Blake & Mortimer: the Septimus Wave Free
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SPYCATCHER by PETER WRIGHT with Paul Greengrass WILLIAM
SPYCATCHER by PETER WRIGHT with Paul Greengrass WILLIAM HEINEMANN: AUSTRALIA First published in 1987 by HEINEMANN PUBLISHERS AUSTRALIA (A division of Octopus Publishing Group/Australia Pty Ltd) 85 Abinger Street, Richmond, Victoria, 3121. Copyright (c) 1987 by Peter Wright ISBN 0-85561-166-9 All Rights Reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior written permission of the publisher. TO MY WIFE LOIS Prologue For years I had wondered what the last day would be like. In January 1976 after two decades in the top echelons of the British Security Service, MI5, it was time to rejoin the real world. I emerged for the final time from Euston Road tube station. The winter sun shone brightly as I made my way down Gower Street toward Trafalgar Square. Fifty yards on I turned into the unmarked entrance to an anonymous office block. Tucked between an art college and a hospital stood the unlikely headquarters of British Counterespionage. I showed my pass to the policeman standing discreetly in the reception alcove and took one of the specially programmed lifts which carry senior officers to the sixth-floor inner sanctum. I walked silently down the corridor to my room next to the Director-General's suite. The offices were quiet. Far below I could hear the rumble of tube trains carrying commuters to the West End. I unlocked my door. In front of me stood the essential tools of the intelligence officer’s trade - a desk, two telephones, one scrambled for outside calls, and to one side a large green metal safe with an oversized combination lock on the front. -
Belgique Francophone, Terre De B.D
Belgique francophone, terre de B.D. François Pierlot Frantseseko lektorea / Lector de francés Laburpena Komikien historia Suitzan hasi zen 1827an, Rodolphe Töpffer-ek “litera- tura iruditan” deiturikoa sortu zuenean. Printzipioa sinplea da: istorio bat kontatzen du marrazki bidez, eta istorioa azaltzeko testuak eransten ditu. Hogei urte geroago, Wilhelm Bush alemaniarrak Max und Moritz sortu zuen, marrazkietan dinamismo handia zuen umorezko komikia. Gero, batez ere egunkarietan agertzen hasi ziren komikiak. Eguneroko prentsak ere gero eta arrakasta handiagoa zuenez, komikiak Europa osora za- baldu ziren. Egunkarientzat oso garrantzitsua zen komiki onak izatea, irakur- le asko erakartzen zituztelako. Erresuma Batuan ere arrakasta izan zuten ko- mikiek. AEBtik, bestalde, koloretako argitalpenak iristen hasi ziren, testuen ordez bunbuiloak zituztenak. Belgikan, 1929an hasi ziren komikiak argitaratzen, Le petit vingtième haurrentzako egunkarian. Apaiz oso kontserbadore bat zen erredakzioburua, eta umeei komunisten alderako gorrotoa barneratzeko pertsonaia asmatzeko eskatu zion Hergé marrazkilari gazteari. Horrela sortu zen Tintin. Lehenengo aleak Tintin sobieten herrialdean zuen izenburua. Hergék bere pertsonaiaren «gobernua» hartu baino lehen, ideologiaz beteriko beste bi abentura ere izan ziren (Tintin Kongon eta Tintin Amerikan). Tintinekin hasitako goraldiaren ondoren, beste marrazki-aldizkari bel- gikar batzuk sortu ziren; besteak beste, Bravo! agerkaria. Komiki belgikarrak 1940ko hamarkadatik aurrera nagusitu ziren mundu frantsestunean, bi agerkari zirela bitarte: Le Journal Tintin eta Le Journal de Spirou, hurrenez hurren, Hergé eta Franquin marrazkilari zirela. Bi astekariek talentu gazteak hartu zituzten, aukera bat emateko. Komikien ibilbidea finka- tu zuten, klasizismo mota bat ezarrita. Journal de Spirou izenekoa 1938an sortu zuen Dupuis argitaletxeak, eta umorea landu zuen. Pertsonaiek oso jatorrak dirudite, grafismo biribilari esker (horregatik aipatzen da “sudur lodiaren” estiloa). -
Bruxelles, Capitale De La Bande Dessinée Dossier Thématique 1
