{"id":15221,"date":"2020-12-16T14:12:01","date_gmt":"2020-12-16T13:12:01","guid":{"rendered":"https:\/\/www.sfsic.org\/?p=15221"},"modified":"2020-12-13T21:40:21","modified_gmt":"2020-12-13T20:40:21","slug":"bandes-dessinees-hors-champs-comics-on-the-outside","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/aac-evenement\/bandes-dessinees-hors-champs-comics-on-the-outside\/","title":{"rendered":"Bandes dessin\u00e9es hors-champs \/ Comics On the Outside"},"content":{"rendered":"<p><!-- fxzn:singledetail --><\/p>\n<div class=\"zone zn-singledetail\" id=\"fxzn-singledetail-1\">\n<div class=\"zone-block zn-singledetail-block alignwide va-top\">\n<div class=\"row\">\n<div class=\"columns large-8 large-push-4\">\n<div class=\"zn-singledetail-metabox\">\n<div class=\"zn-singledetail-pubdate pubdate\">\n\t\t\t\t\t<span class=\"pubdate-txt\">Mis en ligne le<\/span><span class=\"doubledot\"><\/span> <time class=\"pubdate-time\" pubdate datetime=\"2020-12-13T21:31:01+01:00\">13 d\u00e9cembre 2020<\/time>\t\t\t\t<\/div>\n<div class=\"zn-singledetail-thematiques with-sep-comma\">\n<ul class=\"termslist termslist-thematique\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Th\u00e9matiques<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-thematique term-images-cinema-medias-audiovisuels-et-industries-culturelles\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/thematiques\/images-cinema-audiovisual-media-and-cultural-industries\/\" title=\"Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles\"><span class=\"termslist-itemname\">Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\n<li class=\"termslist-item tax-thematique term-mediations-memorielles-culturelles-patrimoniales\"><a class=\"termslist-itemlink\" href=\"\/?thematique=mediations-memorielles-culturelles-patrimoniales\" title=\"M\u00e9diations m\u00e9morielles, culturelles et patrimoniales\"><span class=\"termslist-itemname\">M\u00e9diations m\u00e9morielles, culturelles et patrimoniales<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"row\">\n<div class=\"columns large-4\">\n<div class=\"zn-singledetail-sidebar bg-cornersquares\">\n<div class=\"zn-singledetail-infos\">\n<p class=\"zn-singledetail-reponse-date\">\n\t\t\t\t\t\t<span>R\u00e9ponse attendue pour le<\/span><span class=\"doubledot\"><\/span> <strong>25\/01\/2020<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-reponse-type\">\n\t\t\t\t\t<span>Type de r\u00e9ponse<\/span><span class=\"doubledot\"><\/span> <strong>R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-type\">\n\t\t\t\t\t\t\t<span>Type d\u2019\u00e9v\u00e9nement<\/span><span class=\"doubledot\"><\/span> <strong>Colloque<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-contacts\">\n<h3 class=\"zn-singledetail-section-title\">Contacts<\/h3>\n<ul class=\"zn-singledetail-contacts-list\">\n<li class=\"zn-singledetail-contact\">\n\t\t\t\t\t\t\t<span class=\"zn-singledetail-contact-name\">Erwin Dejasse<\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"zn-singledetail-contact-mail prettylink\" href=\"mailto:erwin.dejasse@ulb.ac.be\">erwin.dejasse@ulb.ac.be<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-contact\">\n\t\t\t\t\t\t\t<span class=\"zn-singledetail-contact-name\">Beno\u00eet Crucifix<\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"zn-singledetail-contact-mail prettylink\" href=\"mailto:benoit.crucifix@ugent.be\">benoit.crucifix@ugent.be<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-weblinks\">\n<h3 class=\"zn-singledetail-section-title\">Sites internet de r\u00e9f\u00e9rence<\/h3>\n<ul class=\"zn-singledetail-weblinks-list\">\n<li>\n\t\t\t\t\t\t\t<a class=\"prettylink chainlink\" href=\"http:\/\/www.acme.ulg.ac.be\/?p=1006\" title=\"Site internet de l'appel \u00e0 contribution\" target=\"_blank\" rel=\"noopener\">Site internet de l&#8217;appel \u00e0 