;"></span></span><span style="font-size:100%;"><a style="font-family: lucida grande;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsrNGwExtCxwpy6-sXQIh0kEixCVRhiONXE80mttPGxt5w3zbfIEXhyb0AyUhd835wjtT-PL_BHUedgh_EDGH2Fw6xPhq_63T2tzaupWB5I1vVvAyc7mqjmc7be0GbtJAHhjzIyCT15Ogx/s1600-h/322+kopie.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 408px; height: 388px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsrNGwExtCxwpy6-sXQIh0kEixCVRhiONXE80mttPGxt5w3zbfIEXhyb0AyUhd835wjtT-PL_BHUedgh_EDGH2Fw6xPhq_63T2tzaupWB5I1vVvAyc7mqjmc7be0GbtJAHhjzIyCT15Ogx/s320/322+kopie.jpg" alt="" id="BLOGGER_PHOTO_ID_5366110571003990210" border="0" /></a></span></div><div style="text-align: center;"><span style=";font-family:lucida grande;font-size:85%;" ><span style="color:black;">Frank Ladendorf. </span><span style="font-style: italic;color:black;" >Le Bon père et la pelote d'épingles</span></span><br /><span style=";font-family:lucida grande;font-size:85%;" ><span style="color:black;">in </span><span style="font-style: italic;color:black;" >Illustration Européenne</span> <span style="color:black;">, vol. 29, n° 21, 1899-05-28</span></span></div><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" ><!--[if gte mso 9]><xml> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:hyphenationzone>21</w:HyphenationZone> <w:punctuationkerning/> <w:drawinggridhorizontalspacing>18 pt</w:DrawingGridHorizontalSpacing> <w:drawinggridverticalspacing>18 pt</w:DrawingGridVerticalSpacing> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:dontgrowautofit/> <w:dontautofitconstrainedtables/> <w:dontvertalignintxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="276"> </w:LatentStyles> </xml><![endif]--> <style> <!-- /* Font Definitions */ @font-face {font-family:Arial; 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font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <p class="MsoNormal" style="line-height: 150%; color: rgb(102, 102, 102);font-family:lucida grande;"><span lang="EN-US" style="font-size:100%;"><o:p> </o:p></span></p><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-US" ><br />Next week I’ll present in Frankfurt at the </span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >19<sup>th</sup></span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" > Biennial Congress of IRSCL (The International Research Society for Children's Literature) a paper on the early mischief gag comic, based on a case study of this genre in the Belgian weekly <i style="">Illustration Européenne</i> (1885-1904).</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-US" > It is common knowledge that at the turn of the 20<sup>th</sup><span style=""> </span>century the comic strip boomed in the Sunday Pages of the American newspapers, but the magazines were crucial as well. Comics published in <i style="">Puck </i>and <i style="">Judge</i> were often translated and reprinted in European illustrated magazines. During the so called Belle Époque Belgian illustrated magazines as <i style="">Illustration Européenne</i> and <i style="">Le Patriote Illustré</i> published scores of American comics. One of the popular genres of that time seems to be the mischief gag comic, a</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >bout children playing pranks on someone else, usually an adult. A mischief gag implies that a child or group of children acts intentionally (for its own pleasure) to cause material, corporal, mental or social distress on their victims. </span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >Since the child is physically inferior to an adult, the child will only prepare his prank in the absence of the adult or when the adult is unaware, because he is working, or talking to someone or sleeping. The pranks in comics range from quite innocent deeds as stealing apples to really painful tricks, such as electroshocking the maid.</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" ><br /></span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >Famous examples are of course the German <i style="">Max und Moritz </i>(Wilhelm Busch, 1865) and the American <i style="">The Katzenjammer Kids</i> (Dirks, 1897), but there are many others late 19<sup>th</sup> century. Two artists working for American magazines Franklin Morris Howarth (circa 1870-1908) and Frank Ladendorf were quite active in this particular genre of the mischief gag. </span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-US" ><o:p></o:p></span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" ><br />The basic formula of the mischief gag is not only typical for the comics medium, but was also very popular in the first years of cinema – especially in American cinema (Tom Gunning 1995). The early cinematographers took their inspiration for short comedy films not only from vaudeville but also from the graphic humor of the illustrated journals and papers. Ladendorfs series <i style="">Mischievous Willie</i> (<i style="">The New York World</i> 1898-1903) was already in 1902 turned into a short live action movie (<i style="">Mischievous Willie’s Rocking Chair Motor</i>) in the Biograph Studios in New York. Also the French film pioneers, the Lumière brothers adapted in 1895 a well known gag from the comics for their <i style="">L’Arroseur arrosé</i>. For film scholar Tom Gunning (1995:88-89) Lumière’s <i style="">L’Arroseur arrosé</i> can be described not only as the first fictional (that is, staged) narrative film but also as the first film comedy. <o:p></o:p></span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" ><br /></span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >In contrast to Max and Moritz who were executed after a few assaults, most mischievous children in the later (German and American) comics are clearly not punished. Comics historian David Kunzle (1990:249) suggests that<i style=""> “in the late 19<sup>th</sup> century (…) rebellion was no longer so fearful a concept for the lower middle classes, and so they might safely, vicariously enjoy the power asserted with impunity by the child rebels.”