bruxelles, capitale de la bande dessinée dossier thématique 1. BRUXELLES ET LA BANDE DESSINÉE a. Naissance de la BD à Bruxelles b. Du héros de BD à la vedette de cinéma 2. LA BANDE DESSINÉE, PATRIMOINE DE BRUXELLES a. Publications BD b. Les fresques BD c. Les bâtiments et statues incontournables d. Les musées, expositions et galeries 3. LES ACTIVITÉS ET ÉVÈNEMENTS BD RÉCURRENTS a. Fête de la BD b. Les différents rendez-vous BD à Bruxelles c. Visites guidées 4. SHOPPING BD a. Adresses b. Librairies 5. RESTAURANTS BD 6. HÔTELS BD 7. CONTACTS UTILES www.visitbrussels.be/comics BRUXELLES EST LA CAPITALE DE LA BANDE DESSINEE ! DANS CHAQUE QUARTIER, AU DÉTOUR DES RUES ET RUELLES BRUXELLOISES, LA BANDE DESSINÉE EST PAR- TOUT. ELLE EST UNE FIERTÉ NATIONALE ET CELA SE RES- SENT PARTICULIÈREMENT DANS NOTRE CAPITALE. EN EFFET, LES AUTEURS BRUXELLOIS AYANT CONTRIBUÉ À L’ESSOR DU 9ÈME ART SONT NOMBREUX. VOUS L’APPRENDREZ EN VISITANT UN CENTRE ENTIÈREMENT DÉDIÉ À LA BANDE DESSINÉE, EN VOUS BALADANT AU CŒUR D’UN « VILLAGE BD » OU ENCORE EN RENCON- TRANT DES FIGURINES MONUMENTALES ISSUES DE PLUSIEURS ALBUMS D’AUTEURS BELGES… LA BANDE DESSINÉE EST UN ART À PART ENTIÈRE DONT LES BRUX- ELLOIS SONT PARTICULIÈREMENT FRIANDS. www.visitbrussels.be/comics 1. BRUXELLES ET LA BANDE DESSINEE A. NAISSANCE DE LA BD À BRUXELLES Raconter des histoires à travers une succession d’images a toujours existé aux quatre coins du monde. Cependant, les spéciali- stes s’accordent à dire que la Belgique est incontournable dans le milieu de ce que l’on appelle aujourd’hui la bande dessinée. -
Hergé and Tintin
Hergé and Tintin PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 20 Jan 2012 15:32:26 UTC Contents Articles Hergé 1 Hergé 1 The Adventures of Tintin 11 The Adventures of Tintin 11 Tintin in the Land of the Soviets 30 Tintin in the Congo 37 Tintin in America 44 Cigars of the Pharaoh 47 The Blue Lotus 53 The Broken Ear 58 The Black Island 63 King Ottokar's Sceptre 68 The Crab with the Golden Claws 73 The Shooting Star 76 The Secret of the Unicorn 80 Red Rackham's Treasure 85 The Seven Crystal Balls 90 Prisoners of the Sun 94 Land of Black Gold 97 Destination Moon 102 Explorers on the Moon 105 The Calculus Affair 110 The Red Sea Sharks 114 Tintin in Tibet 118 The Castafiore Emerald 124 Flight 714 126 Tintin and the Picaros 129 Tintin and Alph-Art 132 Publications of Tintin 137 Le Petit Vingtième 137 Le Soir 140 Tintin magazine 141 Casterman 146 Methuen Publishing 147 Tintin characters 150 List of characters 150 Captain Haddock 170 Professor Calculus 173 Thomson and Thompson 177 Rastapopoulos 180 Bianca Castafiore 182 Chang Chong-Chen 184 Nestor 187 Locations in Tintin 188 Settings in The Adventures of Tintin 188 Borduria 192 Bordurian 194 Marlinspike Hall 196 San Theodoros 198 Syldavia 202 Syldavian 207 Tintin in other media 212 Tintin books, films, and media 212 Tintin on postage stamps 216 Tintin coins 217 Books featuring Tintin 218 Tintin's Travel Diaries 218 Tintin television series 219 Hergé's Adventures of Tintin 219 The Adventures of Tintin 222 Tintin films -
The Testament of William S. © Editions Blake & Mortimer / Studio Jacobs (Dargaud-Lombard S.A.) - Sente & Juillard NEW TITLES to DECEMBER 2016 JULY OCTOBER
CATALOGUE 21 SUMMER/AUTUMN 2016 The Testament of William S. © Editions Blake & Mortimer / Studio Jacobs (Dargaud-Lombard s.a.) - Sente & Juillard NEW TITLES TO DECEMBER 2016 JULY OCTOBER P4 P5 P6 P7 P8 P17 P18 P19 P20 AUGUST NOVEMBER P9 P10 P11 P12 P21 P22 P23 P24 SEPTEMBER DECEMBER P13 P14 P15 P16 P25 P26 Dear readers, welcome to Cinebook’s Hunting will be the order of the day for ty, although their days as official agents Spirou is forced to investigate his friend 21st catalogue. some. The Marquis of Anaon is after a par- of Earth are now gone; two volumes of Fantasio, who appears to have turned art This year is the 400th anniversary of ticularly brutal creature that’s been terror- freelancing time travel adventures for your thief. Meanwhile, Lucky Luke is up to his William Shakespeare’s death, and amid ising the French Alps, and has the locals pleasure! And speaking of time travel, our usual shenanigans, supervising the Dal- the other celebrations, Sente and Juillard talking of demons. On the other hand, the latest Espresso Collection title, Clear Blue tons’ on a vengeance spree, helping a have done us the great pleasure of creat- stranded heroes of Barracuda find them- Tomorrows, explores a man’s attempt to newly founded town survive, and dealing ing a new adventure of Blake & Mortimer selves on an island populated by dan- change his past – and his memories of the with a haunted ranch. As for Iznogoud, his centred around The Bard and his legacy. gerous cannibals – and they become the future he doesn’t want to happen. -