contribution<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-eventinfo\">\n<div class=\"zn-singledetail-eventinfo-inner\">\n<div class=\"zn-singledetail-eventdates\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Dates de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><\/p>\n<ul class=\"zn-singledetail-eventdates-list\">\n<li class=\"zn-singledetail-eventdates-item\">\n\t\t\t\t\t\t\t\tDu <time class=\"event-start-time\" datetime=\"2021-06-03T00:00:00+00:00\">03\/06\/2021<\/time> au <time class=\"event-end-time\" datetime=\"2021-06-04T00:00:00+00:00\">04\/06\/2021<\/time>\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<p class=\"zn-singledetail-eventplace\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Lieu de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><br \/>\n\t\t\t\t\t\t<span class=\"zn-singledetail-eventplace-adr\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"adr-name\">Universit\u00e9 libre de Bruxelles<\/span>,<\/p>\n<p>\t\t\t\t\t\t<span class=\"adr-city\">Bruxelles<\/span>\t\t\t\t\t\t, <span class=\"adr-country\">Belgique<\/span><br \/>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"zn-singledetail-annonce wig-content\">\n<p>Dans sa th\u00e8se de doctorat\u00a0<em>La Bande dessin\u00e9e et son double<\/em>, Jean-Christophe Menu avance l\u2019id\u00e9e de \u00ab&#160;corpus hors-champ de la bande dessin\u00e9e&#160;\u00bb pour d\u00e9crire \u00ab&#160;tout un corpus d\u2019\u0153uvres relevant [\u2026] ind\u00e9niablement de son domaine mais qu\u2019elle [la bande dessin\u00e9e] n\u2019int\u00e8gre pas dans son Histoire, et donc qu\u2019elle ne reconna\u00eet pas comme partie int\u00e9grante de son champ&#160;\u00bb\u00a0(2011, 432). Ce colloque a pour ambition de se saisir de cette notion de \u00ab&#160;corpus hors-champ&#160;\u00bb. Celle-ci est apte \u00e0 catalyser divers int\u00e9r\u00eats de recherche et \u00e0 faire \u00e9merger de nouveaux objets d\u2019\u00e9tudes jusqu\u2019alors tenus en marge des discours sur la bande dessin\u00e9e.<\/p>\n<h3><strong>\u00c9largir un corpus<\/strong><\/h3>\n<p>Le hors-champ invite ainsi \u00e0 \u00e9largir un corpus \u00e0 une s\u00e9rie d\u2019objets, d\u2019\u0153uvres, de pratiques situ\u00e9es aux limites et aux marges de ce qui est \u00e9tabli comme champ. Les effets de d\u00e9marcation, de hi\u00e9rarchisation et de l\u00e9gitimation li\u00e9s \u00e0 la \u00ab&#160;constitution du champ de la bande dessin\u00e9&#160;\u00bb\u00a0(Boltanski 1975)\u00a0sont apparus d\u2019avantage en \u00ab&#160;demi-teinte&#160;\u00bb\u00a0(Maigret 1994), autant que l\u2019unit\u00e9 du champ ne fait plus n\u00e9cessairement valeur commune. Plut\u00f4t que de s\u2019essayer \u00e0 de vaines tentatives de red\u00e9finir le p\u00e9rim\u00e8tre d\u2019un champ, ce colloque invite \u00e0 une acception large et fluctuante de celui-ci, d\u00e9fini par effet de contraste&#160;: le \u00ab&#160;hors-champ&#160;\u00bb est ici envisag\u00e9 dans une tension dynamique avec le \u00ab&#160;champ&#160;\u00bb, les deux termes s\u2019impliquant mutuellement. Ces cat\u00e9gories sont en effet mouvantes&#160;; une \u0153uvre, une pratique, un objet pouvant glisser du champ vers le hors-champ et inversement. La focale choisie et la m\u00e9thode d\u2019approche participent pleinement de la construction de ce \u00ab&#160;corpus hors-champ&#160;\u00bb.