Vol. 06 No. 1, November 2006
Permanent URI for this collectionhttps://hdl.handle.net/10222/31210
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Item Open Access Avatars d'un héros composé : Bruno Brazil et le Commando Caïman(Dalhousie University. Electronic Text Centre, 2006-11) Frigerio, VittorioItem Open Access Contents - Belphégor Vol 6 No 1(2006-11) Frigerio, VittorioItem Open Access Ferriss, Suzanne, and Mallory Young (eds). Chick Lit: The New Woman's Fiction. New York : Routledge, 2006. ISBN 0415975034(Dalhousie University. Electronic Text Centre, 2006-11) Olivier, SeverineItem Open Access Présentation(Dalhousie University. Electronic Text Centre, 2006-11) Couegnas, DanielItem Open Access Les laquais des trois mousquetaires(Dalhousie University. Electronic Text Centre, 2006-11) Couegnas, DanielItem Open Access Ashley, Mike. Transformations: The Story of the Science-Fiction Magazines from 1950 to 1970, The History of the Science-Fiction Magazine volume II. Liverpool: Liverpool University Press, 2005. 410 p. ISBN 0853237794(Dalhousie University. Electronic Text Centre, 2006-11) Beaule, SophieItem Open Access L'éviction des comparses dans l'univers vidéoludique : définitive ou temporaire ?(Dalhousie University. Electronic Text Centre, 2006-11) Batard, AnnickItem Open Access Giet, Sylvette. Soyez libres ! C'est un ordre. Le corps dans la presse féminine et masculine. Paris : Autrement, collection « Le corps plus que jamais », 2005. 142 p. ISBN 2746706539(Dalhousie University. Electronic Text Centre, 2006-11) Artiaga, LoicItem Open Access La Redistribution des emplois vaudevillesques chez Eugène Labiche(Dalhousie University. Electronic Text Centre, 2006) Laporte, DominiqueTraditionally presented as the protoype of the French vaudeville, Labiche's theatre, quite apart from its generic exemplarity, constitutes a critique of the "well-done play" of Scribe. To this end, it substitutes to the actantial model on which canonical vaudeville is based, a format whereby the Subject is replaced by an Opponent whose actantial function is stronger. This leads to a reversing of the habitual roles, at the end of which the conventional distinction between the main character (the actant subject) and the secondary characters (the opposing subjects), becomes inoperative.Item Open Access Seconds rôles, duos et trios dans l'oeuvre romanesque de Jules Verne(Dalhousie University. Electronic Text Centre, 2006) Compere, DanielIn Jules Verne's works, the hero is never alone, not even when he seeks solitude. Various novels presenting a search theme feature an entire team of characters. This is partly dictated by the genre itself of the "imaginary voyage" and of the adventure novel, but is also a left-over from educational novels and the theatre. The team is made up of the scientist-adventurer, a sidekick and a helper. At first, there were a number of variations. In Twenty-thousand Leagues under the Sea (1870), as well as in Around the World in Eighty Days (1873), we see switches back and forth between groups of two and of three characters. Starting with The Mysterious Island (1875), Verne often splits up his characters, thus making the team larger, but also introduces a third character with a comical or ironic tone. Just as in opera, where each sings from his own song-sheet, the result is either polyphony or cacophony.Item Open Access L'Allusion comique: Petits rà´les et seconds couteaux dans le travestissement, le pastiche ou la parodie(Dalhousie University. Electronic Text Centre, 2006) Guillaumie, MarcWhile studying various kinds of tales (comics, movies, novels), we asked ourselves the following initial question: In which kind of work do secondary characters play the greatest role? Present-day commerce and contemporary humour (or according to the point of view, "post-modern" cynicism) produce such a daily mass of parodies that the definition of a coherent corpus becomes virtually impossible. Also, what is parody exactly? These are the points from which we started to discuss the fundamental role of the "sidekick" in parody, going so far as to suggest that it is through it that one may be able to formulate a typology of these kinds of tales. Parody has been overlooked in literary studies. By studying this "minor" genre that builds up the norm in order to better tear it down, however, one can offer some reflections on the fundamental rules of literature. We have attempted to show how pastiche, or parody, are much more omnipresent, subtle, unstable and hard to pinpoint than some excessively rigid definitions may suggest.Item Open Access Fantomate ou comment parle le chien d'un (Petit) Vampire(Dalhousie University. Electronic Text Centre, 2006) Cheilan, LilianeFantomate is the talking dog in Joann Sfar's series "Le Petit Vampire", comprising comics, animated cartoons and children's novels. Talking "funny animals", as Harry Morgan calls them, are a common presence in comics. Mickey Mouse, Donald Duck, Krazy Kat or Pogo behave as humans and their bodies, while maintaining animal characteristics, are also humanized. Dogs are the most common companions of human characters and are rarely humanized entirely. Some, such as Pif, Kador or Cubitus speak and behave as people do. Others, however, like Milou, Bill, Snoopy or Idéfix, behave mostly as dogs do and only think out loud and do not speak. Once one compares Fantomate with other comic dogs, his wholly original position becomes apparent. As the ghost dog of a little vampire, he has special faculties denied to ordinary dogs. He belongs to a supernatural world inhabited by special beings (monsters, ghosts, vampires), and can speak just like them. However, he also maintains some canine attributes. Fantomate is not a "funny animal" but he is not a silent companion either. The fact of being able to speak and be understood by others gives him a much more active role in the stories than if he were a relatively passive sidekick. An analysis of Fantomate's