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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Dérision de l’étranger et exaltation du Britannique dans l’œuvre de William Hogarth 1697-1764 by Isabelle Baudino

“…As a “comic history painter” William Hogarth frequently mocked his contemporaries and was much famed for his works in which he satirised the mores of his time. …”
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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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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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Song folklore of the Crimean Tatars: the aspect of identification (part 1) by Rustem Komurdzhi

“…The work included historical, comic, lyrical, dance and others. Variants of previously studied songs were also obligatorily viewed.…”
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Mères et fils dans le théâtre de la Renaissance anglaise by Marie-Hélène Besnault

“…Among the followers of Noah's sons dealing with their recalcitrant mother, we meet, in Nicholas Udall’s comic interlude Thersites, a son who first teases his mother, then seeks her protection, and ends with reproaches. …”
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The Double Death of Humanity in Cormac McCarthy’s The Road by Stephen Joyce

“…This article situates Cormac McCarthy’s The Road (2006) within the tragic frame of post-apocalyptic narratives as they began to develop in the USA in response to the Bush administration’s messianic belief in 9/11 as a form of apocalyptic moment. Whereas the comic frame of the apocalyptic and post-apocalyptic genres posits a catastrophe that could be prevented by human actions in the present, the tragic frame of the post-apocalyptic posits a situation in which the end of the world has provided no overarching meaning to human history. …”
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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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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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Youtubeurs et politiques : vers une peopolisation numérique ? Focus sur le « concours d’anecdotes » du président Macron by Pierre Camille-Delahaye

“…It was not long before French politicians entered the YouTube universe and took an interest in these key players in connected society. In late May 2021, a comic YouTube video featuring President Emmanuel Macron caused quite a stir in the French media space. …”
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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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‘Bang-whang-whang goes the drum’ : Robert Browning ou l’énergie comique de l’homme-orchestre by Yann Tholoniat

“…However, rereading today Browning’s poems through the prism of Freud’s theory of pleasure as a release of tension allows one to show Browning’s comical energy as it irrepressibly surfaces in his dramatic monologues. …”
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L’Humpur en BD : de fabuleuses frontières by Florence Plet-Nicolas

“…In 2013, Soleil productions, specialized in fantasy comics, published Les Fables de l’Humpur by Pierre Bordage (scripter) and Olivier Roman (cartoonist), adapted from Bordage’s novel (1999). …”
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Interview with Dirk Maggs, audio dramatist and co-creator of Audible’s The Sandman by Vikram Nijhawan

“…In 1993, Dirk Maggs, then a producer at BBC Radio 4, discovered Neil Gaiman’s Sandman comics and was captivated by their departure from the tropes of traditional superhero narratives popular at the time. …”
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Le temps des morts-vivants : formes sérielles et potentiel critique des séries télévisées zombies by Clémentine Hougue

“….), based on the eponymous comic book, as well as its two spin-offs (Fear The Walking Dead, AMC, 2015-2021 and The Walking Dead : World Beyond, AMC, 2020), but also Z Nation (Syfy, 2014-2018) and its spin-off Black Summer (Netflix, 2019-2021), and the British miniseries Dead Set (E4, 2008). …”
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Shakespeare revisité, entre fidélité et parodie : de La Nuit des Rois à Shake de Dan Jemmett by Isabelle Schwartz-Gastine

“…It is called Shake, with a modest sub-title « around Twelfth Night », but which is indeed at the heart of the topic.Through the exploration of three themes: symmetry (of situations, of twin binarities), love’s misunderstanding, and music, I will argue that this comedy, whose title is a mix between the name of the Bard and the etymological meaning of the verb “to shake” as far as traditions are concerned, is faithful to the spirit (rather than the letter) of the Shakespearean original in a very healthy comic vein.It is not worth wondering if the spectators fully understood the meaning of this comedy in which the four actors change roles all the time: their frequent bursts of laughter clearly showed that they enjoyed the spirit of the comedy, whether they knew Twelfth Night or not.…”
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Thrown to the (Were)Wolves: Sisterhood, Vengeance, and Liberal Feminism in Maggie Tokuda-Hall and Lisa Sterle’s <i>Squad</i> by Jessica Caravaggio

“…Through an analysis of the figure of the werewolf and fantasies of revenge, this article suggests that both <i>Squad</i>’s narrative and its comic images guide readers toward an understanding of how liberal feminist ideology impedes collective empowerment. …”
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