<\/p>\n<p>\u00c0 la suite des pistes ouvertes par Jean-Christophe Menu, on peut s\u2019interroger sur des \u0153uvres non-publi\u00e9es, produites dans une sph\u00e8re de l\u2019intime et du priv\u00e9 ou transmises par des circulations souterraines. Les \u00ab&#160;sympathies r\u00e9ciproques&#160;\u00bb entre art brut et bande dessin\u00e9e\u00a0(Dejasse 2020)\u00a0forment un point d\u2019ancrage pour cette r\u00e9flexion. Ces \u00ab&#160;sympathies&#160;\u00bb font saillir des contextes de production et des profils de cr\u00e9ateurs et cr\u00e9atrices en marge des constructions socio-professionnelles habituelles. Elles d\u00e9crivent aussi des rapports d\u2019affinit\u00e9s avec des productions graphiques qui exhibe le \u00ab&#160;dessin sans filet&#160;\u00bb, hors des apprentissages, ou par le biais d\u2019un d\u00e9sapprentissage, voire d\u2019une forme de \u00ab&#160;<em>deskilling<\/em>&#160;\u00bb\u00a0(Roberts 2010). Ces sympathies s\u2019\u00e9tendent \u00e9galement aux dessins d\u2019enfants, comme ceux que Lynda Barry \u00ab&#160;sauve de la poubelle&#160;\u00bb pour composer ses manuels\u00a0(Barry 2014&#160;; 2019)<em>.\u00a0<\/em>Petits bonhommes, gribouillis, et graffitis forment d\u2019ailleurs autant de figures convoqu\u00e9es par Rodolphe T\u00f6pffer dans ses r\u00e9flexions critiques, dont Thierry Smolderen\u00a0(2009)\u00a0a \u00e9tudi\u00e9 les longues ramifications pour l\u2019histoire de la bande dessin\u00e9e. Les productions enfantines, les albums gribouill\u00e9s, les dessins de marge, les fanzines adolescents constituent autant d\u2019appropriations ou de prolongations de lectures de bandes dessin\u00e9es qui restent largement invisibles car peu accessibles.<\/p>\n<p>Se tiennent \u00e9galement hors-champ, des espaces de circulation et de canaux de diffusion o\u00f9 la bande dessin\u00e9e occupe une place modeste, discr\u00e8te, p\u00e9riph\u00e9rique, ne faisant pas le c\u0153ur du propos&#160;: revues professionnelles, circulaires d\u2019information, bulletins de paroisse, pochettes de disques et cassettes, cahiers politiques, tracts militants ou religieux, fanzines queer et f\u00e9ministes, posters et objets imprim\u00e9s \u00e9ph\u00e9m\u00e8res. On peut aussi par exemple \u00e9voquer ce qu\u2019on pourrait appeler des bandes dessin\u00e9es orphelines, pour reprendre le statut l\u00e9gal ambivalent attribu\u00e9 \u00e0 des \u0153uvres dont les ayant-droits ne sont pas identifiables. D\u2019autres pratiques, enfin, ont tout int\u00e9r\u00eat \u00e0 habiter un certain dehors&#160;: l\u2019\u00e9dition pirate et clandestine, la contrefa\u00e7on, le plagiat \u2013 des entreprises qui en outre tirent parti de zones g\u00e9ographiques et juridiques. On pourra ici suivre la typologie de \u00ab&#160;l\u2019\u00e9dition hors \u00e9dition&#160;\u00bb\u00a0(Habrand 2016)\u00a0pour d\u00e9crire et qualifier les gestes et techniques, lieux et contextes propres \u00e0 diff\u00e9rentes mani\u00e8res de faire en dehors de l\u2019institution \u00e9ditoriale.<\/p>\n<h3><strong>Annexions r\u00e9trospectives<\/strong><\/h3>\n<p>\u00c0 l\u2019identification d\u2019\u0153uvres, d\u2019objets et de pratiques hors-champs peut suivre leur annexion, r\u00e9cup\u00e9ration ou int\u00e9gration, s\u2019\u00e9chelonnant sur des temps et des distances plus ou moins longues. Un des objectifs de ce colloque est donc aussi de saisir ces processus par lesquels certaines bandes dessin\u00e9es \u00ab&#160;hors-champ&#160;\u00bb se voient d\u00e9plac\u00e9es, recontextualis\u00e9es, mises au centre ou justement renvoy\u00e9es \u00e0 la marge. Ces jeux de passages entre champ et hors-champ soul\u00e8vent des questions fondamentales de m\u00e9thode, qui nous renvoie \u00e0 nos propres regards disciplinaires.<\/p>\n<p>Dans une perspective historiographique, Sylvain Lesage a montr\u00e9 \u00e0 quel point l\u2019album et la construction du \u00ab&#160;neuvi\u00e8me art&#160;\u00bb ont eu pour effet de renvoyer aux \u00ab&#160;enfers culturels&#160;\u00bb une s\u00e9rie de productions qui faisaient n\u00e9anmoins pleine part de son exp\u00e9rience&#160;: \u00ab&#160;illustr\u00e9s pour filles,\u00a0<em>pockets\u00a0<\/em>d\u2019horreur, \u201cromans dessin\u00e9s\u201d, bandes quotidiennes&#160;\u00bb\u00a0(Lesage 2019, 419). Si retracer les processus de l\u00e9gitimation et de canonisation nous aident \u00e0 comprendre la construction d\u2019un champ (Beaty &amp; Woo 2016), envisager l\u2019histoire de la bande dessin\u00e9e par ses laiss\u00e9s pour compte peut aussi \u00eatre une mani\u00e8re d\u2019interroger nos d\u00e9finitions courantes comme les \u0153ill\u00e8res d\u2019un regard r\u00e9trospectif.