Séminaire général CHUS

Séminaire général CHUS
Présentation de l'ouvrage « Ninth Art. Bande dessinée, Books and the Gentrification of Mass Culture, 1964-1975 » (Palgrave Macmillan, 2023) par Sylvain LESAGE.
In France, comics are commonly referred to as the "ninth art". What does it mean to see comics as art? This book looks at the singular status of comics in the French cultural landscape. Bandes dessinées have long been published in French newspapers and magazines. In the early 1960s, a new standard format emerged: large hardback books, called albums. Albums played a key role in the emergence of the ninth art and its acceptance among other forms of literary narrative. From Barbarella in 1964 to La Ballade de la mer salée in 1975, from Astérix and its million copies to Tintin and its screen versions, within the space of just a few years the comics landscape underwent a deep transformation.
The album opened up new ways of creating, distributing, and reading bandes dessinées. This shift upended the market, transformed readership, initiated new transmedia adaptations, generated critical discourse, and gave birth to new kinds of comics fandom. These transformations are analysed through a series of case studies, each focusing on a noteworthy album. By retracing the publishing and critical history of these classic bandes dessinées, this book questions the blind spots of a canon based on the album format and uncovers the legitimisation processes that turned bande dessinée into the ninth art.

Présentation de l'ouvrage « Composers in the Middle Ages » (Boydell, 2024) par Anne-Zoé RILLON-MARNE.
Cet ouvrage a été codirigé par Anne-Zoé RILLON-MARNE et Gaël SAINT-CRICQ.
The modern concept of the individual composer is central to accounts of Western music, and continues to represent a critical field of research in musicology. However, this approach cannot be straightforwardly transposed to the Middle Ages, as it does not reflect the complex creative realities of medieval composition, and conflicts with the evidence from extant sources and documentation.
This collection, the first full-length study of the subject, questions and revises the concept of the composer for the medieval period through five thematic parts: "Historiographical Critique", "Ascriptions, Attributions, Signatures", "Medieval Constructions of Authority and of the Authorial Persona", "The Composing Workshop", and "Composers as Communities". Spanning a period from the seventh century to the early Renaissance, and taking in different cultural and geographical areas of Western Europe, the essays examine a range of repertoires and fields - plainchant, Latin devotional song, medieval motet, trouvère song, Ars nova, drama, and illuminated Gothic manuscripts - in diverse contexts, from clerical communities, to princely courts and lay workshops. Overall, the new perspectives here shed fresh light on the musical practices and repertoires of the Middle Ages.
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- Sylvain Lesage (Université de Lille)