>
>Greetings >
>I'll be editing UP Mississippi's new collection on Hergé, the
>internationally renowned author of great children's comics such as *Tintin*.
>
>Please consider sending something to me, and keep in mind that I'm
>thinking as far outside the box as possible on this collection. I've
>got one guy proposing to study the *Tintin* films and their production
>in Turkey, another proposing to look at architectural spaces related to
>the institution of Hergé in the present day, and another looking at the
>ongoing controversies surrounding the legality of parodies of *Tintin*.
>If you want to write a paper about your favorite story arc, the
>intersection of biography and comics, or what happens when you apply
>your favorite theory to the comics, all of those are very welcome, but
>if you have a very strange (and not necessarily glowing) angle to bring
>to bear, I'm excited to hear about that, too.
>
>And as always, please do pass this CfP along to colleagues, students,
>and mailing lists that you think might be interested. I can also send
>you the CfP as a doc file for you to print and post.
>
>Take care,
>Joe
>
>Joe Sutliff Sanders
>
>[log in to unmask]
>
>Call for Papers
>
>*The Comics of Hergé*
>
>
>
>*The Comics of Hergé* is a proposed volume in a new book series,
>Critical Approaches to Comics Artists, at the University Press of
>Mississippi. This volume will contain 12-16 new critical essays on
>Hergé, ranging from his work in advertising, illustrations for others'
>writings, and comics to film and television adaptations of his work.
>Essays from many disciplinary perspectives are welcome, including
>critical approaches from comics studies, art history, cultural studies,
>religious and ethical studies, literary studies, linguistics, history,
>political science, gender theory, postcolonial studies, and adaptation theory.
>
>
>
>Essays (in English) might address the following questions:
>
>
>
>· What important connections can be made between Hergé's non-comics
>work--for example, his illustrations for Léon Degrelle and his work in
>advertising--and the work for which he became famous?
>
>· Although analysis of Hergé's work has focused almost exclusively
>on *Tintin*, how would our understanding of his masterpiece benefit
>from better attention to his lesser-known comics? How has the previous
>focus on
>*Tintin* denied important insights on these works?
>
>· How did Hergé's growing interest in modern art change the work he
>did in comics?
>
>· How has Hergé's *ligne claire* influenced or been challenged by
>subsequent artists, including those with whom he worked over his long
>career?
>
>· How do Hergé's ideas of eastern religions come through in his
>interviews and/or art? To what extent were these ideas accurate, and
>how do those ideas illuminate other aspects of his life and art?
>
>· To what extent does Tintin's nationality, increasingly obscured
>over the course of the series, matter? To what extent does his status
>as a citizen of Brussels signify in the ongoing internal tensions of Belgium?
>
>· Some important comics creators—such as Edgar Jacobs and Jacques
>Van Melkebeke—benefitted from and have been overshadowed by Hergé.
>What new research can shed light on Hergé’s relationship with these
>creators and how that relationship affected comics?
>
>· How does Hergé obscure sexual desire in his works, and where does
>it appear despite his efforts? Is there a difference between his
>treatment of desire in his works for different audiences?
>
>· What other absences does Hergé enforce in his comics, and to what
>effect?
>
>· Numa Sadoul’s book of interviews with Hergé—interviews Hergé
>edited before they saw print—remains pivotal to the study of Hergé long
>after its publication. What arguments, revisions, insights,
>expansions, or even corrections are now necessary?
>
>· Other topics are also very welcome.
>
>
>
> Please send a 500-word abstract along with CV and contact
>information to Joe Sutliff Sanders at [log in to unmask] by January 1, 2014.
>_______________________________________________
=
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