<\/p>\n<p>Constituer un corpus hors-champ de la bande dessin\u00e9e invite ainsi \u00e0 une r\u00e9flexivit\u00e9 redoubl\u00e9e, l\u2019\u00e9tude des \u00ab&#160;cas particuliers&#160;\u00bb n\u00e9cessitant de trouver la \u00ab&#160;bonne focale&#160;\u00bb\u00a0(Becker 2016). L\u2019identification de corpus hors-champ et la re-contextualisation de ses objets peuvent \u00e9galement soulever d\u2019importants enjeux \u00e9thiques, politiques et id\u00e9ologiques de ces appropriations.<\/p>\n<p>En mettant en lumi\u00e8re des cr\u00e9ations qui ne sont jamais ou rarement prises en compte dans les \u00e9tudes d\u00e9di\u00e9es \u00e0 la bande dessin\u00e9e, nous ambitionnons certes d\u2019enrichir le spectre des r\u00e9alisations qui sont susceptibles d\u2019int\u00e9grer ces \u00e9tudes. Toutefois, notre espoir est aussi que ces objets nouveaux, inhabituels, m\u00e9connus ou laiss\u00e9s pour compte invitent par leurs singularit\u00e9s (esth\u00e9tiques, r\u00e9seaux de diffusion, statut de l\u2019auteur) \u00e0 r\u00e9\u00e9valuer les m\u00e9thodes d\u2019analyses, les points de vue adopt\u00e9s, les disciplines convoqu\u00e9es pour \u00e9tudier la bande dessin\u00e9e. Livio Bello\u00ef et Fabrice Leroy ont par exemple montr\u00e9 \u00e0 quel point l\u2019\u0153uvre de Pierre La Police constitue un \u00ab&#160;mauvais objet&#160;\u00bb, sorte d\u2019\u00ab&#160;anti-bande dessin\u00e9e&#160;\u00bb qui \u00ab&#160;oblige pourtant [\u2026] \u00e0 redoubler d\u2019efforts en mati\u00e8re d\u2019inventivit\u00e9 conceptuelle&#160;\u00bb\u00a0(2018, 124). Ce colloque, donc, comme invitation \u00e0 rassembler autant de \u00ab&#160;mauvais objets&#160;\u00bb posant de bonnes questions.<\/p>\n<p>________________________________________________________<\/p>\n<p>In his doctoral dissertation\u00a0<em>La Bande dessin\u00e9e et son double<\/em>, Jean-Christophe Menu puts forward the notion of a \u201c<em>corpus hors-champ de la bande dessin\u00e9e<\/em>\u201d to describe \u201can entire corpus of works that undoubtedly belong to the field [of comics] but is not integrated into its History, and hence is not recognized as an integral part of the field\u201d (2011, 432). This conference aims at seizing this complex and hard-to-translate notion of the\u00a0<em>corpus hors-champ<\/em>, locating an \u2018outside\u2019 of comics. Beyond its specific use in Menu\u2019s theoretical discourse, this notion can facilitate the convergence of various research interests to bring forward objects for scrutiny that were held at the margins of comics studies.<\/p>\n<h3><strong>Expanding a corpus<\/strong><\/h3>\n<p>The \u2018outside\u2019 invites us to expand our usual corpora to a wider range of objects, works, and practices positioned at the limits and margins of what has been established as \u2018field.\u2019 While the effects of demarcation, hierarchization and legitimization linked to the \u201cconstitution of the comic strip field\u201d (Boltanski 1975) have been quite clear, its constitution has also been nuanced (Maigret 1994) and the unity of the field itself is not necessarily self-evident. Rather than trying in vain to redefine the parameters of the field, this symposium invites a broad and changing understanding of the \u2018field\u2019, where its \u2018inside\u2019 (<em>champ<\/em>) and \u2018outside\u2019 (<em>hors-champ<\/em>) are caught in a dynamic tension. For all its spatial connotations, the \u2018field\u2019 appears as a moving target&#160;: a work, a practice, an object can slide from center to periphery and vice versa. The chosen focus and approach, together with the methods applied for analysis, fully participate in the construction of this\u00a0<em>corpus hors-champ<\/em>.