استمازة جقييم السسائل البحثيت ملقسز دزاس ي اوال : بياهاث جمأل بمعسفت الطالب

اسم الطالب : بيشوى مالك داود كليت : االداب الفسقت/املستوى : الثالثه الشعبت : فرنسى انتساب اسم املقسز : اعمال سنة كود املقسز: .. استاذ املقسز : د/احمد غرية البريد الالكترووى [email protected] : للطالب عىوان السسالت البحثيت: 5-lagaffe;poète de l'inutile

ثاهيا: بياهاث جمأل بمعسفت لجىت املمتحىيين هل السسالت البحثيت املقدمت متشابت جصئيا او كليا ☐ وعم ☐ ال فى حالت الاجابت بىعم ال يتم جقييم املشسوع البحثى ويعتبر غير مجاش جقييم املشسوع البحثى م عىاصس التقييم الوشن التقييم اليسبى 1 الشكل العام للسسالت البحثيت 2 جحقق املتطلباث العلميت املطلوبت 3 يركس املساجع واملصادز العلميت 4 الصياغت اللغويت واسلوب الكتابت جيد

هتيجت التقييم النهائى /111 ☐ هاجح ☐ زاسب

جوقيع لجىت التقييم 1. .2 .3

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Franquin's beginnings

Franquin was born in Etterbeek in 1924.[1] Although he started drawing at an early age, Franquin got his first actual drawing lessons at École Saint- Luc in 1943. A year later however, the school was forced to close down because of the war and Franquin was then hired by Compagnie Belge d'Animation|CBA, a short-lived animation studio in Brussels. It is there he met some of his future colleagues: Maurice de Bevere (Morris, creator of Lucky Luke), Pierre Culliford (Peyo, creator of the Smurfs), and Eddy Paape. Three of them (minus Peyo) were hired by Dupuis in 1945, following CBA's demise. Peyo, still too young, would only follow them seven years later. Franquin started drawing covers and cartoons for Le Moustique, a weekly magazine about radio and culture.[1] He also worked for Plein Jeu, a monthly scouting magazine. During this time, Morris and Franquin were coached by Joseph Gillain (Jijé), who had transformed a section of his house into a work space for the two young comics artists and Will. Jijé was then producing many of the comics that were published in the Franco-Belgian comics magazine Spirou, including its flagship series Spirou et Fantasio. The team he had assembled at the end of the war is often referred to as La bande des quatre (lit. "The Gang of Four"), and the graphical style they would develop together was later called the Marcinelle school, Marcinelle being an outskirt of the industrial city of Charleroi south of Brussels where Spirou's publisher Dupuis was then situated. Jijé passed the Spirou et Fantasio strip to Franquin, five pages into the making of Spirou et la maison préfabriquée, and from Spirou issue #427 released 20 June 1946, the young Franquin held creative responsibility of the series.[2] For the next twenty years, Franquin largely reinvented the strip, creating longer, more elaborate storylines and a large gallery of burlesque characters. Most notable among these is the Marsupilami, a fictional monkey-like creature. The inspiration for the Marsupilami's extremely long, prehensile tail came from imagining an appendage for the busy tramway conductors the Franquin and his colleagues often encountered on their way to work. This animal has become part of Belgian and French popular culture, and has spawned cartoons, merchandise, and since 1989 a comic book series of its own. The cartoons have broadened its appeal to English-speaking countries. Mid period By 1951, Franquin had found his style. His strip, which appeared every week on the first page of Spirou, was a hit. Following Jijé's lead in the

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1940s, Franquin coached a younger generation of comics artists in the 1950s, notably Jean Roba and Jidéhem, who both worked with him on Spirou et Fantasio. In 1955, following a contractual dispute with his publisher Dupuis, Franquin went for a short stint at rival Tintin magazine. This led to the creation of Modeste et Pompon, a gag series which included contributions from René Goscinny (of Astérix fame) and Peyo. Franquin later returned to Spirou, but his contractual commitment to Tintin meant that he had to contribute to both magazines, an unusual arrangement in the comic industry. The series was later passed on to authors such as Dino Attanasio and Mittéï (Jean Mariette). In 1957, Spirou chief editor Yvan Delporte gave Franquin the idea for a new figure, Gaston Lagaffe (from the French la gaffe, meaning "the blunder"). Initially a joke designed to fill up blank space in the magazine, the weekly strip, detailing the mishaps and madcap ideas and inventions of a terminally idle office boy working at the Spirou offices, took off and became one of Franquin's best-known creations. However, Franquin soon suffered a period of depression, which forced him to stop drawing Spirou for a time. This happened between 1961 and 1963, in the middle of QRN sur Bretzelburg. During this time, he continued to draw Gaston despite ill health, most likely because of the lighter nature of the series. (In one story, Bravo Les Brothers, Gaston's antics drive his boss Fantasio to yet another nervous breakdown. In desperation he takes some anti-depressants which "Franquin left behind".) In 1967, Franquin passed Spirou et Fantasio on to a younger artist, Jean- Claude Fournier, and began to work full-time on his own creations. He was part of the team that developed the concept of Isabelle, the adventures of a little girl in a world of witches and monsters. The character was named after Franquin's daughter. Gaston gradually evolved from pure slapstick humor to feature themes important to Franquin, such as pacifism and environmentalism. Franquin also used its characters in paid ad strips he drew, and worked with the strip on and off until his death. Franquin's later period The 1960s saw a clear evolution in Franquin's style, which grew more loose and intricate. This graphical evolution would continue throughout the next decade. Soon, Franquin was considered an undisputed master of the art form, on par with the likes of Hergé and his influence can be seen in the work of nearly every cartoonist hired by Spirou up until the end of

