References of "Dony, Christophe"
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See detailGuide d'utilisation de Zotero: Fonctionnalités de base de l'outil de gestion bibliographique
Dony, Christophe ULiege

E-print/Working paper (2019)

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See detailBeyond the British Invasion : Uncanny Spatiality and Critical Expert Selection as Markers of Vertigo's Poetics
Dony, Christophe ULiege

Conference (2018, November 09)

When it launched its platform in 1993, Vertigo did much more than simply gather comics series scripted by British writers, it actually carried out an important expert creative and critical act. By ... [more ▼]

When it launched its platform in 1993, Vertigo did much more than simply gather comics series scripted by British writers, it actually carried out an important expert creative and critical act. By selecting specific titles and repatriating them to a new publishing space, Vertigo performed a critical ‘re-reading’ of the disturbing poetics of displacement and crossing over that underlie Swamp Thing, Animal Man, Hellblazer, Shade the Changing Man, Sandman, and Doom Patrol. In fact, the migration of these titles to the Vertigo imprint ‘doubled’ and, in a way, revised these series’ uncanny treatment of spatiality in its widest sense, that is how these narratives destabilize or disorient readers and characters alike by mixing various fictional worlds or diegetic and textual realities whose spatial and temporal dimensions are intertwined and porous. The imprint has championed this particular poetics of uncanny spatiality in extradiegetic materials and promotional artwork, especially in the 1990s. This paper examines the resonance of this poetics in some of the imprint’s early editorial discourses and promotional artwork. It argues that uncanny spatiality has functioned as foundational pillar in Vertigo’s desire to present itself as critical expert selector in the American comics field. In so doing, this paper calls into question the relevance of the British Invasion narrative to explain the emergence and popularity of the imprint; the British Invasion is undoubtedly part of the Vertigo story, but there is much more that can explain Vertigo’s success and game-changer status in the industry. [less ▲]

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See detailEd Piskor, Hip-Hop Family Tree
Dony, Christophe ULiege

Article for general public (2018)

Brève recension de la série de bande dessinée américaine 'Hip Hop Family Tree', d'Ed Piskor (2013-).

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See detailVertigo's Rewriting Ethos: The Poetics and Politics of a Comics Imprint
Dony, Christophe ULiege

Doctoral thesis (2017)

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See detailComics and Utopia
Dony, Christophe ULiege

Scientific conference (2016, April 22)

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See detailLa bande dessinée américaine indépendante
Dony, Christophe ULiege

Conference given outside the academic context (2016)

La formation a pour but de donner une introduction à la bande dessinée américaine indépendante, en apportant un éclairage spécifique sur la production contemporaine qui jouit actuellement d’un succès de ... [more ▼]

La formation a pour but de donner une introduction à la bande dessinée américaine indépendante, en apportant un éclairage spécifique sur la production contemporaine qui jouit actuellement d’un succès de librairie important dans nos contrées grâce au remarquable travail de traduction d’éditeurs comme Glénat, Delcourt ou Urban, entre autres. Le monde de la bande dessinée américaine ne se réduit en effet pas aux comics superhéroïques et aux grands éditeurs que sont Marvel et DC. Loin de ces formes sérielles et très codifiées, le séminaire présentera les auteurs et les œuvres phares des comics et graphic novels indépendants. Il soulignera les enjeux esthétiques et stylistiques de cette bande dessinée singulière. Un panorama historique de ces productions et un passage en revue d’une bibliographie spécialisée permettra aux bibliothécaires intéressé(e)s de mieux conseiller leurs lecteurs ou de se lancer dans de judicieuses acquisitions pour leur établissement. [less ▲]

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See detailIdentités et stéréotypes postcoloniaux
Dony, Christophe ULiege; Ledent, Bénédicte ULiege; Munos, Delphine ULiege et al

Conference given outside the academic context (2015)

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See detailIntroduction (English version)
Dony, Christophe ULiege; Habrand, Tanguy ULiege; Meesters, Gert

in Dony, Christophe; Habrand, Tanguy; Meesters, Gert (Eds.) La bande dessinée en dissidence : alternative, indépendance, auto-édition / Comics in Dissent: Alternative, Independence, Self-Publishing (2014)

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See detailIntroduction (version française)
Dony, Christophe ULiege; Habrand, Tanguy ULiege; Meesters, Gert

in Dony, Christophe; Habrand, Tanguy; Meesters, Gert (Eds.) La bande dessinée en dissidence : alternative, indépendance, auto-édition / Comics in Dissent: Alternative, Independence, Self-Publishing (2014)