<\/p>\n<p>Following in the tracks opened by Jean-Christophe Menu, comics on the outside could include unpublished works, produced in an intimate or private sphere or distributed through underground channels. The \u201cmutual kinship\u201d between outsider art and comics (Dejasse 2020) provides a point of departure for such an inquiry. This kinship emphasizes production contexts and creator profiles at the margins of common professional and social trajectories. It can also circumscribe affinities with graphic productions that privilege \u2018unstudied drawing,\u2019 made without training or through a process of un-training or \u201cdeskilling\u201d (Roberts 2010). Such kinship can also be extended to children\u2019s drawings, such as those that Lynda Barry (2014;2019) \u201csaves from the trash\u201d to compose her how-to-cartoon manuals. Stick figures, doodles, and graffiti are moreover repeatedly invoked in Rodolphe T\u00f6pffer\u2019s theoretical considerations, of which Thierry Smolderen (2009) has shown the relevance for the longer history of comics. Child productions, scribbled albums, marginalia and doodles, teen zines extend the pleasures of comics reading through appropriation and prolongation but have remained largely invisible in comics studies because of the difficulties they generate as objects of inquiry, especially regarding access and methodologies.<\/p>\n<p>Comics can also be found in circulation networks and distribution channels outside its main cultural industries, where they inhabit a modest and discreet, peripheral position&#160;: professional magazines, information bulletins, church tracts, music album covers, political pamphlets, queer and feminist zines, posters and print ephemera. We could also think of comics that remain as \u201corphan works,\u201d an ambivalent legal status given to works whose copyright owners are unknown. Other practices, finally, thrive through their outsider position&#160;: pirate publishing, counterfeit, plagiarism, and such extralegal enterprises moreover use to their advantage their situation in particular geographic or legal zones. The typology elaborated by Tanguy Habrand (2016) to describe a variety of publishing practices outside the traditional publishers\u2019 market can be a helpful inspiration to describe and qualify the specific gestures and techniques, settings and contexts of such initiatives.<\/p>\n<h3><strong>Retrospective Additions<\/strong><\/h3>\n<p>Besides identifying new works, objects and practices usually located on the outside of the comics field, we should also consider their annexation, recuperation or integration, processes that unfold over time and distance. One of the objectives of this symposium is to trace the processes through which comics on the outside are moved, displaced, reframed, centered or sent back to the margins. Those movements in and out of the field raise important questions of methods, confronting us with our own disciplinary assumptions.<\/p>\n<p>From a historiographic perspective, Sylvain Lesage has shown the extent to which the album and the construction of comics as \u201cninth art\u201d has had the effect of sending to the \u201ccultural inferno\u201d a range of productions that were nevertheless at the heart of its cultural life, such as \u201ccomics for girls, horror pocket books, \u2018drawn novels\u2019, daily strips\u201d (Lesage 2019, 419). If retracing the processes of legitimization and canonization can help us understand the construction of a field (Beaty and Woo 2016), approaching the history of comics from the perspectives of those left at its margins can also be a productive way of interrogating our usual definitions as much as highlighting the blind spots of a retrospective look.