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Warning: Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in /var/www/html/core/lib/class.plx.feed.php on line 266 Atlante - Revue d'études romanes - Tag limites
https://atlante.univ-lille.fr/tag/limites
frSat, 30 Jan 2021 11:13:00 +0100PluXml03.Formes graphiques de l’outrance : quand l’iconotexte se joue de la limite. Débordement et retenue dans l’humour graphique de Manel Fontedevila
https://atlante.univ-lille.fr/03-formes-graphiques-de-loutrance-quand-liconotexte-se-joue-de-la-limite-debordement-et-retenue-dans-lhumour-graphique-de-manel-fontedevila.html
https://atlante.univ-lille.fr/03-formes-graphiques-de-loutrance-quand-liconotexte-se-joue-de-la-limite-debordement-et-retenue-dans-lhumour-graphique-de-manel-fontedevila.html<p>Thomas Faye<br />Université de Limoges – CeReS<br />p. 53-72.</p><p style="text-align: justify;"><strong>Thomas FAYE, "Formes graphiques de l’outrance : quand l’iconotexte se joue de la limite. Débordement et retenue dans l’humour graphique de Manel Fontedevila".</strong></p>
<p style="text-align: justify;"><strong>Résumé. </strong>Le neuvième art est, presque ontologiquement, l’art d’une contrainte matérielle ; celle que Thierry Groensteen désignait comme le « multicadre », à savoir les limites de la page, de la bande, de la case, de la bulle dans l’enchâssement desquels réside en partie le pouvoir signifiant de l’écriture graphique. Le cas de l’humour graphique est à cet égard intéressant, en particulier dans le cas des vignettes de presse. Cet article étudie quelques manifestations de l’humour graphique de Manel Fontdevila en s’intéressant en particulier à la manière dont l’artiste s’empare de la notion de cadre – et de son corollaire, le hors-cadre – pour porter un regard critique sur les bouleversements sociologiques, politiques et idéologiques provoqués par la crise du début des années 2000 en Espagne. Par la déconstruction de l’espace vignettal, Fontdevila déconstruit aussi l’humour traditionnel et participe ainsi de la diffusion, nous tentons de le démontrer, du post-humour déstructurant tel que le définit Jordi Costa.</p>
<p style="text-align: justify;"><strong>Mots-clé: </strong>Post-humour, humour graphique, limites, crise, Espagne.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>Thomas FAYE, "Graphical forms of overkill: when the iconotext plays with the limit. Overflow and constraint in Manel Fontedevila's graphic humour".</strong></p>
<p style="text-align: justify;"><strong>Abstract</strong></p>
<p style="text-align: justify;">The ninth art is, almost ontologically, the art of a material constraint; the one that Thierry Groensteen referred to as the "multicadre", namely the limits of the page, the strip, the bubble in which lies in part the significant power of graphic writing. The case of graphic humour is interesting in this respect, particularly in the case of press vignettes. This article examines some manifestations of Manel Fontdevila's graphic humour, focusing in particular on how the artist uses the notion of the frame - and its corollary, the off-frame - to take a critical look at the sociological, political and ideological upheavals caused by the crisis of the early 2000s in Spain. By deconstructing the vignette space, Fontdevila also deconstructs traditional humour and thus participates in the diffusion, we try to demonstrate it, of the destructuring post-humour as defined by Jordi Costa.</p>
<p style="text-align: justify;"><strong>Keywords: </strong>Post-humour, graphic humour, limits, crisis, Spain.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>Thomas FAYE, "Formas gráficas de la exageración: cuando el iconotexto juega con el límite. Desbordamiento y limitación en el humor gráfico de Manel Fontedevila".</strong></p>
<p style="text-align: justify;"><strong>Resumen. </strong>El noveno arte es, casi ontológicamente, el arte de una restricción material; la que Thierry Groensteen denominó el "multicadre", es decir, los límites de la página, la tira, la viñeta, el bocadillo en la que reside en parte el poder significativo de la escritura gráfica. El caso del humor gráfico es interesante a este respecto, especialmente en el caso de las viñetas de prensa. Este artículo examina algunas manifestaciones del humor gráfico de Manel Fontdevila, centrándose en particular en cómo el artista utiliza la noción de marco -y su corolario, el "fuera de marco"- para llevar una mirada crítica hacia los trastornos sociológicos, políticos e ideológicos provocados por la crisis de principios de los años 2000 en España. Al deconstruir el espacio de la viñeta, Fontdevila también deconstruye el humor tradicional y así participa en la difusión, tratamos de demostrarlo, del carácter desestructurante de las teorías del post-humor tan y como lo define Jordi Costa.</p>
<p style="text-align: justify;"><strong>Palabras clave: </strong>Post-humor, humor gráfico, límites, crisis, España.</p>
<p style="text-align: justify;"><a href="https://atlante.univ-lille.fr/data/images/atlante-13/3.-faye-texte-corrige-avec-illustrations-revu-sept.2020-decembre-2020-.pdf">Télécharger l'article complet ( pdf, 3 Mb)</a></p>
<p> </p>Sat, 30 Jan 2021 11:13:00 +0100marianne.bloch-robin