La Revue Dessinée Italia, a comic journalism magazine, is born

La Revue Dessinée Italia, a comic journalism magazine, is born

La Revue Dessinée Italia

La Revue Dessinée Italia is born, the quarterly comic journalism magazine that tells, explains, shows, investigates topics of general interest through comics and which will propose a series of surveys carried out by independent journalists and cartoonists every month. But let's see in more detail.

What is La Revue Dessinée Italy

La Revue Dessinée was born in France in 2013, thanks to Franck Bourgeron, Olivier Jouvray, Kris, Sylvain Ricard, Virginie Ollagnier and David Servenay, through participatory funding, with the aim of creating an independent project to tell the complexity of the reality in which we live in full autonomy. The artistic direction is entrusted to Elhadi Yazi. The magazine had a tremendous success, reaching ten thousand subscribers and twelve thousand bookshop sales in less than ten years and launching a series of collateral projects based on the same desire to provide information in a free and punctual way. In fact, Topo was born in 2016, a bimonthly comic information magazine intended for teenagers and conceived by an editorial team led by Laurence Fredet and Charlotte Miquel, under the artistic direction of Emma Huon-Rigaudeau and Cizo. Since 2018, 6Mois, a photojournalism magazine, and XXI, a quarterly reportage from the world, previously published by Rollin, have also been part of the same group.

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The Revue Dessin√©e Italia will contain over 200 pages, without advertising, of journalistic inquiries and signed columns by independent journalists and cartoonists. The first issue will be available from May by subscription and at the Book Fair and from June in bookstores and the cover will be created by the cartoonist and illustrator Andrea Serio. Inside it will talk about TAV Turin - Lyon, climate emergency, social football, new pornography, narcoterrorism, rebirth of the territory with the stories of Lorena Canottiere, Gr√©gory Mardon, Alberto Puliafito, √Čliane Patriarca, Sergio Rossi, Giorgio Pandiani, Francesca Mannocchi, Paolo Castaldi, Emanuele Racca, Ferdinando Cotugno, Lorenzo Bonini, Stefano Scaccabarozzi and Paolo Valsecchi, Lorenza Natarella. In addition, each issue will feature a story created by French artists and published by La Revue Dessin√©e d'oltralpe.






Experiences of the Self in Comics (revue Nuevas Poligrafías)

Universidad Nacional Autónoma de México. Facultad de Filosofía y Letras.


Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada


Experiences of the Self in Comics


Guest editors: √Āurea Esquivel Flores y Alfredo Guzm√°n Tinajero


Since its origins, comics and their different traditions (historietas, bande dessinée, manga, etc.) have explored the territories of the self. Their authors have represented themselves in search of their own being and as a way of (re)constructing their images in the world. Since the seventies, representations of the self in comic narratives have been a prevailing resource along with others such as costumbrismo, satire, or the documentary, resources that broke with dominant narratives. This gesture towards the personal was one of the factors that favored the cultural recognition of the medium as well as its legitimation within academic reflection. The subsequent invention of the concept of the graphic novel, in addition to its editorial expansion, made it possible to delve into the experiences of the intimate, producing a plethoric creative phenomenon of innumerable and complex stories centered on sentimental, embarrassing, or painful events, which on many occasions pose particular approaches to the self, to the authorial, to the collective and to self-representation.


A widely recognized turning point of this phenomenon was Maus (1991) by Art Spiegelman, who, drawing on authors such as Justin Green, Robert Crumb, Will Eisner, or Harvey Peekar, took advantage of the ways in which the medium allows exploring the self and its relationships with memory, tradition, and pain. Another key moment in the long history of the experiences of the self in comics occurs at the turn of the millennium with the publication of two works that consolidated the paths of self-representation and emphasized the indispensable gaze of women in it: Persepolis (2000) by Marje Satrapi and Fun Home (2006) by Alison Bechdel. In these works, in which a gaze marked by the authors of Wimmen's Comix or Ah Nana! is recognizable, it becomes clear that everyday life, identity, and growth are territories of expression and struggle in an environment apparently dominated by the heteronormative, the adventure and the puerile.


