Benoit Crucifix (aspirant FNRS),
Drawing from the Archive: Comics Memory and the Contemporary Graphic Novel
This thesis focuses on comics memory in the twenty-first-century North-American graphic novel. It argues that the archive has become a major site of concern for contemporary cartoonists, who are constantly engaged in redrawing past comics into the present, effectively acting as diplomats of comics memory for their readers and for commercial and cultural institutions. They handle past comics in a variety of practical ways—exhibitions, designed reprints, anthologies, essays, prefaces, pastiches, quotations, and appropriations—that express and materialize knowledge about the medium and its history. In describing these various acts of memory, I suggest that cartoonist-historians explore the liminal space that separate making and archiving, exploring the stakes that engage us in our relationship to the past and memory of comics.
Fanny Geuzaine (aspirante FNRS)
Dissipating the Original. Narrative Dissemination and Transmediality in Neil Gaiman’s Short Works of Fiction and Nonfiction
My research project seeks to examine the ways in which the contemporary speculative fiction writer Neil Gaiman (1960-) constantly reconfigures his own oeuvre (including novels, short stories, comics, graphic novels, illustrated books, TV series, poems, lyrics, blog articles, essays and speeches) by means of disseminative and transmedial strategies. It focuses more particularly on the interactions between Gaiman's works of fiction and nonfiction, on the metafictional aspects of these productions and on their impact on Gaiman’s stance. My fields of interest include popular culture, speculative fiction, storytelling, short stories, comics and children's literature.
Besa Hashani (UCL)
His Fiction in the World, the World in his Fiction
Study of the Circulation and Reception of Ismail Kadare’s Fiction in the Anglophone Literary Landscape"
The aim of this research project is to shed light on the configurations between world literature and its reception at the end of the 20th century and the beginning of the 21st century in the light of the particular case of Ismail Kadare’s boom in the Anglophone literary landscape. The first objective of this project is to analyse the internal “transtextual” configuration of Kadare’s works received in the Anglophone context (Genette). The second objective is to analyse the modalities of reception of these works in this cultural semiosphere. What sense is made of the ‘transtextual’ content of Kadare’s oeuvre by the concerned readership? The third objective is to contribute to the ongoing discussion about the aesthetics of contemporary world literature and its reception in the Anglophone literary landscape.