</i><span style=""> </span>But in the moralistic French popular prints of the late 19<sup>th</sup> century the disobedient child still gets his punishment or his pranks backfires and the rascal has then to suffer the consequences of his action.</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" ><br /></span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >An interesting element is how the reader is implicated in the visual narrative. In practically all cases the reader sees clearly how a child is preparing a mischievous trick. While the future victim is still unaware of his near misfortune, the reader can often anticipate what will happen next. He and the mischievous child are the only ones who have that knowledge; but contrary to the child the reader has to remain a passive witness, he or she can’t prevent the malicious action from taking place. Moreover the reader is generally expected to laugh with the misfortune of the victims and share the sadistic pleasure of the mischievous child. As the French philosopher Henri Bergson remarked laughter requires an absence of feeling, a "momentary anesthesia of the heart". In the case of a gag comic this is not so difficult to do, because the drawings remind the reader of the artificial and fictional status of the scene. <o:p></o:p></span><span style="font-size:100%;"><br /></span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" ><br /></span><div style="text-align: center;"><span style="font-size:100%;"><a style="font-family: lucida grande;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN5ihyphenhyphenAj3NG4xhJtOsayqOVj-8P7-IBXAmjyGg0_zmbywVOgovZHj5jwowI7GRbfwGI7mAKufN1v_U_EICW3mcOt8o-cnv_MUOKvvgaHGetQDyH7283G-j5kZ2cxdY2nEO6DTXhsYi9DcS/s1600-h/368+kopie_2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 351px; height: 311px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN5ihyphenhyphenAj3NG4xhJtOsayqOVj-8P7-IBXAmjyGg0_zmbywVOgovZHj5jwowI7GRbfwGI7mAKufN1v_U_EICW3mcOt8o-cnv_MUOKvvgaHGetQDyH7283G-j5kZ2cxdY2nEO6DTXhsYi9DcS/s320/368+kopie_2.jpg" alt="" id="BLOGGER_PHOTO_ID_5366109110891889714" border="0" /></a></span><span style=";font-family:lucida grande;font-size:85%;" ><span style="color:black;">Frank Ladendorf</span></span><span style="font-size:85%;"><br /></span><span style=";font-family:lucida grande;font-size:85%;" ><span style="font-style: italic;color:black;" > Les Espiègleries de Bébé. - Comment le grand'papa faillit passer pour un voleur</span></span><span style="font-size:85%;"><br /></span><span style=";font-family:lucida grande;font-size:85%;" ><span style="color:black;"> in</span><span style="font-style: italic;color:black;" > Illustration Européenne</span><span style="color:black;">, vol. 30, n° 24, 1900-06-17</span></span></div><div style="text-align: center;"><br /><div style="text-align: left;"><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >In some specific examples, the formal aspects of the mise en scène are stressing this crucial implication of the reader. In a few comics by Frank Ladendorf (see illustrations) the mischievous children turn towards the reader and look ‘directly’ in the eyes of the reader. This is even more relevant, since none of the other characters of the scene turn towards the reader, they remain completely in the fictive and diegetic space; unlike the young prankster the adult victims seem not to be aware of the extradiegetic space (Lefevre 2008). The gag comic becomes at such moment quite self-conscious. Unlike drama comedy can allow more easily such moments of self-awareness, the illusion of reality is for a comedy of lesser importance than for a dramatic context. I would argue that the direct look of the mischievous child in the Ladendorf’s comics isn’t an incidental feature, but a striking and important device – which seems less used in the mischief gag films of the same period. </span><br /><br /><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" ><span style="font-weight: bold;">References:</span></span><br /><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" >Website: IMDb</span><br /><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" >Publications:</span><br /></div><p class="MsoNormal" style="line-height: 150%; color: rgb(102, 102, 102); text-align: left;font-family:lucida grande;"><span lang="EN-GB" style="font-size:100%;"><o:p> </o:p></span></p><div style="text-align: left;"> </div><p class="MsoNormal" style="line-height: 150%; color: rgb(102, 102, 102); text-align: left;font-family:lucida grande;"><span lang="EN-GB" style="font-size:100%;"><o:p> </o:p></span></p><div style="text-align: left;"> </div><p class="MsoNormal" style="line-height: 150%; color: rgb(102, 102, 102); text-align: left;font-family:lucida grande;"><span lang="EN-GB" style="font-size:100%;"><o:p> </o:p></span></p><div style="text-align: left;"><span style="font-variant: small-caps; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >Bergson</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >, Henir. 2007. <i style="">Le rire: essai sur la signification du comique</i>. Paris : PUF.<o:p></o:p></span> </div><p class="MsoNormal" style="line-height: 150%; color: rgb(102, 102, 102); text-align: left;font-family:lucida grande;"><span lang="EN-GB" style="font-size:100%;"><o:p> </o:p></span></p><div style="text-align: left;"><span style="font-variant: small-caps; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" >Castelli</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" >, Alfredo. 