<\/p>\n<p>The constitution of a\u00a0<em>corpus hors-champ\u00a0<\/em>thus invites an enhanced reflexivity, thinking from particular cases and choosing the right focus and tools to assess its particularity (Becker 2016). The identification of \u2018comics on the outside\u2019 and the recontextualization or appropriation of these objects can also raise difficult but important stakes when it comes to ethics, politics, and ideology.<\/p>\n<p>By casting light on works that are never or rarely taken into account in comics studies, we hope to enrich the spectrum of realizations that are susceptible to discussed in the field. However, our hope is also that the singularity of these new, unusual, unknown or forgotten objects\u2014their esthetic, circulatory or authorial specificities\u2014 encourage us to reevaluate the methods of analysis, the theoretical frameworks and the disciplinary habits used to study comics. Livio Bello\u00ef and Fabrice Leroy have for instance shown how much the work of Pierre La Police appears as a \u201cwrong object,\u201d a kind of \u201canti-comics\u201d that \u201cnevertheless forces us to double our efforts in terms of conceptual inventiveness\u201d (2018, 214). This conference can thus be taken as an invitation to bring together wrong objects asking us the right questions.<\/p>\n<h3><strong>Modalit\u00e9s pratiques<\/strong><\/h3>\n<p>Ce colloque invite \u00e0 l\u2019analyse de cas particuliers et d\u2019exemples parlant, sans restriction g\u00e9ographique ou temporelle et avec un int\u00e9r\u00eat pour les perspectives comparatistes et interm\u00e9diatiques. Les propositions de communications, d\u2019une longueur de 300 mots maximum, seront \u00e0 envoy\u00e9es<strong> avant le 25 janvier 2021<\/strong> aux adresses suivantes&#160;: erwin.dejasse@ulb.ac.be benoit.crucifix@ugent.be<\/p>\n<h3><strong>Practicalities<\/strong><\/h3>\n<p>This symposium invites papers on particular case studies and telling examples, without geographic or temporal restrictions and with a particular interest in comparative and intermedial perspectives. Abstracts (max. 300 words) should be sent <strong>before January 25, 2021<\/strong> to the following e-mail address&#160;: erwin.dejasse@ulb.ac.be&#160;; benoit.crucifix@ugent.be<\/p>\n<h3><strong>Comit\u00e9 organisateur \/ Organizing committee<\/strong><\/h3>\n<p>Maaheen Ahmed (UGent)<br \/>\nBeno\u00eet Crucifix (UGent)<br \/>\nErwin Dejasse (ULB)<br \/>\nFabrice Preyat (ULB)<\/p>\n<h4><strong>Comit\u00e9 scientifique \/ Scientific committee<\/strong><\/h4>\n<p>Jan Baetens (KULeuven)<br \/>\nLaurent Gerbier (Universit\u00e9 de Tours)<br \/>\nSimon Grennan (University of Chester)<br \/>\nMaud Hagelstein (ULi\u00e8ge)<br \/>\nSarah Lombardi (Collection d\u2019Art Brut, Lausanne)<br \/>\nBeno\u00eet Majerus (Universit\u00e9 de Luxembourg)<br \/>\nJean-Matthieu M\u00e9on (Universit\u00e9 de Lorraine)<br \/>\nElizabeth Nijdam (University of British Columbia)<br \/>\nDenis Saint-Amand (Universit\u00e9 de Namur)<br \/>\nGreice Schneider (Universidade Federal de Sergipe)<br \/>\nTadashi Hattori (Konan University, Kobe)<\/p>\n<h4><strong>R\u00e9f\u00e9rences \/ References<\/strong><\/h4>\n<p>Baetens, Jan. 2016. \u201cComposer \u2018avec\u2019 la folie&#160;: La r\u00e9invention du r\u00e9cit dans\u00a0<em>Apr\u00e8s la mort, apr\u00e8s la vie<\/em>\u00a0d\u2019Adolpho Avril et Olivier Deprez.\u201d\u00a0<em>Neohelicon<\/em>\u00a043 (1)&#160;: 147\u201358.<\/p>\n<p>Barry, Lynda. 2014.\u00a0<em>Syllabus&#160;: Notes from an Accidental Professor<\/em>. Montreal&#160;: Drawn &amp; Quarterly.<\/p>\n<p>\u2014\u2014\u2014. 2019.\u00a0<em>Making Comics<\/em>. Montreal&#160;: Drawn &amp; Quarterly.<\/p>\n<p>Beaty, Bart, and Benjamin Woo. 2016.