Ligne-Claire.Pdf
neuviemeart2.0 > dictionnaire esthétique et thématique de la bande dessinée > ligne claire ligne claire par Thierry Groensteen [Novembre 2013] Baptisée en 1977 par Joost Swarte à la faveur du catalogue d’une exposition présentée à Rotterdam, la klare lijn − en français : ligne claire – désigne, au sens le plus restrictif, le style d’Hergé, et, dans son acception la plus large, une mouvance aux contours assez flous regroupant de nombreux artistes de bande dessinée et illustrateurs animés par un même souci d’épure, de lisibilité, une même confiance dans le cerne, le trait net et la couleur en aplat. La bande dessinée a toujours privilégié le dessin au trait, qui a l’avantage d’être rapide d’exécution et de se prêter parfaitement aux exigences de la reproduction, quel que soit le support. Dans le Livre Troisième de son traité Réflexions et menus propos d’un peintre genevois, Rodolphe Töpffer exprimait déjà « la prééminence du trait sur les deux autres moyens, le relief et la couleur, quant à ce qui caractérise l’imitation ». À lui seul, en se concentrant sur le contour, « il représente l’objet d’une façon suffisante, sinon complète ». Des trois moyens d’imitation, le trait est celui « qui dit le plus rapidement les choses les plus claires à notre intelligence, et qui rappelle le plus spontanément les objets ». Cela vient − précisera Töpffer dans l’Essai de physiognomonie (1848) − « de ce qu’il ne donne de l’objet que ses caractères essentiels, en supprimant ceux qui sont accessoires » (matières, modelés, demi-tons, détails, contrastes dus à l’éclairage, etc.). -
Tintin and the Adventure of Transformative and Critical Fandom
. Volume 17, Issue 2 November 2020 Tintin and the adventure of transformative and critical fandom Tem Frank Andersen & Thessa Jensen, Aalborg University, Denmark Abstract: Using Roland Barthes’ and John Fiske’s notion of the readerly, writerly, and producerly text, this article provides an analysis and a tentative categorization of chosen transformative, fanmade texts for the comic book series The Adventures of Tintin. The focus is on the critical transformation of, and engagement with, the original text by academics, professional fans, and fans of popular culture. The analysis identifies different ways of transformational engagement with the original text: ranging from the academic writerly approach of researchers, over professional fans rewriting and critically engaging with the original text, to fanfiction fans reproducing heteroromantic tropes in homoerotic stories, fans of popular culture using Tintin figurines to document their own travels, and finally, fans who use Tintin covers as a way to express critical political sentiments. With Barthes and Fiske these groups are defined by their way of approaching the original text, thus working either in a readerly producerly or writerly producerly way, depending on how critical and political the producerly attitude is in regard to the original text. Keywords: The Adventures of Tintin, fan albums, fanfiction, fan communities; readerly, writerly, producerly reception Introduction In recent years, it has been quiet around the forever young reporter Tintin and his faithful friends Snowy and Captain Haddock. A motion capture movie about three of Tintin’s adventures failed to garner a larger following, despite having Steven Spielberg as the director (The Adventures of Tintin, Columbia Pictures, 2011). -
COMICS and ILLUSTRATIONS PARIS – 14 MARCH 2015 Highlights Exhibited on Preview in NEW YORK from February 27Th to March 4Th