2007. <i style="">Eccoci Ancora Qui!</i> <i style="">Here We Are Again</i>. Museo Italiano del Fumetto/If Edizioni.<o:p></o:p></span><br /><span style="font-variant: small-caps; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >Gunning</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >, Tom, 1995. ‘Crazy Machines in the Garden of Forking Pahts. Mischief Gags and the The Origins of American Comedy’, in: Brunosvska Karnick, Kristine, & Jenkins, Henry, <i style="">Classical Hollywood Comedy</i>, New York: Routledge, pp. 87-105.<o:p></o:p></span><br /><span style="font-variant: small-caps; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >Kunzle</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >, David. 1990 <i style="">The History of The Comic Strip, The Nineteenth Century</i>. Berkely: University of California Press.</span><span style="font-size:100%;"> </span><span style="font-variant: small-caps; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >Lefèvre</span><span style="line-height: 150%; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" >, Pascal. 2008. ‘The Construction of Space in Comics’ in Heer, Jeet & Worcester, Kenton (eds.), <i style="">A Comics Studies Reader</i>, University Press of Mississippi, pp. 157-162.</span><br /><span style="font-variant: small-caps; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >Rickman</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >,</span><span style="color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" > Lance. 2008. ‘Bande dessinée and the Cinematograph. Visual narrative in 1895’ in <i style="">European Comic Art</i>, vol 1, n° 1, spring 2008, pp. 1-19.</span><br /><span style="font-variant: small-caps; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" >Walton</span><span style="line-height: 150%; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" >, Kendall L. 1990. <span style="font-style: italic;">Mimesis as Make-Believe. On the Foundations of the Representational Arts</span>. Cambridge, Massachusetts: Harvard University Press.</span><br /><br /><br /><span style="font-variant: small-caps; color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" lang="EN-GB" > </span><!--EndFragment--></div><p class="MsoNormal" face="lucida grande" style="line-height: 150%; color: rgb(102, 102, 102); text-align: left;"> <!--[if gte mso 9]><xml> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:hyphenationzone>21</w:HyphenationZone> <w:punctuationkerning/> <w:drawinggridhorizontalspacing>18 pt</w:DrawingGridHorizontalSpacing> <w:drawinggridverticalspacing>18 pt</w:DrawingGridVerticalSpacing> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:dontgrowautofit/> <w:dontautofitconstrainedtables/> <w:dontvertalignintxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="276"> </w:LatentStyles> </xml><![endif]--> <style> <!-- /* Font Definitions */ @font-face {font-family:Cambria; 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color: rgb(102, 102, 102);font-family:lucida grande;font-size:100%;" ><o:p></o:p></span><p style="font-family: georgia; color: rgb(102, 102, 102);"></p> <p class="MsoNormal" style="line-height: 150%; color: rgb(102, 102, 102);font-family:lucida grande;"><span lang="EN-GB" style="font-size:100%;"><o:p> </o:p></span></p> <p class="MsoNormal" style="line-height: 150%; color: rgb(102, 102, 102);font-family:lucida grande;"><span lang="EN-GB" style="font-size:100%;"><o:p> </o:p></span></p> <p class="MsoNormal" style="line-height: 150%; color: rgb(102, 102, 102);font-family:lucida grande;"><span lang="EN-GB" style="font-size:100%;"><o:p> </o:p></span></p> <p class="MsoNormal" style="line-height: 150%; color: rgb(102, 102, 102);font-family:georgia;"><span lang="EN-US" style="font-size:100%;"><o:p> </o:p></span></p> <!--EndFragment--> </div></span>Pascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.com0tag:blogger.com,1999:blog-693979369988800613.post-56640458155462258872009-07-30T01:12:00.000-07:002009-08-04T23:07:28.005-07:00A Research Blog on Early Comics<span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >This is my research blog on Early Comics published in Belgium before Hergé's </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Tintin</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > (1929). I've been browsing through Belgian periodicals and popular prints for the last five years and found already scores of examples, but most of them are reprints and translations from abroad. So, this blog will be mainly about early comics from an international perspective. I'm hoping to share parts of my research and foster some dialogue with other researchers. I've lots of plans, various articles are waiting to be published (see under for former and projected publications). By the end of this year I'll put up also a website about my research.</span><br /><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >In 1996 I organised for the Belgian comics museum in Brussels a conference on the forerunners of the modern comic strip and I edited </span><span style="color: rgb(102, 102, 102); font-style: italic;font-family:trebuchet ms;" >Forging A New Medium, The Comic Strip in the 19th Century</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >.</span><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >In 2006 I conducted a research project on broadsheets for the folklore museum Het Huis van Alijn in Ghent.</span><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >Since 2007 my research is supported by the research council of Sint-Lukas Brussels University College of Art and Design (Hogeschool Sint-Lukas Brussel). As a researcher I'm also affiliated at the faculty of Social Sciences of the University of Leuven (K.U.Leuven).