discourse shows how this character fits within his supernatural world and the place he occupies within the stories in general. More than a simple sidekick, Fantomate is really an integral part of the hero.Item Open Access Lorsque le grand-père se fait petit garçon: Le Personnage du grand-père complice du jeune héros dans la BD et la littérature pour la jeunesse(Dalhousie University. Electronic Text Centre, 2006) Humieres, Catherine d'This article deals with the representation of the figure of the "grandpa" and its role within the family through the stories of Le Petit Spirou, by Tome and Janry, and the series Manolito Gafotas, by Elvira Lindo. Both are designed as mass products and present several similarities in their representation of the grandpa and of the grand-child. In both series the two characters develop an extremely close friendship. The grandpa helps the grand-child with many of the naughty jokes he devises, while the grand-child supports the grandpa's tweaking of the implicit family rules. Thus, the grandpa becomes a favourite sidekick of the young hero. Both series presents parents who are caught between two child-like beings for whom they are responsible and whom they cannot trust. The authors' aim seems to be to link old-age and childhood and oppose them to the adult world. The article also explores the socio-cultural factors that may have contributed to the creation of this image of the grandfather (such as the loss of traditional notions of education, morality and exemplarity) that may explain why the character of the grandpa takes on a barmy aspect, in order to pass on values that need to be disguised to be transmitted.Item Open Access Quand le cow boy n'est plus solitaire: Profil et fonction diégétique de la partenaire féminine dans quelques séries policières de la télévision: Rick Hunter, Law and Order: Criminal Intent et Crime Scene Investigation(Dalhousie University. Electronic Text Centre, 2006) Montemont, VeroniqueThis article deals with a specific relation within TV productions: that between the principal investigator and his assistant in detective serials. This grouping of two characters often of the opposite sex offers an interesting viewpoint on how TV represents gender relations, quite apart from the obvious hierarchical relation of subordination between the main character and its assistant. We will therefore attempt to pinpoint the stereotypes at work in three serials, and how the most recent ones can choose to subvert them, or sometimes to reinforce them.Item Open Access Le Capitaine Haddock, ou l'irruption de l'humanité dans Les Aventures de Tintin(Dalhousie University. Electronic Text Centre, 2006) Wanegffelen, ThierryDid Captain Haddock's arrival on the scene slowly change the status of Tintin's adventures? In Les Bijoux de la Castafiore and Tintin et les Picaros, the sidekick steps up to the front row, likely because it's easier for the readers to identify with him than with a hero who is, by Hergé's own admission, too perfect and therefore a bit insipid, typical of mass children literature. Such a phenomenon can undoubtedly occur in other contexts. It is striking, however, of much Haddock's appearance introduces a true human - and even existential - dimension to the stories. From that point on, their status changes and they can truly be considered legitimate works of art.Item Open Access Les Fictions à épisodes télévisuelles: Quelle place pour les personnages secondaires face aux héros multiples?(Dalhousie University. Electronic Text Centre, 2006) Sepulchre, SarahCharacters in TV serials are less and less alone. This phenomenon of the "multiple hero" is not new. One can therefore wonder whether secondary characters still have a role to play in this system. The analysis of three serials (Monk, Law and Order : Special Victims Unit and CSI : Crime Scene Investigation) shows that secondary characters still operate beside multiple heroes and that it is the whole set of relationships between characters that is becoming progressively more complex, and not only the actantial subject.Item Open Access Lily et James Potter, ou les visages morcelés de l'unité perdue(Dalhousie University. Electronic Text Centre, 2006) Cani, IsabelleIn Harry Potter, the multiplicity of secondary characters supports the hero's identity quest and mirrors the tight logic of J. K. Rowling's universe. First of all, one must go beyond the superficial opposition between wizards and Muggles. The good wizards are those who protect the Muggles. Harry himself had a wizard father and a Muggle mother. Lily and James Potter, the deceased parents, are a primordial presence in the background of the stories. Harry discovers them mostly through the secondary characters. They are at the same time opposed and complementary to each other, and from their relation spring the four main categories (some positive, some negative) that structure the other characters. James Potter, together with his wife, is the imaginative male wizard, while Lily, together with her husband, is the reasonable, feminine quasi-wizard. However, if James were to distance himself from her, he would resemble more and more Lord Voldemort, and if Lily distanced herself from him, she would become another aunt Petunia. Unchained will to power on the one hand, and deadly order on the other. Harry must find his own space in this context, rejecting the temptation represented by Voldemort and turning more and more, through his friends and love, to the feminine side that humanizes magic.Item Open Access Rouvière, Nicolas. Astérix ou les lumières de la civilisation. Paris : P.U.F., 2006. 221 p. ISBN 213055265X.(Dalhousie University. Electronic Text Centre., 2006-11) Frigerio, VittorioItem Open Access Russo, Adelaide et Fabrice Leroy (sous la direction de). "Dossier Thématique : Bande Dessinée Belge". Etudes Francophones Vol. 20, No. 1, printemps 2005.(Dalhousie University. Electronic Text Centre., 2006-11) Frigerio, Vittorio