3 the 1990s. Early comic fanzines from around 1970 featured Franquin's Monsters, individual drawings of imaginary beasts highlighting his graphical craftmanship. The last, and most radical, shift in Franquin's production happened in 1977, when he went through another nervous breakdown and began his Idées Noires strip (lit. "Dark Thoughts"), first for the Spirou supplement, Le Trombone Illustré (with other cartoonists like René Follet) and later for Fluide Glacial.[1] With Idées Noires, Franquin showed the darker, pessimistic side of his nature. In one strip, a pair of flies are seen wandering through a strange landscape, discussing the mistakes of their predecessors. In the final panel, we see the landscape is a city made from human skulls, and one fly responds: "Don't be too hard on them, they did leave us such splendid cities". Drawn entirely in black and white, Idées Noires is much more adult-oriented than Franquin's other works, focusing on themes such as death, war, pollution and capital punishment with a devastatingly sarcastic sense of humour. Proof of his popular and critical appeal, Franquin was awarded the very first Grand Prix de la ville d'Angoulême in 1974. Many books by Franquin have been published, many of which are considered classics of the genre. They have been translated in many languages. Several books have been written about Franquin, such as Numa Sadoul's Et Franquin créa la gaffe, an exhaustive interview with the artist covering his entire career. Franquin's death in 1997 in Saint-Laurent-du-Var didn't quite elicit the kind of worldwide posthumous homage Hergé received. However, 2004 saw the first major museum retrospective of his work, an exhibit called "Le monde de Franquin"', in Paris' Cité des Sciences et de l'Industrie this exhibition was continued in 2006 in the city where he was born, Brussels, the latter was fully bilingual (French/Dutch). In 2005, a Walloon survey elected him as the "16th greatest Belgian ever".

Influence Franquin's style rests in opposite corners of the aesthetic spectrum from Hergé: If the pictures of Tintin's creator were characterized by the use of ligne claire, flat colors and a certain staticism, Franquin's graphic approach progressively evolved towards a multi-color aesthetics, chiaroscuro and a vigorous sense of movement. Hergé expressed in several occasions his admiration for Franquin's work: "Compared to him, I’m but a poor draftsman". Franquin was a prominent member of the first generation of the “Marcinelle School” (École de Marcinelle), also formed by Morris and

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Will, who would be joined during the 50s by the second generation including, among others, Peyo, Tillieux, and two subsequent generations joining during the 60s and 70-80s. Within this group, Franquin's influence was uncontested, especially among the authors that continued the series Spirou et Fantasio after he left. Jean-Claude Fournier, Nic Broca and especially Janry (Jean-Richard Geurts) showed in this series graphic styles that tried to mimic with varying degrees of success the features of Franquin's style. Other Franco-Belgian authors that show Franquin's influence were Dino Attanasio and Mittéï (Jean Mariette), both responsible for the series Modeste et Pompon after he left, Jidéhem (Jean De Mesmaeker), a usual collaborator of Franquin for Spirou et Fantasio and Gaston Lagaffe, Batem (Luc Collin), artist of the Marsupilami series, or Pierre Seron, who cloned Franquin's style in his series Les Petits Hommes. A most remarkable case is Franquin's influence in Francisco Ibáñez, possibly the most widely published Spanish author since the 1950s. Starting in the 1970s, Ibáñez made an extensive use of ideas and designs from Franquin's works, adapting them to his own universe, but also importing many graphic and narrative solutions. Even one of his characters, "El Botones Sacarino", can be easily identified as a hybrid of Spirou (he is a bellboy) and Gaston Lagaffe (he works in a publishing company and is the source of never ending disasters), whom he resembles physically. Franquin's shadow is even more obvious in the work of Ramón María Casanyes, a disciple and ghost collaborator of Ibáñez, especially in some of his solo works such as the short-lived "Tito, Homo Sapiens 2000", where the Franco-Belgian descent is unquestionable. Louvain-la-Neuve (French pronunciation: lu.v . la.n v , French for New Leuven) is a planned city in the municipality of Ottignies- Louvain-la-Neuve, Belgium, situated 30 km southeast of Brussels, in the French-speaking part of the country. The city was built to house the Université catholique de Louvain (UCLouvain) which owns its entire territory;[1] following the linguistic quarrels that took place in Belgium during the 1960s, and Flemish claims of discrimination at the Catholic University of Leuven, the institution was split into the Dutch language Katholieke Universiteit te Leuven which remained in Leuven, and the Université catholique de Louvain. To a great extent, it still lives following the rhythms of the university that is its raison d'être. However, with the construction of L'Esplanade shopping complex, the Aula Magna exhibition centre and auditorium, a large cinema complex, and five museums, it is beginning to grow beyond its academic roots.