\u00a0<em>The Greatest Comic Book of All Time&#160;: Symbolic Capital and the Field of American Comic Books<\/em>. New York&#160;: Palgrave Macmillan.<\/p>\n<p>Becker, Howard S. 2016.\u00a0<em>La bonne focale.\u00a0<\/em><em>De l\u2019utilit\u00e9 des cas particuliers en sciences sociales<\/em>.\u00a0Translated by Christine Merlli\u00e9-Young. Paris&#160;: La D\u00e9couverte.<\/p>\n<p>Bello\u00ef, Livio, and Fabrice Leroy.\u00a02018. \u201cMimer le savoir pour mieux le miner&#160;: le pseudo-encyclop\u00e9disme de Pierre La Police.\u201d\u00a0<em>Revue des sciences humaines<\/em>, no. 330&#160;: 123\u201345.<\/p>\n<p>Boltanski, Luc. 1975. \u201cLa constitution du champ de la bande dessin\u00e9e.\u201d\u00a0<em>Actes de la recherche en sciences sociales<\/em>\u00a01 (1)&#160;: 329\u201351.<\/p>\n<p>Crucifix, Beno\u00eet, and Pedro Moura. 2016. \u201cBertoyas dans la jungle. Bande dessin\u00e9e et \u00e9dition sauvage.\u201d\u00a0<em>M\u00e9moires du livre<\/em>\u00a08 (1).<\/p>\n<p>Dejasse, Erwin. 2020. \u201cArt brut et bande dessin\u00e9e alternative&#160;: sympathies r\u00e9ciproques.\u201d\u00a0<em>\u00c9tudes francophones<\/em>, no. 32&#160;: 94\u2013109.<\/p>\n<p>Habrand, Tanguy. 2016. \u201cL\u2019\u00e9dition hors \u00e9dition&#160;: vers un mod\u00e8le dynamique. Pratiques sauvages, parall\u00e8les, s\u00e9cantes et proscrites.\u201d\u00a0<em>M\u00e9moires du livre<\/em>\u00a08 (1)&#160;: 1\u201353.<\/p>\n<p>Lesage, Sylvain. 2019.\u00a0<em>L\u2019Effet livre<\/em><em>\u202f<\/em><em>&#160;: m\u00e9tamorphoses de la bande dessin\u00e9e<\/em>. Tours&#160;: Presses Universitaires Fran\u00e7ois-Rabelais.<\/p>\n<p>Maigret, Eric. 1994. \u201cLa reconnaissance en demi-teinte de la bande dessin\u00e9e.\u201d\u00a0<em>R\u00e9seaux<\/em>\u00a012 (67)&#160;: 113\u201340.<\/p>\n<p>Menu, Jean-Christophe. 2011.\u00a0<em>La bande dessin\u00e9e et son double&#160;: langage et marges de la bande dessin\u00e9e&#160;: perspectives pratiques, th\u00e9oriques et \u00e9ditoriales<\/em>.\u00a0Paris&#160;: L\u2019Association.<\/p>\n<p>Roberts, John. 2010. \u201cArt After Deskilling.\u201d\u00a0<em>Historical Materialism<\/em>, no. 18&#160;: 77\u201396.<\/p>\n<p>Smolderen, Thierry. 2009.\u00a0<em>Naissances de La Bande Dessin\u00e9e&#160;: De William Hogarth \u00e0 Winsor McCay<\/em>.\u00a0Bruxelles&#160;: Les Impressions Nouvelles.<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-keywords\">\n<h3 class=\"zn-singledetail-section-title\">Mots-cl\u00e9s<\/h3>\n<ul class=\"termslist termslist-post_tag\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Mots-cl\u00e9s<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-post_tag term-bande-dessinee\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/comics\/\" title=\"Bande dessin\u00e9e\"><span class=\"termslist-itemname\">Bande dessin\u00e9e<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-communication\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/communication-en\/\" title=\"Communication\"><span class=\"termslist-itemname\">Communication<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p><!-- \/fxzn:singledetail --><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mis en ligne le 13 d\u00e9cembre 2020 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 25\/01\/2020 Type de r\u00e9ponse R\u00e9sum\u00e9 Type [&hellip;]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29,57],"tags":[377,363],"thematique":[35,38],"sfsic":[],"class_list":["post-15221","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-bande-dessinee","tag-communication","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Bandes dessin\u00e9es hors-champs \/ Comics On the Outside<\/title>\n<meta name=\"description\" content=\"L&#039;Universit\u00e9 libre de Bruxelles lance son appel \u00e0 contribution 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