& Press Release ǀ PARIS ǀ 11 February 2015 FOR IMMEDIATE RELEASE COMICS and ILLUSTRATIONS PARIS – 14 MARCH 2015 Highlights exhibited on preview in NEW YORK from February 27th to March 4th Spirou et FantasioSpirou et Cauvin par Fournier Franquin GREG Janry Morvan * Munuera Nic Roba Tome Vehlmann Yann Yoann © Dupuis 2015 Philippe Francq Uderzo André Franquin Detail of an original illustration for Dior, 2001 Colour cover of Pilote n°489, 20 March 1969 Detail of an original board, Spirou et Fantasio, Estimate: €12,000-15,000 Estimate: €100,000-120,000 Spirou et les Hommes-Bulles, 1960 * © Francq © 2015 Goscinny - Uderzo Estimate: €70,000-80,000 Paris - Following the success of the Comics and Illustration inaugural auction in Paris in April 2014, which realised over €4M, Christie’s will hold a second auction dedicated to sequential art on the upcoming 14 March. This sale, once again carried out in partnership with the Daniel Maghen Gallery, will represent a wide selection of comic artists and heroes, of which the highlights will be exhibited during a preview held at Christie’s New York from February 27th until March 4th 2015. Daniel Maghen, auction expert: «The greatest names in comic history will be celebrated, such as the legendary characters of Hergé, Tintin and Captain Haddock, in an exceptional original cover of the Journal de Tintin, estimated between €350,000 and €400,000, as well as Edgar P. Jacobs’ Blake and Mortimer, and Albert Uderzo’s Astérix and Obélix. The «new classics» will also be represented along with Moebius, whose colour cover of the Incal and a page of Arzach will be offered. -
The Adventures of Blake and Mortimer: Mystery of the Great Pyramid, Part 1 V
THE ADVENTURES OF BLAKE AND MORTIMER: MYSTERY OF THE GREAT PYRAMID, PART 1 V. 2 PDF, EPUB, EBOOK Edgar P. Jacobs | 72 pages | 01 Jan 2008 | CINEBOOK LTD | 9781905460373 | English | Ashford, United Kingdom The Adventures of Blake and Mortimer: Mystery of the Great Pyramid, Part 1 v. 2 PDF Book Download as PDF Printable version. We find Mortimer and Nasir on their way to Cairo, as they arrive they son find that they are being followed, as trouble is close by. So I had to get one. He gives it to Blake and Kendall. While I still think the Van Hamme and Benoit albums I have read actually reads better, it is equally clear that Jacobs storytelling improved, and while there are still issues with text heavy balloons and some misplacement of them , things are clearly getting better with each instalment. Community Reviews. Jenny McLachlan. Help Learn to edit Community portal Recent changes Upload file. As Mortimer gets closer to finding the clues to where the treasure is kept, his archenemy, Olrik, catches up t him and looks to take the sacred texts revealing the necessary clues. Meanwhile, Mortimer is at the archives of the Daily Mail where, with the help of Mr Stone the archivist, he is conducting his own research into the affair. Blake and Mortimer by Edgar P. By Edgar P. Blake and Mortimer is a Belgian comics series created by the Belgian writer and comics artist Edgar P. The pacing is a bit whiplash-inducing. Editions L'Harmattan. Videogames Pockett. Mortimer arrives in Cairo to visit a colleague and quickly becomes embroiled in a mystery stemming from the translation of an ancient papyrus. -
Tintin in Tibet—Part 1(SUPROMIT MAITI)
Dept. of English, RNLKWC--SEM- IV-- HCC10-- Tintin in Tibet—Part 1(SUPROMIT MAITI) The Department of English RAJA N.L. KHAN WOMEN’S COLLEGE (AUTONOMOUS) Midnapore, West Bengal Course material- 1 on Tintin in Tibet (General Introduction) For English Hons. Semester- IV Paper- HCC10 (Popular Literature) Prepared by SUPROMIT MAITI Faculty, Department of English, Raja N.L. Khan Women’s College (Autonomous) Prepared by: Supromit Maiti. April, 2020. 1 Dept. of English, RNLKWC--SEM- IV-- HCC10-- Tintin in Tibet—Part 1(SUPROMIT MAITI) Tintin in Tibet Tintin, the young, dashing and flamboyant Belgian reporter has been a familiar figure across the globe since decades now. With his passion for unveiling the truth, Tintin has become a global sensation for his intense desire to solve mysteries, his love for adventure, his unscathed honesty and his love for his friends and companions. Conceived as a character drawn to entice a readership comprising primarily of children, Tintin and his escapades charmed the young-adult and the adult readers too. A childhood hero for many, Tintin, through his