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After much deliberation, the university administration agreed on a building site near the town of Ottignies, in the French-speaking part of the province of Brabant (called Brabant Wallon in French). They bought a 9 km2 plot of beetroot farmland, which became the site from which the new city would arise. Construction started on 20 January 1969. The first inhabitants arrived in 1972. At this time, there were only around 600 permanent residents of the city, who were joined during the day by some students of Applied Sciences, the first faculty to open. With the completion of university buildings and the ongoing residential development, the city experienced rapid growth, with 10,477 inhabitants recorded in 1981. The final goal is to reach 30,000 inhabitants, in addition to the 15,000 students living in town during the academic year. The town was created with the sole purpose of hosting the Université de Louvain. As such all the grounds are property of the University. Consequently, the University was able to play an important role in the conception and planning of the town. They decided that city should not be only inhabited by students, but rather draw a diverse community as is found in any classic city. Moreover, one of the main points of the urban design of Louvain-la-Neuve was to make it people rather than automobile centred. As a consequence, the city center is built on a gigantic concrete slab, with all motorized traffic travelling underground. This allows most of the ground level of the city center to be car free. Most buildings are built on the slab (la dalle), and the pedestrian area is expanding even far from the city centre. The city is clustered around this center in four districts: Biéreau, Lauzelle, Hocaille and Bruyères. A fifth district, Baraque, that was not planned by the University has expanded on the north side of the city. It is distinct from the rest of the city in the willingness of its inhabitants to live outside of the common architectural framework (small cobblestoned and pedestrian streets) used in the other parts of the city. Louvain-la-Neuve's location 30 km (19 mi) south of Brussels at the crosspoint of several important roads makes it easily reachable by car. Moreover, a train extension has been built from the nearby station of Ottignies, which allows passengers to travel to or from Brussels in under an hour. Louvain-la-Neuve is now a thriving, growing city. Construction work is constant as many more of the characteristic small two to five floor buildings made of red bricks are erected. Due to the large student population that leaves the city during weekends and holidays, Louvain-la-Neuve can be quite empty during those periods.

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Nevertheless, the student life both day and night is well developed, centered around Student Unions, "project flats" ("kot-à-projet"), regional pubs... Louvain-la-Neuve was born as a result of the Leuven Crisis. Following the elections prompted by this affair, the expansion of the French-speaking part of the University was voted upon and approved on 18 June 1968. A few weeks later, the separation of the Catholic University of Leuven was made official. It resulted in the creation of the Katholieke Universiteit te Leuven (KUL), the Dutch-speaking one, that would stay in Leuven, and the Université catholique de Louvain (UCL), which had to move to the future site of Louvain-la- Neuve, except for the French-speaking medical faculty, which moved to Woluwe-Saint-Lambert (often called "Louvain-en-Woluwe"), in the suburbs of Brussels. The first blueprints of Louvain-la-Neuve were made in a hurry and under dramatic times. Put under the direction of Raymond M. Lemaire, Jean- Pierre Blondel and Pierre Laconte, this urbanistic project saw the first students arrive in 1972. The Musée Hergé is located in the centre of Louvain-la-Neuve, on the edge of a green park, Le Parc de la Source. This location was originally chosen for the Museum in 2001. The futuristic building was designed Pritzker Prize-winning French architect Christian de Portzamparc. On 22 May 2007 (the centenary of the birthday of Hergé, creator of The Adventures of Tintin) the first stone was laid for the Hergé Museum. Two years later the Museum opened its doors to the public. The idea of a museum dedicated to the work of Hergé can be traced back to the end of the 1970s, when Hergé himself was still alive. After his death in 1983, Hergé's widow, Fanny, led the efforts, undertaken at first by the Hergé Foundation and then by the new Studios Hergé, to catalogue and choose the artwork and elements that would eventually become part of the Museum's exhibitions.

The Hergé Museum contains eight permanent galleries displaying original artwork by Hergé, and telling the story of his life and career. Although his most famous creation, Tintin, features prominently, his other comic strip characters (such as Jo, Zette and Jocko, and Quick and Flupke) are also present. The exhibitions also include examples of Hergé's diverse and prolific output working as a graphic designer in the 1930s. The Museum houses a temporary exhibition gallery, which is updated every few months to host new exhibitions (with diverse titles such as Tintin, Hergé and Trains and Into Tibet with Tintin).

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References 1-1980: Adamson Award, Sweden 2-1974: First Grand Prix de la ville d'Angoulême, France 3- 1985: Best Long Comic Strip at the Haxtur Awards, Spain, for QRN sur Bretzelburg 4- 1987: Grand Prix for the Graphic Arts at the Angoulême International Comics Festival 5-1996: Special Prize for outstanding life's work at the Max & Moritz Prizes in Erlangen, Germany 6-2017: Asteroid 293985 Franquin, discovered by French amateur astronomer Bernard Christophe in 2007, was named in his memory.[3] The official naming citation was published by the Minor Planet Center on 12 March 2017 (M.P.C. 103971).

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