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Conference Report: International Conference “Tintin au XXIe siècle” [Tintin In The 21st Century]

17 – 20 May 2017 – Louvain-la-Neuve – Musée Hergé – Collège Érasme, Université Catholique de Louvain

by Olivier Roche

Translated by Annick Pellegrin

Edited by Lise Tannahill

 

In Europe, the Belgian author Hergé, whose real name was Georges Remi, is considered to be one of the greatest bande dessinée artists of the 20th century, just like Winsor McCay (Little Nemo in Slumberland), Charles Schulz (Peanuts) or Jirō Taniguchi (A Distant Neighborhood). His body of work—mostly The Adventures of Tintin and Quick and Flupke—has become mythical, and the subject of collections, of speculation, of exhibitions, of hundreds of scholarly studies, of thousands of articles and all kinds of artistic and cultural tributes. In France or in Belgium, universities have had a lot of trouble embracing bande dessinée. However, in the last few years, there has been a notable and growing interest for the ninth art, and in particular for Hergé’s work, in higher education and research. From 17 to 20 May 2017, an international conference was held in Louvain-la-Neuve, at Université catholique de Louvain and at Musée Hergé [Hergé Museum], to mark Hergé’s 110th birthday. The conference, organised by a scientific committee representing six universities in Belgium, France and Switzerland, brought together 20 speakers from 8 countries over 4 days, a first, and it was a great success.
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Report: Transnational Graphic Narratives Summer School

University of Siegen, Germany. July 31st – August 5th 2017

-Report-

Authors: Amadeo Gandolfo, Pablo Turnes, Laura Nallely Hernández Nieto, Lia Roxana Donadon

Introduction

The first Transnational Graphic Narratives Summer School (abbreviated TGN) was held at the University of Siegen, Campus Unteres Schloß, from July 31st to August 5th of 2017. The participants included the following scholars (in alphabetical order): José Alaniz (University of Washington, USA), Benoît Crucifix (Université de Liège, Belgium), Veronica Dean (University of Los Angeles, USA), Subir Dey (Indian Institute of Technology Guwahati, India), Harriet Earle (Sheffield Hallam University, England), Franca Feil (Goethe University Frankfurt, Germany), Moritz Fink (Academy for Civic Education Tutzing, Germany), Amadeo Gandolfo and Pablo Turnes (National University of Buenos Aires / CONICET, Argentina), Isabelle Guillaume (Universiy of Bordeaux Montagne, France), Olivia Hicks (University of Dundee, Scotland), Ganiyu A. Jimoh (University of Lagos, Nigeria), Kenan Koçak (Bilecik Şeyh Edebali University, Turkey), Sarah Lightman (University of Glasgow, Scotland), Suraya Md Nasir (Kyoto Seika University, Japan), Laura Nallely Hernández Nieto (National Autonomous University of Mexico), Barbara Postema (Concordia University, Canada), Johannes Schmid (University of Hamburg, Germany), Pfunzo Sidogi (Tshwane University of Technology, South Africa), Simon Turner (Sainsbury Institute for the Study of Japanese Arts and Culture, England), Jocelyn Wright (University of Texas, USA), Tobias Yu-Kiener (University of the Arts London, Great Britain), Giorgio Buzzi Rizzi (University of Bologna, Italy), Lia Roxana Donadon (University of Siegen, Germany).

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Workshop Report: “Formen der Selbstreflexivität im Medium Comic”

[Forms of Self-Reflexivity in Comics]

by Laura Schlichting and Markus Streb[1]

 

The workshop “Formen der Selbstreflexivität im Medium Comic” [Forms of Self-Reflexivity in Comics] organized by the German Society for Media Studies’ committee on Comics Studies, brought scholars from various disciplines together to discuss the relationship between comics and self-reflexivity as well as self-referentiality. The organisers, Nina Heindl (University of Cologne, Faculty of Art History) and Véronique Sina (Ruhr-University Bochum, Faculty of Media Science) carefully selected papers, each 15 minutes long, with regard to a five-part workshop structure comprised of aesthetic self-reflexivity; self-critical (fan) discourses; mechanisms of self-referentiality; factual and fictional (self) representations in comics; and meta-reflections on comics.

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Poetics of the Algorithm: A Report

By Leslie Goufo Zemmo, Giorgio Busi Rizzi and David Pinho Barros

 

algopoetics-poster-light

In June 2016, for three days, scholars from all over the world met at the Université de Liège for a ground-breaking bilingual conference on digital media. The starting points for the discussions were several challenging questions about the way storytelling is evolving with the adoption of new technologies on the part of  artists and writers. Poetics of the Algorithm was mainly concerned with the ways in which medial creations are changing, the impact these changes have on viewers and readers and how humanities scholars should deal with this paradigm shift. The ethical implications and the political consequences of the current state of digital creation were also fore preoccupations of the organisers Aarnoud Rommens, Benoît Crucifix and Björn-Olav Dozo when they set up this project.

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Report on the Superhero Identities Symposium (December 2016)

By Naja Later

Organised by the Australian Research Grant-supported Superheroes & Me research team, the Superheroes Identities Symposium ran at the Australian Centre for the Moving Image in Melbourne on 8-9 December 2016. The symposium hosted over 50 speakers whose research questioned what defines superheroes and how superheroes define us. With a wide range of panels, speakers, events and attendees, the symposium created a dynamic environment in which new frontiers of superhero research collided and collaborated with wonderful possibilities for the future.

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