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See detailReassessing the Mainstream vs. Alternative/Independent Dichotomy or, the Double Awareness of the Vertigo Imprint
Dony, Christophe ULiege

in Dony, Christophe; Habrand, Tanguy; Meesters, Gert (Eds.) La bande dessinée en dissidence / Comics in Dissent (2014)

This article examines how the traditional mainstream vs. alternative/independent dichotomy usually employed to characterize the cultural production of comics in the US may have become outdated, and ... [more ▼]

This article examines how the traditional mainstream vs. alternative/independent dichotomy usually employed to characterize the cultural production of comics in the US may have become outdated, and perhaps even obsolete, when considering and analyzing the editorial policies and ideological agenda of Vertigo, DC’s adult-oriented imprint. More specifically, this essay sheds light on how Vertigo engages in a critical, ironic, and sometimes ambiguous discourse with both the history of the medium and staple practices and traditions from the mainstream and alternative wings of the American comics production. In so doing, I maintain that Vertigo is characterized by a hybrid identity and has developed a “double awareness” that allows it to appeal to both mainstream and alternative audiences. Vertigo’s hybridity, however, is not devoid of cultural, political, and even sociological implications that upset the categories of reception and production structuring the field of American comics. These implications underlying both the hybrid character of the label and its concomitant politics of demarcation in regards to the mainstream/alternatve dialectic will first be explored through the label’s obsession with processes of rewriting and recuperation, and second, through a close-reading of some of Vertigo promotional books’ covers. [less ▲]

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See detailLa bande dessinée en dissidence : alternative, indépendance, auto-édition / Comics in Dissent: Alternative, Independence, Self-Publishing
Dony, Christophe ULiege; Habrand, Tanguy ULiege; Meesters, Gert

Book published by Presses Universitaires de Liège (2014)

This volume investigates the complex notion of dissent as it can be applied to contemporary comics in confronting field and market logic, legitimation strategies, and social, cultural, political and ... [more ▼]

This volume investigates the complex notion of dissent as it can be applied to contemporary comics in confronting field and market logic, legitimation strategies, and social, cultural, political and aesthetic discourses. How do artists and/or publishing structures distance themselves from a certain idea of the established order? In what ways do they challenge the existing systems and environments in which they operate? How can we characterize the many guises and sometimes conflicting objectives of a generally self-conscious (counter-)culture? And what kinds of symbolic exchanges can we observe between artistic and critical discourses? These are some of the questions that the here gathered essays explore in considering the practices and strategies of either so-called and/or selfproclaimed independent or alternative comics artists or publishers. [less ▲]

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See detailThe rewriting ethos of the Vertigo imprint: critical perspectives on memory-making and canon formation in the American comics field
Dony, Christophe ULiege

in Comicalités: Études de Culture Graphique (2014)

This essay investigates how and why strategies of rewriting have been central to Vertigo’s poetics and editorial project for over twenty years. Drawing notably on the works of Harold Bloom, Thierry ... [more ▼]

This essay investigates how and why strategies of rewriting have been central to Vertigo’s poetics and editorial project for over twenty years. Drawing notably on the works of Harold Bloom, Thierry Groensteen, and Geoffrey Klock, it first proceeds to establish the relevance of the concept of rewriting as it can be applied to comics (studies), particularly in showing how inter- and hypertextual relations are inherently connected to issues of nostalgia, memory as well as lineage, and therefore to processes of (self-)canonization and discourses of cultural legitimacy. It then moves on to identify some of the label's rewriting trends and discusses how they engage both intro- and retrospectively with the comics form, its history, and its (renewed) perception in the American context. More specifically, in recurrently paying homage to the DC archive, the pulp heritage, as well as to the Gothic tradition, it is my contention that Vertigo has participated in a critical logic of commemoration that distances itself from the mnemonic discourses championed by both the mainstream and alternative poles of the comics industry. In so doing, Vertigo may have attempted to create a canon of its own while certainly challenging Groensteen's claim that comics is an “art without memory”. But perhaps more importantly, the essay concludes that Vertigo's cherishing of specific rewriting strategies has helped it adopt a politics of demarcation in regards to the structuring forces of the American comics field, a politics that not only subverts the field's power relations dynamics but also “writes back” to its practices of domination and exclusion. [less ▲]

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See detailWhat is a Postcolonial Comic?
Dony, Christophe ULiege

in Mixed Zone, Chronique de Littérature internationale (2014), 7

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See detailEntre références et irrévérence : 20 ans de bandes dessinées made in Vertigo
Dony, Christophe ULiege