numerous adventures, had travelled to places around the world, thus exposing the readers to a varied range of cultures and rituals that makes the narratives all the more interesting. Immensely favoured by readers of all age, it was only a matter of time that Tintin’s antics would feature prominently in any course of popular literature. And here we are, in a post-colonial country, reading Tintin in Tibet in a class of under-graduate students, and I guess, enjoying it? Meet Herge, the creator! The Belgian cartoonist Georges Prosper Remi won accolades under his pen name Herge, and one could wonder whether Herge had any idea that his pen name would go on to be immortalized when he used it to claim his comics. -
I Cowboys and Indians in Africa: the Far West, French Algeria, and the Comics Western in France by Eliza Bourque Dandridge Depar
Cowboys and Indians in Africa: The Far West, French Algeria, and the Comics Western in France by Eliza Bourque Dandridge Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Laurent Dubois, Supervisor ___________________________ Anne-Gaëlle Saliot ___________________________ Ranjana Khanna ___________________________ Deborah Jenson Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2017 i v ABSTRACT Cowboys and Indians in Africa: The Far West, French Algeria, and the Comics Western in France by Eliza Bourque Dandridge Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Laurent Dubois, Supervisor ___________________________ Anne-Gaëlle Saliot ___________________________ Ranjana Khanna ___________________________ Deborah Jenson An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2017 Copyright by Eliza Bourque Dandridge 2017 Abstract This dissertation examines the emergence of Far West adventure tales in France across the second colonial empire (1830-1962) and their reigning popularity in the field of Franco-Belgian bande dessinée (BD), or comics, in the era of decolonization. In contrast to scholars who situate popular genres outside of political thinking, or conversely read the “messages” of popular and especially children’s literatures homogeneously as ideology, I argue that BD adventures, including Westerns, engaged openly and variously with contemporary geopolitical conflicts. Chapter 1 relates the early popularity of wilderness and desert stories in both the United States and France to shared histories and myths of territorial expansion, colonization, and settlement. -
Traumatic Analepsis and Ligne Claire in GB Tran's
Earle, H E H 2014 Traumatic Analepsis and Ligne Claire in GB Tran’s THE COMICS GRID Vietnamerica. The Comics Grid: Journal of Comics Scholarship, 4(1): 9, Journal of comics scholarship pp. 1-4, DOI: http://dx.doi.org/10.5334/cg.at RESEARCH Traumatic Analepsis and Ligne Claire in GB Tran’s Vietnamerica Harriet E H Earle* The use of analepsis in representations of traumatic experience is not a new phenomenon in traumatic art in general or comics in particular. However, in GB Tran’s family narrative of the Vietnam War, Vietnamerica (2011), this trope is used in a particular fashion. While discussing his father’s imprisonment at the hands of the Vietnamese Government, Tran uses heavy black art before ‘flashing back’ into his father’s past, all of which is drawn in a style highly reminiscent of Ligne Claire. The high contrast of Tran’s two artistic styles is especially interesting when we consider that he is trying to recreate a traumatic experience told in analepsis and also when we remember the French occupation of Vietnam and, invariably, the influence of French art on Tran’s father. Why does Tran use this iconic style for the flashback? How does this shift in style affect the narrative? How does it assist in the representation of the traumatic experience within the text? Keywords: Comics; Vietnam War; Trauma; Freud; GB Tran GB Tran’s family graphic narrative Vietnamerica (2011) (Miller 2007: 18). However, the style is synonymous with recounts the multi-generational story of his family his- the Franco-Belgian bandes-dessinée tradition and more tory, starting with his grandparents’ (specifically grand- specifically Belgian comics artist Hergé.