Along with this creative phenomenon, studies of the self in comics have prospered recently —above all, they have been codified and studied from the theoretical framework of the autobiography (Chaney, 2006; Chute, 2010; El Refaie, 2012; Kunka 2017)—. However, the authors have resorted to other ways of narrating themselves, such as autofiction, filiation narratives, documentaries, autobiographical fiction, graphic medicine or non-narrative comics.


In this way, the comics of the self seem not only to tell the life of their authors retrospectively, but also to address multiple and complex ways of (re)elaborating their history, their emotions, and their corporality. They explore fictions caused by desires and the fantastic, figurations of the self (Pozuelo, 2010), authorial postures (Meizoz, 2007), or dissident corporalities and sexualities. These approaches to the experiences of the self suggest fruitful avenues of observation and study.


Considering the above, for the seventh issue of Nuevas Poligraf√≠as. Revista de Teor√≠a Literaria y Literatura Comparada, we call specialists in the areas of ​​literature, arts, and humanities in general to submit unpublished and original articles that address the different experiences of the self in comics, in addition to representations of the body, trauma, violence, and gender. We are interested in receiving contributions that address the visual, narrative, and aesthetic frameworks that the medium allows around these issues. Some possible approaches are:


Narratives of the self: autobiography, autofiction, stories of affiliation, etc.Authorial postures and configuration of the authorial figureRepresentations of the bodyGender and narratives of the selfTrauma, violence, and memoryThe self in the documentary comicGraphic medicineThe self in children's and youth comic booksComics of the self and their intermedial adaptationsOther approaches to comics Even though in this issue we will privilege papers that revolve around the experiences of the self in comics, we will continue to receive papers concerning our usual topics—that is, studies of literary theory and literature in different languages, genre, visual images, themes and historical treatment, translation, popular culture, postcolonial studies, as well as intermedial and transmedial approaches. We will also receive book reviews and notes related to comparative literature and literary theory.


The length of the articles must be between 5000 and 7000 words, including notes and bibliographical references. The length of the reviews must be between 1000 and 1500 words. All contributions must adhere to the general requirements and editorial guidelines established by the journal, and they should be submitted through the editorial manager of this website. The deadline for papers to be included in this number is August 15th, 2022. The publication of number 7 of Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada is scheduled for February 2023.


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Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada


Experiencias del yo en el cómic


Editorxs invitadxs: √Āurea Esquivel Flores y Alfredo Guzm√°n Tinajero


Desde sus or√≠genes el c√≥mic y sus distintas tradiciones (la historieta, la bande dessin√©e, el manga, etc√©tera) han explorado los territorios del yo. Sus autorxs se han autorrepresentado en ellos busc√°ndose a s√≠ mismxs y como una forma de (re)construirse ante el mundo. Desde los a√Īos setenta del siglo pasado, la presencia de las narraciones del yo en el c√≥mic ha sido un recurso preponderante junto a otros como el costumbrismo, la s√°tira o lo documental, recursos que rompieron con las narraciones dominantes. Este gesto hacia lo personal fue uno de los factores que favorecieron el reconocimiento cultural del medio as√≠ como su legitimaci√≥n dentro de la reflexi√≥n acad√©mica. La posterior invenci√≥n del concepto de novela gr√°fica, adem√°s de su expansi√≥n editorial, permiti√≥ profundizar en las experiencias de lo √≠ntimo, produciendo un plet√≥rico fen√≥meno creativo de innumerables y complejos relatos centrados en sucesos sentimentales, vergonzosos o dolorosos, que en muchas ocasiones plantean acercamientos particulares al yo, a lo autoral, a lo colectivo y a la autorrepresentaci√≥n.


Un parteaguas ampliamente reconocido de este fen√≥meno fue Maus (1991) de Art Spiegelman, quien, abrevando de autores como Justin Green, Robert Crumb, Will Eisner o Harvey Peekar, aprovech√≥ las formas propias en las que el medio permite explorar el yo y sus relaciones con la memoria, la tradici√≥n y el dolor. Otro momento clave de la larga historia de las experiencias del yo en el c√≥mic acontece en el cambio de milenio con la publicaci√≥n de dos obras que consolidaron los caminos de la autorrepresentaci√≥n y pusieron √©nfasis en la mirada indispensable de las mujeres en el mismo: Persepolis (2000) de Marje Satrapi y Fun Home (2006) de Alison Bechdel. En estos trabajos, en los que se reconoce una mirada marcada por las autoras de Wimmen’s Comix o Ah Nana!, se pone de manifiesto que la cotidianidad, la identidad y el crecimiento son territorios de expresi√≥n y lucha en un medio aparentemente dominado por la heteronorma, la aventura y lo pueril. 


