Notes
177 notes translator’s Foreword 1. Henceforth Système 2. 2. Thierry Groensteen, Système de la bande dessinée (Paris: Presses Universitaires de France, 1999). Henceforth Système 1. English version translated by Bart Beaty and Nick Nguyen, under title of The System of Comics (Jackson: University Press of Mississippi, 2006). Henceforth System 1. introduCtion 1. Thierry Smolderen, “Of Labels, Loops and Bubbles: Solving the Historical Puzzle of the Speech Balloon,” Comic Art, no. 8, Summer 2006, 90–112. 2. Thierry Smolderen, “Trois forms de pages” [Three types of page], Neuvième Art, no. 13, January 2007, 20–31. 3. Thierry Smolderen, Naissances de la bande dessinée (Brussels: Les Impressions nouvelles, 2009). To be published in English translation under the title The Birth of Comics, from William Hogarth to Winsor McCay, trans. Bart Beaty and Nick Nguyen (Jackson: University of Mississippi Press, 2013 forthcoming). 4. Jean-Christophe Menu, La Bande dessinée et son double [Comic Art and its Double] (Paris: L’Association, 2010), p. 447. 5. Harry Morgan, Formes et mythopoeia dans les littératures dessinées [Forms and Mythopoeia in Graphic Literature], unpublished doctoral thesis, in the History and Semiology of the Text and Image, Paris 7, 2008. 6. Translator’s note: Morgan’s actual term is “littératures dessinées,” or “drawn literatures.” 7. For an initial evaluation of the activities of Oubapo, I refer readers to the dossier that appeared in Neuvième Art no. 10, April 2004, 72–99, and in particular to my article “Ce que l’Oubapo révèle de la bande dessinée” [What Oubapo reveals about comics], 72–75. 8. For more details about this evolution, see my article “La conquête du silence” [The Conquest of Silence], Art Press special edition no. 26, Bande d’auteurs [Band of Authors], 2005, 68–73. 9. See 3.2 below. 178 notes Chapter one 1. Ann Miller, Reading Bande Dessinée (Bristol: Intellect, 2007), p. 75. 2. I offer a perspective on the whole debate ensuing from the question of a definition of comics in my text “Définitions,” forthcoming in 2012 in L’Art de la bande dessinée [The Art of Comics], to be published by Citadelles & Mazenod. 3. La Bande Dessinée et son double, op. cit., p. 414. 4. Ibid. p. 413. 5. Kirk Varnedoe and Adam Gopnik, High & Low: Modern Art and Popular Culture (New York: The Museum of Modern Art, 1990), p. 189. My italics. 6. Notably at the Maison rouge in Paris, in 2009, at MoMA in 2007 (at the Comic Abstraction: Image-Breaking, Image-Making exhibition) and, again in New York, at the New Museum in 2010. 7. Alex Baladi, Petit trait (Paris: L’Association, 2008). 8. In a sense close to that proposed by Harry Morgan, but narrower. For him, “the apparatus encompasses the actual form in which the graphic narrative is presented (strip, single page, booklet, album, etc.), as well as the means of dividing it up and the inscription of texts.” Forms and Mythopoeia, op. cit., p. 16. Translator’s note: the term used by Groensteen is “dispositif,” which might be translated as “mechanism,” “apparatus,” or “operation,” none of which is entirely satisfactory. Until this point we have used “formal apparatus.” Henceforth we will simply refer to the “apparatus.” 9. Groupe Mu, Traité du signe visuel (Paris: Seuil, 1992), p. 189. 10. But also of vocabulary and conceptual categories that vary from one cultural sphere to another. For example, in Korea (and perhaps in other countries?) one does not say “to read a comic” but “to look at a comic.” The emphasis is on visual perception, not on cognitive processes . It follows logically that the idea of abstract comics should be more readily accepted. 11. These pages have been reprinted in his album Nautilus (Copenhagen: Fahrenheit, 2009). 12. See http://diplomes.etapes.com/profiles/2227-thomas-higashiyama?locale=en, accessed March 16, 2011. 13. Translator’s note: in Système 1, pp. 173–74, System 1, p. 146, Groensteen makes a distinction between the “sequence” (images linked by a narrative project), the “série” (images with some iconic, visual, or semantic element in common), and the “suite” (a random succession of images). I will translate “suite” by “string.” 14. See “La narration comme supplément” [Narration as a Supplement], Bande dessinée, récit et modernité (Paris: Futuropolis, 1988), pp. 45–69. As I recall, an amalgam was defined as a “simple juxtaposition of disparate images.” 15. See Système...
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