Adapting Brittany: The Ker-Is legend in Bande Dessinee

Allbwn ymchwil: Cyfraniad at gyfnodolynErthygladolygiad gan gymheiriaid

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Adapting Brittany: The Ker-Is legend in Bande Dessinee. / Blin-Rolland, Armelle.
Yn: European Comic Art, Cyfrol 10, Rhif 1, 01.03.2017.

Allbwn ymchwil: Cyfraniad at gyfnodolynErthygladolygiad gan gymheiriaid

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Blin-Rolland A. Adapting Brittany: The Ker-Is legend in Bande Dessinee. European Comic Art. 2017 Maw 1;10(1). doi: 10.3167/eca.2017.100106

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Blin-Rolland, Armelle. / Adapting Brittany : The Ker-Is legend in Bande Dessinee. Yn: European Comic Art. 2017 ; Cyfrol 10, Rhif 1.

RIS

TY - JOUR

T1 - Adapting Brittany

T2 - The Ker-Is legend in Bande Dessinee

AU - Blin-Rolland, Armelle

PY - 2017/3/1

Y1 - 2017/3/1

N2 - This article examines two bande dessinée versions of the Breton legend of the flooded city of Ker-Is, Robert Lortac’s 1943 À la découverte de Ker-Is (published in children’s magazine O lo lê) and Claude Auclair and Alain Deschamps’ 1981 Bran Ruz. It argues that through the continuation or appropriation of the legend, these comics offer ideologically filtered views of Bretonness and Brittany from two different politico-historical contexts, occupied France and the postcolonial era. The article also analyses how comic art can be used in productive ways to represent Brittany as a stateless culture, including through text/image reiteration or supplementarity, and using the double page for a bilingual parallel textual-visual practice. It concludes by suggesting that the study of internal colonialism and peripheries such as Brittany is an important addition to research into postcolonial comics.

AB - This article examines two bande dessinée versions of the Breton legend of the flooded city of Ker-Is, Robert Lortac’s 1943 À la découverte de Ker-Is (published in children’s magazine O lo lê) and Claude Auclair and Alain Deschamps’ 1981 Bran Ruz. It argues that through the continuation or appropriation of the legend, these comics offer ideologically filtered views of Bretonness and Brittany from two different politico-historical contexts, occupied France and the postcolonial era. The article also analyses how comic art can be used in productive ways to represent Brittany as a stateless culture, including through text/image reiteration or supplementarity, and using the double page for a bilingual parallel textual-visual practice. It concludes by suggesting that the study of internal colonialism and peripheries such as Brittany is an important addition to research into postcolonial comics.

U2 - 10.3167/eca.2017.100106

DO - 10.3167/eca.2017.100106

M3 - Article

VL - 10

JO - European Comic Art

JF - European Comic Art

SN - 1754-3797

IS - 1

ER -