La Revue Dessin茅e Italia, a comic journalism magazine, is born

La Revue Dessin茅e Italia, a comic journalism magazine, is born

La Revue Dessin茅e Italia

La Revue Dessin茅e 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 Dessin茅e Italy

La Revue Dessin茅e 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.

| ); }
The Revue Dessin茅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茅gory Mardon, Alberto Puliafito, 脡liane 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茅e d'oltralpe.






Experiences of the Self in Comics (revue Nuevas Poligraf铆as)

Universidad Nacional Aut贸noma de M茅xico. Facultad de Filosof铆a y Letras.


Nuevas Poligraf铆as. Revista de Teor铆a Literaria y Literatura Comparada


Experiences of the Self in Comics


Guest editors: 脕urea Esquivel Flores y Alfredo Guzm谩n Tinajero


Since its origins, comics and their different traditions (historietas, bande dessin茅e, 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铆as. Revista de Teor铆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 Poligraf铆as. Revista de Teor铆a Literaria y Literatura Comparada is scheduled for February 2023.


---------


Nuevas Poligraf铆as. Revista de Teor铆a Literaria y Literatura Comparada


Experiencias del yo en el c贸mic


Editorxs invitadxs: 脕urea Esquivel Flores y Alfredo Guzm谩n Tinajero


Desde sus or铆genes el c贸mic y sus distintas tradiciones (la historieta, la bande dessin茅e, el manga, etc茅tera) han explorado los territorios del yo. Sus autorxs se han autorrepresentado en ellos busc谩ndose a s铆 mismxs y como una forma de (re)construirse ante el mundo. Desde los a帽os setenta del siglo pasado, la presencia de las narraciones del yo en el c贸mic ha sido un recurso preponderante junto a otros como el costumbrismo, la s谩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铆 como su legitimaci贸n dentro de la reflexi贸n acad茅mica. La posterior invenci贸n del concepto de novela gr谩fica, adem谩s de su expansi贸n editorial, permiti贸 profundizar en las experiencias de lo 铆ntimo, produciendo un plet贸rico fen贸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贸n.


Un parteaguas ampliamente reconocido de este fen贸meno fue Maus (1991) de Art Spiegelman, quien, abrevando de autores como Justin Green, Robert Crumb, Will Eisner o Harvey Peekar, aprovech贸 las formas propias en las que el medio permite explorar el yo y sus relaciones con la memoria, la tradici贸n y el dolor. Otro momento clave de la larga historia de las experiencias del yo en el c贸mic acontece en el cambio de milenio con la publicaci贸n de dos obras que consolidaron los caminos de la autorrepresentaci贸n y pusieron 茅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贸n y lucha en un medio aparentemente dominado por la heteronorma, la aventura y lo pueril. 


A la par de este fen贸meno creativo, los estudios del yo en el c贸mic han prosperado recientemente —sobre todo han sido codificados y estudiados desde los paradigmas de la autobiograf铆a (Chaney, 2006; Chute, 2010; El Refaie, 2012; Kunka 2017)—. No obstante, lxs autorxs han recurrido a otras formas de narrarse a s铆 mismxs, como son la autoficci贸n, los relatos de filiaci贸n, el documental, la ficci贸n autobiogr谩fica, la medicina gr谩fica o el c贸mic no-narrativo. De este modo, los c贸mics del yo parecen no s贸lo contar la vida de sus autorxs retrospectivamente, sino que tambi茅n abordan m煤ltiples y complejas formas de (re)elaborar su historia, sus emociones y su corporalidad. Indagan en la ficci贸n provocada por los deseos y lo fant谩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铆feras de observaci贸n y estudio.


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


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