</span><br /><br /><br /><span style="font-weight: bold; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Former publications on Early Comics</span><br /><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- Lefèvre, Pascal (90% ed.) & Dierick, Charles (10% ed.), <span style="font-style: italic;">Forging A New Medium, The Comic Strip in the 19th Century</span></span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, Brussel: VUB University Press, 1998 & 2000, 214 p.</span><br /><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- Lefèvre, Pascal, </span><a style="font-family: trebuchet ms; color: rgb(102, 102, 102);" href="http://www.imageandnarrative.be/painting/pascal_levevre.htm">'The Battle over the Balloon, The conflictual institutionalization of the speech balloon in various countries</a><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, in: </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Image (&) Narrative</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Online Magazine of the Visual Narrative</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, N° 14, May 2006.</span><br /><br /><span style="font-weight: bold; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Coming publications</span><br /><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- Lefèvre, Pascal,Not just Black and White. Divergent Colonial Period Representations of Africans in French and Belgian Broadsheets (1880-1914)' in: </span><a style="font-style: italic; font-family: trebuchet ms; color: rgb(102, 102, 102);" href="http://www.graphic-narratives.org/">SIGNs</a><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, projected in 2009.</span><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- Lefèvre, Pascal, 'Panorama van het vroege beeldverhaal in België (1870-1929)[Panorama of early comics in Belgium] in </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Sint-Lukas Galerie Brussel</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, projected in 2009.</span><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- Lefèvre, Pascal, 'Le Dernier Film van Fernand Wicheler. De eerste Belgische krantenstrip?' </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >[</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >Le Dernier Film by Fernand Wicheler. </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" ></span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >The very first regular Belgian comic strip?</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >] </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > in </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Brabant Strip</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, projected in 2009.</span><br /><br /><br /><span style="font-weight: bold; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Presentations at conferences</span><br /><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Untamed Ferocious Children in the Comic Strips of the Belle Époque</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >. 19th Biennial Congress of IRSCL (The International Research Society for Children's Literature), </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Literature and Cultural Diversity in the Past and the Present</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, 8-12 August 2009.</span><br /><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Comics in Belgium before Hergé’s Tintin </span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >(1877-1929), IBDS (International Bande Dessinée SocietyInstitut Français London, 19 - 20 June 2009.</span><br /><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Researching early comics. A case study: Belgium in relation to other countries (1880-1930)</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, paper, </span><a style="font-family: trebuchet ms; color: rgb(102, 102, 102);" href="http://www.internationalcomicartsforum.org/">ICAF</a><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, School of the Art Institute of Chicago, 9-11 October 2008.</span><br /><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Imperialist propaganda for Children ? Representations in French and Belgian Broadsheets (1880-1914)</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, paper. Amsterdam, IAMHIST XXII </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Media and Imperialism, Press, Photography, Film, Radio and Television in the Era of Modern Imperialism</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, July 18-21, 2007.</span><br /><br /><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >- </span><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >Shocking News! A case study of two Belgian illustrated periodicals, De Zweep</span><i style="font-style: italic; font-family: trebuchet ms; color: rgb(102, 102, 102);"> and </i><span style="font-style: italic; color: rgb(102, 102, 102);font-family:trebuchet ms;" >La Feuille illustrée</span><i style="font-style: italic; font-family: trebuchet ms; color: rgb(102, 102, 102);">, at the end of the 19th century</i><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, paper, Research Society for Victorian Periodicals-conference, University of Ghent, </span><i style="font-family: trebuchet ms; color: rgb(102, 102, 102);">Image and text, Image in text</i><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" >, July 2004. - De Belgische volksprenten</span><span style="color: rgb(102, 102, 102);font-family:trebuchet ms;" > [Belgian popular prints],invited lecture, Het Huis van Allijn, Gent, June 2004.<br /><br />- <span style="font-style: italic;">The Battle over the Balloon</span>, paper, Universität Hamburg, July 2002. </span>Pascal Lefèvrehttp://www.blogger.com/profile/13889592987028302545noreply@blogger.com0