Biblioteca del Niño Mexicano (1899-1901) y Episodios Mexicanos (1981-1982) : ficciones históricas ilustradas, ¿sólo para niños ? by Marie Lecouvey, Helia Bonilla

“…In these two comic book series catering to children and teenagers, Mexican national history is made more appealing through the use of fiction and visual illustrations. …”
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“Consummate Too Too”: On the Logic of Iconotexts Satirizing the “Aesthetic Movement” by Anne-Florence Gillard-Estrada

“…Finally, one intends to show the poetics at work in such iconotexts by studying those oft-recurring catchphrases that comically and yet creatively encapsulate the aesthetics and formula of life propounded by authors and artists of the Aesthetic Movement.…”
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O ícone e o palhaço ou Quando Mazzaropi encena Lampião by Cristina Duarte-Simoes

“…In a very different register from the one usually proposed by Brazilian cinema, O Lamparina –conceived and played by Amácio Mazzaropi– breaks off with the tragic or dramatic tone of prior productions, proposing a cangaceiro character integrated in an ironic and comic context, unused till then.…”
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La fonction mnémonique des cartes à jouer illustrées : Le rôle de la mémoire dans la réception et la diffusion des idées whig à travers le jeu de cartes The Meal Tub Plot (c. 1681)... by Sophie Lambea

“…The narrative strategies were varied, borrowing from newspapers, fables and even comic strips. However, understanding the meaning of these illustrated playing cards is difficult for today’s reader/observer, as Francis Barlow based the narrative of his illustrations on the memory of events that took place at the end of the seventeenth century and knowledge of the historical and cultural context is necessary to fully understand the satirical scope of the playing cards.Besides, The Meal Tub Plot playing cards were not only intended to entertain, but also to help shape public opinion and the collective memory of the English people, thereby facilitating the accession of William of Orange to the throne in 1689.…”
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Mélancolie spartiate. 300 ou la réactivation du mythe de Léonidas pour mobiliser la société contre le déclin de l’Occident by Vivien Barrière, Jean Hedin

“…Even more than the original comic book, the film, made in the USA of G.W. Bush, still traumatized by the attacks of 11 September 2001 and obsessed by his desire for revenge, is a genuine attempt to mobilize American society, and more broadly Western societies, against the existential threat posed by the conquering East to Westerners who are losing ground. …”
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Neil Gaiman’s Use of Antiquity in Television Series: American Gods and Calliope by Elżbieta Olechowska, Marta Pszczolińska

“… American Gods (Starz 2017–2021) and The Sandman (Netflix 2022– ), two highly watchable audiovisual series are adaptations of Neil Gaiman’s popular novel (2001) and of his earlier comic book series (1989–1996). They are both inspired by classical and Norse mythologies and reflect the evolution of culturally and socially important themes that occurred between the publication of their literary models and the airing of the television series. …”
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Topsy Turvy de Mike Leigh : l’envers du décor ou la norme mise à mal by Isabelle Cases

“…This film, which is rather unusual in his work, depicts a particular moment in the career of the famous musicians Gilbert and Sullivan, namely the writing and staging of one of their comic operas, The Mikado. Mike Leigh faithfully describes the collaboration between Gilbert and Sullivan, as well as a rigid Victorian society nevertheless characterized by resistance in many ways. …”
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Satirical Frame of Mind: Ken Kalfus’s A Disorder Peculiar to the Country and the Literary Engagement with 9/11 by Katherina Dodou

“…Drawing on recent satire theory that views the satirical mode as unruly, various, and open-ended, I suggest that a closer look to the mixed intentions of this novel presents an opportunity to explore the dynamic between denunciation and comic relief in literary satire on 9/11 and opens the way for a more complex understanding of the operation and affordances of literary 9/11 satire.…”
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A Dinner Engagement (1954) de Lennox Berkeley : un opéra-bouffe anachronique ? by Jean-Philippe Heberlé

