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`` Vertigo's British Invasion '': La Revitalisation Par Les Scénaristes

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`` Vertigo's British Invasion '': La Revitalisation Par Les Scénaristes “ Vertigo’s British Invasion ” : la revitalisation par les scénaristes britanniques des comic books grand public aux Etats-Unis (1983-2013) Isabelle Licari-Guillaume To cite this version: Isabelle Licari-Guillaume. “ Vertigo’s British Invasion ” : la revitalisation par les scénaristes britan- niques des comic books grand public aux Etats-Unis (1983-2013). Littératures. Université Michel de Montaigne - Bordeaux III, 2017. Français. NNT : 2017BOR30044. tel-01757263 HAL Id: tel-01757263 https://tel.archives-ouvertes.fr/tel-01757263 Submitted on 3 Apr 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. École doctorale Montaigne Humanités, ED 480 Laboratoire CLIMAS, EA 4196 Cultures et Littératures des Mondes Anglophones Thèse de doctorat en Études Anglophones VERTIGO’S BRITISH INVASION : La revitalisation par les scénaristes britanniques des comic books grand public aux États-Unis (1983-2013) Thèse présentée et soutenue publiquement le 8 décembre 2017 par Isabelle LICARI-GUILLAUME Sous la direction de M. le Professeur Jean-Paul GABILLIET Membres du Jury Mme Françoise BESSON, Professeur, Université Toulouse 2 – Jean Jaurès M. Jean-Paul GABILLIET, Professeur, Université Bordeaux Montaigne M. Laurence GROVE, Professeur, Université de Glasgow Mme Vanessa GUIGNERY, Professeur, Ecole normale supérieure de Lyon M. Nicolas LABARRE, Maître de Conférences HDR, Université Bordeaux Montaigne Table des matières Introduction : Vertigo et l’Invasion britannique ................................................ 9 I. Présentation du sujet .................................................................................................. 11 II. Délimitation du sujet .................................................................................................. 15 A. Bornes chronologiques et résumé ........................................................................................... 15 B. Constitution du corpus .............................................................................................................. 21 C. Normes de citation ...................................................................................................................... 26 III. Problématiques transversales ................................................................................... 31 Première partie : Contextualisation .................................................................... 41 I. Pour parler de bande dessinée ................................................................................. 43 A. Précisions liminaires ................................................................................................................... 43 B. Introduction à l'analyse d'un média ....................................................................................... 49 C. Statut culturel de l'objet ............................................................................................................ 75 D. Mise en œuvre de l’analyse ...................................................................................................... 85 II. Contextualisation historique .................................................................................... 99 A. Contexte d’émergence de Vertigo .......................................................................................... 99 B. The British Invasion .................................................................................................................. 118 C. L’émergence d’un « proto-Vertigo » .................................................................................... 127 Deuxième partie : Naissance et évolution d’une collection .......................... 145 I. Perspective diachronique......................................................................................... 147 A. 1983-1993 : La période proto-Vertigo ................................................................................... 147 B. 1993-2003 : Dans l’ombre de Neil Gaiman ......................................................................... 158 C. 2003-2013 : Une trajectoire incertaine ................................................................................. 168 II. La construction d’une identité ............................................................................... 177 A. La nationalité comme facteur déterminant ....................................................................... 177 B. Établissement de la cohérence du label .............................................................................. 188 III. De nouveaux modes de légitimation .................................................................... 207 A. Expérimentation, érudition et provocation ........................................................................ 207 B. Auctorialités ................................................................................................................................ 228 C. Pour en finir avec les super-héros ......................................................................................... 237 Troisième partie : Tensions politiques et sociales .......................................... 249 I. Altérité, identité ......................................................................................................... 251 A. Contexte politique ..................................................................................................................... 251 B. L’Amérique rêvée ....................................................................................................................... 259 C. Une politique progressiste ...................................................................................................... 269 II. Politisation des récits de genre .............................................................................. 287 A. Apocalypse et post-humanisme ............................................................................................ 290 B. Horreur et « relevance » .......................................................................................................... 305 III. Le corps et sa politique ............................................................................................ 321 A. Genre, féminisme, transsexualité .......................................................................................... 321 B. Fluidité de l’identité .................................................................................................................. 342 Quatrième partie : Résolution artistique et poétique .................................... 355 I. Récit religieux, récit mythique ............................................................................... 357 A. Blasphèmes et parodies ........................................................................................................... 360 B. La fascination du mythe .......................................................................................................... 371 C. Magie et ésotérisme .................................................................................................................. 385 II. Le récit et le monde ................................................................................................... 395 A. Les espaces de la fiction .......................................................................................................... 395 B. Le rêve et la folie ........................................................................................................................ 410 C. La lecture, acte créatif .............................................................................................................. 424 D. Une esthétique contemporaine ............................................................................................. 440 Conclusion ............................................................................................................. 459 I. Synthèse du travail ................................................................................................... 461 II. Prolongements possibles.......................................................................................... 477 Index ....................................................................................................................... 481 Liste des ouvrages cités ....................................................................................... 489 Annexes .................................................................................................................. 605 Table des illustrations Figure 1 : Publicité pour Eclipse Comics ..................................................................... 87 Figure 2 : Le départ de Lucifer – Sandman #23 p. 17 .............................................. 161 Figure 3 : Le départ de Lucifer – Lucifer #75 p. 20 .................................................. 161 Figure 4 : Neil Gaiman – Preacher Special : Cassidy p. 23 ..................................... 200 Figure 5 : Récitatif focalisé – Lucifer #20 p. 15 ........................................................
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