Article for general public (2013)

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See detailAutour du super-héro: Variations et réécritures au sein du label Vertigo
Dony, Christophe ULiege

Conference given outside the academic context (2013)

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See detailVertigo's Archival Impulse as Memorious Discourse
Dony, Christophe ULiege

in Comics Forum (2013)

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Peer Reviewed
See detailThe Rewriting Ethos of Vertigo Comics, or, Critical Perspectives on Memory-Making, Canonization, and the Logic of Fields
Dony, Christophe ULiege

Conference (2013, May 25)

Vertigo, DC’s adult-oriented imprint, is often praised for having “fully joined the fight for adult readers” in the early 1990s (Weiner 2010: 10). Yet, little attention has been devoted to how this ... [more ▼]

Vertigo, DC’s adult-oriented imprint, is often praised for having “fully joined the fight for adult readers” in the early 1990s (Weiner 2010: 10). Yet, little attention has been devoted to how this “fight” has been played out. My contention is that Vertigo may have “redefined” the comics medium in developing a specific poetics which can be subsumed, albeit perhaps reductively, under the idea of “rewriting.” Intertextual strategies indeed pervade the Vertigo catalogue. The core titles that launched the label in the early 1990s (The Sandman, Animal Man, Swamp Thing, Hellblazer, Shade The Changing Man, and Doom Patrol), for example, are all critical transformations of characters from the DC universe. Other series such as Fables and Preacher critically engage with the revision and challenging of certain genres such as the Western or the fairy-tale. Yet other Vertigo narratives such as Uncle Sam, The Nobody, and Greendale rewrite and reinvent existing icons, stories, and cultural artefacts. This “rewriting ethos” seems pivotal to Vertigo’s development of a critical discourse on the history of the medium, to comics’ renewed perception and search for legitimacy. In exploring the specificities and implications of these intro- and retrospective discourses, I would like to show that Vertigo participates in a logic of commemoration and canon-making. More specifically, I would like to argue that Vertigo has used strategies of rewriting to support a distinctive agenda in the field of comics historiography, acquire “symbolic capital” (honor, prestige) and thereby possibly create a canon of its own which 1. undermines the dynamics of power relations structuring the field of American comics and 2. challenges Thierry Groensteen’s claim that comics is an “art without memory” that “gladly cultivates amnesia” (2006: 67, my translation). [less ▲]

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See detail(In)Visible Bodies: Rewriting the Politics of Passing in Incognegro, a Graphic Mystery by Mat Johnson and Warren Pleece
Dony, Christophe ULiege

Conference (2013, January 03)

How can passing across racial lines be described and conveyed in the comics form? Can the medium develop specific strategies to comment on the themes of transgression and crossing inherent to the trope of ... [more ▼]

How can passing across racial lines be described and conveyed in the comics form? Can the medium develop specific strategies to comment on the themes of transgression and crossing inherent to the trope of passing? This paper shows how the graphic novel Incognegro (2008) goes beyond the traditional socio-historical analysis of passing and plays thematically, generically, and visually with the politics of the trope. Incognegro, set in the US in the early 1930s, depicts a light-skinned African American reporter who passes for white in order to investigate lynchings of blacks in the deep South. Because white papers do not consider these events to be news, the reporter condemns these dreadful acts in the column titled “Incognegro” that he writes for a New York-based newspaper, The New Holland Herald. Thus he risks his life using his “passing abilities” to protect the rights of the community he is trying to defend from white hegemony. In this way, Incognegro challenges the conventional tragic mulatto figure that passes for white to avoid racism and violence or to improve his/her social status. In addition, it echoes the common black trickster figure who practices “masking” to outwit his enemies or opponents, and calls into question the biological, social, and cultural representations of race as perceived by the white dominant group. Here the racial passer functions as an “outsider from within” who can challenge the black vs. white binary model. Moreover, the text subverts narrative paradigms from superhero comics and detective fiction to point out the arbitrariness of racial ideologies and the fallibility of notions of justice and truth. This subversion is further complicated by the comic’s “color free” art (black and white, sans halftones or gray tones), which defies essentialist representations of race. In sum, Incognegro argues that the ambiguities of racial categorization are best represented through a similarly ambiguous literary genre—one that not only challenges generic norms and traditions but also “writes back” to both the mainstream and alternative wings of American comics production. [less ▲]

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See detailLe Décalage, Marc-Antoine Matthieu (Delcourt, 2013)
Dony, Christophe ULiege

Article for general public (2013)

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