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Appel À Communicatons Journée D'études Du 2 Juin 2016 Université De Picardie Jules Verne, Laboratoire CORPUS, Amiens, Fran

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Appel À Communicatons Journée D'études Du 2 Juin 2016 Université De Picardie Jules Verne, Laboratoire CORPUS, Amiens, Fran Appel à communicatons Journée d’études du 2 juin 2016 Université de Picardie Jules Verne, laboratoire CORPUS, Amiens, France En partenariat avec le festval de BD d’Amiens, « On a marché sur la bulle » htp://bd.amiens.com/ Scroll down for the English version Les femmes et la bande dessinée : autorialités et représentatons Aux Etats-Unis, les utlisatrices de Facebook représentent aujourd’hui 53% des utlisateurs de Facebook qui lisent de la bande dessinée, 40% de plus qu’il y a trois ans. Pourtant, moins de 30% des personnages et des écrivains de BD sont des femmes, même si ces chifres progressent également (htp://www.ozy.com/acumen/the-rise-of-the-woman-comic-buyer/63314). Le lectorat féminin représente donc un marché en expansion, qui pourrait être encore développé par un ratrapage entre productons – et représentatons – féminines et productons masculines – ce dont les éditeurs américains semblent être bien conscients. Qui sont ces auteurs féminins ? quelles productons proposent-elles ? Comment ces propositons ont-elles évolué au cours du temps ? Comment peut-on les comparer avec les productons masculines ? Comment les femmes, en partculier, sont-elles représentées par les auteurs masculins et par les auteurs féminins ? Voici quelques-unes des questons qui invitent par ricochet à poursuivre plusieurs pistes de réfexion, parmi lesquelles : - La queston des super-héroïnes (Wonder Woman, Batgirl, Supergirl, The Invisible Woman, Black Canary, Captain Marvel, Raven, Natasha Irons, Elektra, Hawkeye, Miss America, Catwoman, Storm, Spiderwoman, Black Widow, She-Hulk, etc). Comment les super-héroïnes, qui naissent progressivement après la Deuxième Guerre mondiale, se situent-elles par rapport aux super-héros qui les précèdent dans le temps ? Les super- héroïnes sont-elles des fgures émancipatrices, ou correspondent-elles à des formes d’objectfcaton nées du « regard masculin » (comme le théorise Laura Mulvey dans son essai “Visual Pleasure and Narratve Cinema” en 1975)? - Le roman graphique, les femmes et le concept de minorité. Le roman graphique, en favorisant l’expression de l’intériorité, permet d’exprimer le trauma, de montrer le réprimé. En ce sens, il permetrait de rendre visibles des minorités raciales, culturelles, sociales, mais aussi sexuelles, qu’il s’agisse des thèmes abordés ou des auteurs qui les prennent en charge. On peut se demander si le roman graphique permet aux femmes de s’exprimer davantage qu’à travers le genre « majeur » que serait la BD, très invest par les hommes. C’est ce que suggère, notamment, l’étude de Hillary L. Chute, Graphic Women: Life Narratve and Contemporary Comics (2010). - Les femmes auteurs de BD, l’avant-garde et le féminisme. La réfexion sur la minorité peut s’étendre à la queston des avant-gardes, entendues comme minorités culturelles, à la fois esthétquement et politquement. Dans les années 1970, très peu de femmes auteurs de BD exerçaient dans le circuit « mainstream », comme l’a montré Trina Robbins. Elles sont par contre bien représentées dans l’underground. Comme le note Chute (2010), It Ain’t me Babe: Women’s Liberaton, dirigé par Trina Robbins, et dont un seul numéro