“…Commissioned by The English Opera Group, written on a libretto by Paul Dehn and created at the Aldeburgh Festival on 17 June 1954, A Dinner Engagement is a comic opera by Lennox Berkeley (1903-1989). The instrumentation follows that of Benjamin Britten’s The Rape of Lucretia and Albert Herring. …”
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De la poésie au collage, du cinéma au graffiti by Sophie Dannenmüller

“…In the Verifax Collages (1964-1976), letters and signs disturb the linear reading of the grids of images placed in the manner of comic strips to depict the contemporary period. Letters applied onto the film strip in his movie Untitled/Aleph (1956-1966) infuse the moving images with subliminal messages, whereas a meticulous calligraphy gives a transcendent and sacred iconic quality to his esoteric graffitis. …”
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Bouvard et Pécuchet et le savoir médical by Norioki Sugaya

“…This substantial file, which contains reading notes taken by the novelist for the writing of the medical chapter, allows us to understand to what extent the “comic of ideas”, characteristic of the encyclopedic novel, is the result of an intensive work on knowledge. …”
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SCHWARZ BIN ICH UND SCHÖN – RHETORISCHE IRONIE IM HOHELIED1 by S Fischer

“…Finally, the second conflict with her brothers (8:8-12) is taken into account and it is shown how the “Kipp-Phänomen” is used to turn around the expectations of those involved in comic and irony. …”
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Dramatic Jouissance in Edward Bond’s Born by Kate KATAFIASZ

“…The article argues that comedy and tragedy are fundamentally democratic tropes because they correct this authoritarian inversion; comic jouissance emerging when physicality subverts the signifier; tragic jouissance disrupting the entire symbolic order with its uncompromising prioritisation of corporeality.…”
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Metaleptic Variations by Dominique Pernot

“…Gabriel Josipovici’s latest fiction is varied, ranging from parody, light comic fiction, in Only Joking and Making Mistakes, to more serious, ontological and personal concerns. …”
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“Nay ’tis in grain, I warrant it hold colour”: The Materiality of Black in Middleton’s Black Book by Chantal SCHÜTZ

“…Starting with the satirical Microcynicon and flourishing in the self-referential Black Book, Thomas Middleton’s obsession with black, the colour of ink and atrabile, pervades his non-dramatic texts but also his plays, both tragic and comic. From the dyes and funeral fabrics of A Mad World, my Masters to the animals that embody it, the materiality of Middleton’s blackness is testament to his eminently sensual approach to the world he portrays and mocks. …”
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Translation as growth: Xiangsheng’s growing trajectory in China and abroad by Ye Tian, Guanpeng Wang

“…This article reviews the development in China and abroad of xiangsheng, or ‘crosstalk’, a Chinese comic double-act that relies on quickfire exchanges and narrative skills on stage. …”
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Wykorzystanie postaci Stirlitza w rosyjskich memach internetowych by Marcin Trendowicz

“…In both cases, punchlines from jokes or precedent statements combined with an iconic layer are used to create comic effects. …”
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Une vision sexuée de l’Histoire contemporaine espagnole à travers deux œuvres d’Antonio Altarriba et Kim, El arte de volar et El ala rota by Vanessa Auroy

“…Las existencias de Petra y Antonio ponen de realce los actos, las palabras y los silencios de millones de españolas y españoles que vivieron y sufrieron la contienda y sus consecuencias.This paper will study how, through the biographical comic books dedicated to his mother and his father, Antonio Altarriba gives us a gender-specific view of life during the Spanish Civil War and Franco’s dictatorship. …”
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Politique tragique vs. politique comique ? Richard III de Shakespeare et A Game at Chess de Middleton by Clotilde Thouret

“…In both cases, the stage performance plays a decisive role. The "comic politics" of A Game at Chess and the "tragic politics" of Richard III differ, however. …”
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Irish Bards in Shakespeare's Richard III and As You Like it by Andrew Breeze

“…There are in addition comic tales on how bards exploited their power, including an eleventh-century one on King Guaire's Burdensome Company, wherein the poet Senchan rhymes to death certain mice that had spoiled an egg reserved for him. …”
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