A la par de este fen√≥meno creativo, los estudios del yo en el c√≥mic han prosperado recientemente —sobre todo han sido codificados y estudiados desde los paradigmas de la autobiograf√≠a (Chaney, 2006; Chute, 2010; El Refaie, 2012; Kunka 2017)—. No obstante, lxs autorxs han recurrido a otras formas de narrarse a s√≠ mismxs, como son la autoficci√≥n, los relatos de filiaci√≥n, el documental, la ficci√≥n autobiogr√°fica, la medicina gr√°fica o el c√≥mic no-narrativo. De este modo, los c√≥mics del yo parecen no s√≥lo contar la vida de sus autorxs retrospectivamente, sino que tambi√©n abordan m√ļltiples y complejas formas de (re)elaborar su historia, sus emociones y su corporalidad. Indagan en la ficci√≥n provocada por los deseos y lo fant√°stico, en las figuraciones del yo (Pozuelo, 2010), en las posturas autorales (Meizoz, 2007) o exploran corporalidades y sexualidades disidentes. Estas aproximaciones a las experiencias del yo sugieren rutas fruct√≠feras de observaci√≥n y estudio.


Considerando lo anterior, para el n√ļmero 7, Nuevas Poligraf√≠as. Revista de Teor√≠a Literaria y Literatura Comparada convoca a especialistas en el √°rea de la literatura, las artes y las humanidades en general a enviar art√≠culos in√©ditos y originales que traten las distintas experiencias del yo en el c√≥mic, adem√°s de las representaciones del cuerpo, el trauma, la violencia y el g√©nero en el mismo. Nos interesa recibir contribuciones que aborden los entramados visuales, narrativos y est√©ticos que el medio permite en torno a estos temas. Algunos de las aproximaciones posibles son:


Las narraciones del yo: autobiograf√≠a, autoficci√≥n, relatos de filiaci√≥n, etc√©teraPosturas autorales y configuraci√≥n de la figura autoralRepresentaciones del cuerpoG√©nero y narraciones del yoTrauma, violencias y memoriaEl yo en el c√≥mic documentalMedicina gr√°ficaEl yo en el c√≥mic infantil y juvenilLos c√≥mics del yo y sus adaptaciones a otros mediosOtras aproximaciones al c√≥mic Aunque en este n√ļmero privilegiaremos las contribuciones en torno a las experiencias del yo en los c√≥mics, continuaremos con la recepci√≥n de art√≠culos sobre los temas que acostumbramos, esto es, sobre estudios de teor√≠a literaria y literaturas en distintas lenguas, g√©nero, im√°genes, tema y configuraciones hist√≥ricas, traducci√≥n, cultura popular, estudios poscoloniales, adem√°s de aproximaciones intermediales o transmediales. Tambi√©n recibiremos rese√Īas de libros y notas relacionadas con la literatura comparada y la teor√≠a de la literatura. Los art√≠culos propuestos deben tener un m√≠nimo de 5 000 y un m√°ximo de 7 000 palabras, incluyendo notas y bibliograf√≠a. Las rese√Īas, por su parte, deben tener una extensi√≥n de 1 000 palabras como m√≠nimo y 1 500 palabras como m√°ximo. Todas las colaboraciones deber√°n apegarse a las directrices y lineamientos establecidos por la revista y enviarse a trav√©s del gestor editorial de este sitio web. Aunque consideraremos las colaboraciones que lleguen durante todo el a√Īo, la fecha l√≠mite para quedar incluidas en este n√ļmero es el 15 de agosto de 2022. La publicaci√≥n del n√ļmero 7 de la revista est√° prevista para febrero de 2023.