sort en juillet 1970, est la première producton entèrement réalisée par des femmes. Il sera suivi par Tits’n’Clits en 1972, coordonné par Joyce Farmer et Lyn Chevely, et dédié à la sexualité féminine. Lancé trois semaines après Tits’n’Clits, Wimmen’s Comix est la grande référence de l’époque, puisque la revue vivra pendant deux décennies grâce à un collectf de 10 femmes, dont Robbins, et infuencera d’autres périodiques, dont en 1976 Twisted Sisters, né en réacton à ce qu’Aline Kominsky- Crumb percevait comme une idéalisaton des femmes, un peu à la manière des super-héros, dans Wimmen’s Comix. Come Out Comics, le premier comic book lesbien, créé par Mary Wings en 1973, naît également en réacton à Wimmen’s Comix et à son hétérosexisme supposé, et encourage Howard Cruse à fonder en 1980 Gay Comics, qui deviendra à son tour une source d’inspiraton pour Alison Bechdel et son Dykes to Watch Out For en 1983. Plus largement, on pourra s’intéresser à des sujets aussi variés que : les représentatons (et l’évoluton des représentatons) du corps féminin chez les auteurs hommes, et des corps féminins et masculins chez les auteurs femmes ; les interactons entre l’histoire des femmes auteurs de bande dessinée et l’histoire des Etats-Unis ; les femmes précurseurs en bande dessinée ; les diférents supports de la bande dessinée (et notamment les périodiques grand public non-spécialisés) ; le lectorat et son évoluton ; les détournements et les réappropriatons des canons masculins… la liste est non-exhaustve. Si l’on privilégiera le domaine américain, on pourra également utliser des approches comparatstes. Bibliographie primaire (essentellement reprise de Hillary L. Chute, Graphic Women: Life Narratve and Contemporary Comics, 2010): Jessica Abel (Mirror, Window; La Perdida) Marisa Acocella Marcheto (Cancer Vixen) Linda Barry (What It Is, Erny Pook’s Comeeks, etc) Alison Bechdel (Dykes to Watch Out For, Fun Home: A Family Tragicomic, Are You My Mother?) Gabrielle Bell (Lucky, Cecil and Jordan in New York, The Voyeurs) Lili Carré (The Lagoon) Sue Coe (How to Commit Suicide in South Africa, Dead Meat) Sophie Crumb (Belly Buton Comix) Vanessa Davis (Spaniel Rage) Diane DiMassa (Hothead Paisan) Julie Doucet (My New York Diary, 365 Days) Debbie Dreschler (Daddy’s Girl, The Summer of Love) Mary Fleener (Life of the Party: The Complete Autobiographical Collecton) Ellen Forney (I was Seven in 75, I Love Led Zeppelin) Phoebe Gloeckner (A Child's Life and Other Stories, Diary of a Teenage Girl: An Account in Words and Pictures) Roberta Gregory (Bitchy Bitch, Bitchy Butch) Miriam Katn (We Are on Our Own) Megan Kelso (The Squirrel Mother) Aline Kominsky-Crumb (Wimmen’s Comix, Dirty Laundry Comics, Weirdo, The Bunch's Power Pak Comics) Hope Larson (Salamander Dream, Gray Horses) Miss Lasko-Gross (Escape from “Special”, A Mess of Everything) Erika Lopez (Lap Dancing for Mommy) Dale Messick (Brenda Starr) Rutu Modan (Exit Wounds, Jamilt) Jackie Ormes (Torchy Brown, Paty-Jo 'n' Ginger) Lily Renee (The Werewolf Hunter, Senorita Rio) Trina Robbins (It Ain’t me Babe: Women’s Liberaton, Wimmen’s Comix) Ariel Schrag (Awkward, Defniton, Potental, Likewise) Dori Seda (Dori Stories) Posy Simmonds (Gemma Bovery, Tamara Drewe) June Tarpé Mills (Miss Fury) C. Tyler (Late Bloomer, You’ll Never Know: A Graphic Memoir) Lauren Weinstein (Girl Stories, The Goddess of War) Bibliographie secondaire: David Barnet, “Kapow! The Unstoppable Rise of Female Comic Readers”, The Guardian, 18 septembre 