Posy Simmonds Author / Illustrator

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Posy Simmonds Author / Illustrator Posy Simmonds is best known for her weekly cartoon strip which ran in the Guardian from 1977 to 1987. The collected cartoons were published as MRS WEBER'S DIARY, TRUE LOVE, PICK OF POSY, PURE POSY and MUSTN'T GRUMBLE. She was Cartoonist of the Year in 1980 and 1981 and in 1998 was overall winner of the National Art Library Illustrations Award. GEMMA BOVERY was published by Cape in 1999 to great critical acclaim. Her last book, TAMARA DREWE, was made into a film starring Gemma Arterton. Agents Caroline Dawnay Assistant Kat Aitken [email protected] 02032140931 Publications Other Publication Details Notes TAMARA DREWE A graphic novel loosely based on Hardy`s FAR FROM THE MADDING 2007 CROWD. Jonathan Cape BAKER CAT The delightful tale of a beastly baker, a hard-working cat and a rabble of 2004 rude and frisky mice. Jonathan Cape United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Publication Details Notes LITERARY LIFE The book consists of approximately fifty `Literary Life` cartoons, as 2003 currently being serialised weekly every Saturday in the Guardian Review, Jonathan Cape and a selection of short stories. GEMMA BOVERY A classic novel rewritten as glittering contemporary satire: the British 1999 adrift in Normandy. Jonathan Cape MATILDA Who told such dreadful lies and was burned to death. 1992 Jonathan Cape LULU AND THE Lulu is swept off her feet by a winged figure and flown into a wonderful FLYING BABIES world of pictures. 1988 Jonathan Cape FRED Fred is a cat who seems normal enough by day, but by night Fred is a 1987 singing superstar, much to the surprise of Fred's owners. Jonathan Cape PURE POSY Pick of Posy Simmonds 1987 Jonathan Cape VERY POSY Illustrated children's book 1985 Jonathan Cape United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].

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Some Thoughts On… Far from the Madding Crowd and Its Adaptations Quelques Réflexions Sur… Far from the Madding Crowd Et Ses Adaptations
FATHOM a French e-journal of Thomas Hardy studies 3 | 2016 The Hollow Amid the Text Some Thoughts on… Far from the Madding Crowd and its Adaptations Quelques réflexions sur… Far from the Madding Crowd et ses adaptations Laurence Estanove Electronic version URL: http://journals.openedition.org/fathom/592 DOI: 10.4000/fathom.592 ISSN: 2270-6798 Publisher Association française sur les études sur Thomas Hardy Electronic reference Laurence Estanove, « Some Thoughts on… Far from the Madding Crowd and its Adaptations », FATHOM [Online], 3 | 2016, Online since 30 April 2016, connection on 20 April 2019. URL : http:// journals.openedition.org/fathom/592 ; DOI : 10.4000/fathom.592 This text was automatically generated on 20 April 2019. Some Thoughts on… Far from the Madding Crowd and its Adaptations 1 Some Thoughts on… Far from the Madding Crowd and its Adaptations Quelques réflexions sur… Far from the Madding Crowd et ses adaptations Laurence Estanove Introduction: “Bringing Shepherd Back” 1 In the whole of Hardy’s work, Far from the Madding Crowd is probably, today, the novel that has entailed the most numerous adaptations, or at least adaptations of the most various kinds. The multiplication of those in very recent years may naturally be said to testify to the modernity of Hardy’s writing. But one might also wonder what attracted a variety of artistic practices in that particular novel of Hardy’s, while others, such as Tess, have enjoyed a greater popularity yet generated a more restricted number of adaptations. To this day, four filmmakers as well as one cartoonist and one opera composer have made Hardy’s fourth novel their own.
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L'exemple De Gemma Bovery De Posy Simmonds
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PDF Download Posy Simmonds
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Cartoon Sunday I Am Many Film Tamara Drewe I Never Read
Cover (detail): © Posy Simmonds, 2021 POSY SIMMONDS CLOSE UP OPENING OF THE 28.8.— 24.10. EXHIBITION 2021 POSY Cartoonmuseum Basel St. Alban-Vorstadt 28 SIMMONDS CH-4052 Basel Fon +41 (0)61 226 33 60 www.cartoonmuseum.ch Follow us on CLOSE UP Facebook, Twitter Friday, 27/8 / 2021, 6:30pm or Instagram. Venue will be announced online With: co-curator Paul Gravett from London, cartoonist and artist Posy Simmonds, and co-curator Anette Gehrig, director of Cartoonmuseum Basel. Music: Francesca Gaza Trio. Followed by snacks & drinks. You and your friends are very welcome. British cartoonist, comics artist and in The Guardian. In the 1980s, she pub- children’s book author Posy Sim- lished several highly successful chil- monds (b. 1945) has attracted attention dren’s books. internationally with the three graphic An elegant, clear and corporeal draw- novels Gemma Bovery (1999), Tamara ing style, profoundly developed char- Drewe (2007) and Cassandra Darke acters, unerring humour and the alert (2018), and their headstrong titular fe- mind of a great storyteller character- male characters. She fascinates with ise all of Posy Simmonds’s works. Her precise psychological portraits, mocks graphic novels have been translated the shortcomings of the middle class into several languages and some of her and cultural scene, caricatures staid- books have been made into films. ness, and criticises social develop- Cartoonmuseum Basel presents the ments. Relatively long text passages most comprehensive retrospective «Fred», 1987 alternate with traditional comic se- on this major British artist yet seen in quences, while references to classics by Switzerland, with original drawings writers such as Gustave Flaubert and from all graphic novels and from her Charles Dickens add further layers to children’s books, as well as illustra- the stories.
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Online Research @ Cardiff Translating British and US-American Graphic Novels into French: A Conversation with the Translator Lili Sztajn Isabelle Guillaume (Université Bordeaux Montaigne) This article is based on an interview conducted with Lili Sztajn, a professional translator, on 25 September 2014 before a live audience at the École Normale Supérieure de Lyon. It includes quotations from Sztajn’s interview—in italics— followed by my own reflections and analysis of specific translation issues.1 This unusual layout has the advantage of allowing theoretical concerns to be combined with an insider’s view of the specificities of professional translation. Although Translation Studies is now a well-established field of research, the translator’s im- portant role in cultural exchanges is not necessarily recognised by the general pub- lic; to echo Lawrence Venuti’s famous title, translators still have a certain invisibil- ity, as their legal and social status often falls short of complete authorship. More invisible still is the translator of comics, a medium which still does not quite enjoy the same cultural legitimacy as non-graphic literary texts, and is regarded by some as second-rate material, fit to be adapted quickly and cheaply. As this article seeks to demonstrate, much is to be gained from translators, especially those working in the field of comics, being seen—and heard. In France as well as in English- speaking countries, comics occupy a position between high and low culture, yet enjoy only partial recognition (Maigret, “La Reconnaissance” 116).
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