2015, htp://www.theguardian.com/books/2015/sep/18/female-comic-book-readers-women-avengers-a- force Linda Brewster, Rose O’Neill, The Girl Who Loved to Draw, Boxing Day Books, 2009. Hillary L. Chute, Graphic Women: Life Narratve and Contemporary Comics, New York (NY): Columbia University Press, 2010. Jose Fermoso, “The Rise of the Woman Comic Buyer”, Ozy, 11 septembre 2015, htp://www.ozy.com/acumen/the-rise-of-the-woman-comic-buyer/63314 Nancy Goldstein, Jackie Ormes: The First African American Woman Cartoonist, University of Michigan Press, 2008. Tim Hanley, Wonder Woman Unbound: The Curious History of the World’s Most Famous Heroine, Chicago: Chicago Review Press, 2014. Jehanzeb, “The Objectfcaton of Women in Comic Books”, Fantasy, Queers Destroy Fantasy! Special Issue, n°59, December 2015, htp://www.fantasy-magazine.com/non-fcton/artcles/the-objectfcaton-of- women-in-graphic-novels/ Susan E. Kirtley, Lynda Barry: Girlhood Through the Looking Glass, University Press of Mississippi, 2012. Mike Madrid, The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines, Ashland (Or.): Exterminatng Angel press, 2009. Mike Madrid, Divas, Dames & Daredevils: Lost Heroines of Golden Age Comics, Ashland (Or.): Exterminatng Angel Press, 2013. Lillian S. Robinson, Wonder Women: Feminisms and Superheroes, New York and London: Routledge, 2004. Trina Robbins, The Great Women Superheroes, Northampton, Mass.: Kitchen Sink Press, 1996. Trina Robbins, From Girls to Grrrlz: A History of Women's Comics from Teens to Zines [de 1941 à 1999], San Francisco (85 Second Street): Chronicle Books, 1999. Trina Robbins, “Gender Diference in Comics”, Image & Narratve, Online Magazine of the Visual Narratve, n°4, September 2002, htp://www.imageandnarratve.be/inarchive/gender/trinarobbins.htm Trina Robbins, Prety in Ink: North American Women Cartoonists, 1896-2013, Seatle (Wash.): Fantagraphics Books, 2013. Bret Schenker, “Market Research Says 46.67% of Comic Fans are Female”, The Beat, The Newsblog of Comics Culture, 2 mai 2014, htp://www.comicsbeat.com/market-research-says-46-female-comic-fans/ Lynne M. Thomas and Ellis, Sigrid, ed., Chicks Dig Comics; A Celebraton of Comics by the Women Who Love Them, Mad Norwegian Press, 2012. **** Call for Papers June 2 2016 Workshop Université de Picardie Jules Verne, laboratoire CORPUS, Amiens, France With the Festval de BD d’Amiens, “On a marché sur la bulle”, htp://bd.amiens.com/ Women and comics, authorships and representatons In the USA, facebook users who read comics are 53% female, a fgure that has risen by 40% in three years’ tme. Yet fewer than 30% of comics authors and characters are female, even if this fgure is also on the rise (htp://www.ozy.com/acumen/the-rise-of-the-woman-comic-buyer/63314). The female readership of comics is an expanding market which should ideally be balanced more evenly between genders – a fact of which American publishing companies are acutely aware. Who are these female authors and what do they ofer? Has their producton evolved in tme and how can these be compared with their masculine counterparts? How are women represented by male and female authors? Prospectve partcipants are invited to try and answer these questons thanks to several themes that may be relevant. - Super heroines (Wonder Woman, Batgirl, Supergirl, The Invisible Woman, Black Canary, Captain Marvel, Raven, Natasha Irons, Elektra, Hawkeye, Miss America, Catwoman, Storm, Spiderwoman, Black Widow, She- Hulk, etc).
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