volumes of “In Search of Lost Time” by Stéphane Heuet as an example of
intermedial translational that reflects perfectly the conflict between “timing” and
“chronotope” problematized in Yu. V. Shatin’s works. The comic book narrative, subjugated to the rules of graphic layout, when entering a dialogue with
a modernist novel’s nonlinear structure finds ways to overcome its own teleology. Heuet in his comics uses a number of effects imitating the novel’s poetics:
inserting the narrator’s image into the visual narrative; representing on one panel distant plot events connected only by associations; destroying unity of characters; visualising leitmotivs. Some of the artist’s solutions are more original and
involve creative use of the visual art’s specific nature: literal visualisations of metaphors, complexity of the metapoetic level enhanced by including drawing
of texts (from notes and posters to the narrator’s first literary attempt). These
effects allow the comic book to deconstruct naïveté of the traditional “ligne
claire” style of the franco-belgian “bandes dessinée”, deemed inadequate by the
first critics of the adaptation, and to venture outside of limits of a simple illustration.
The article examines the comic book adaptation of the first two
volumes of “In Search of Lost Time” by Stéphane Heuet as an example of
intermedial translational that reflects perfectly the conflict between “timing” and
“chronotope” problematized in Yu. V. Shatin’s works. The comic book narrative, subjugated to the rules of graphic layout, when entering a dialogue with
a modernist novel’s nonlinear structure finds ways to overcome its own teleology. Heuet in his comics uses a number of effects imitating the novel’s poetics:
inserting the narrator’s image into the visual narrative; representing on one panel distant plot events connected only by associations; destroying unity of characters; visualising leitmotivs. Some of the artist’s solutions are more original and
involve creative use of the visual art’s specific nature: literal visualisations of metaphors, complexity of the metapoetic level enhanced by including drawing
of texts (from notes and posters to the narrator’s first literary attempt). These
effects allow the comic book to deconstruct naïveté of the traditional “ligne
claire” style of the franco-belgian “bandes dessinée”, deemed inadequate by the
first critics of the adaptation, and to venture outside of limits of a simple illustration.
Список литературы
Chartier A.-M. Proust en bande dessinée. Hermès, 2009, no. 54 (2), p. 53–58.
Groensteen T. L’affaire Heuet: de l’inconscience personnelle à l’aveuglement collectif. URL: http://neuviemeart.citebd.org/spip.php?article245 (accessed 31.03.2020).
Groensteen T. The System of Comics. Jackson, 2007.
Heuet S. À la recherche du temps perdu – intégrale: Du côté de chez Swann.
Paris, 2013.
Heuet S. À la recherche du temps perdu 2. À l'ombre des jeunes filles en
fleurs – Première partie. Paris, 2000.
Heuet S. À la recherche du temps perdu 2. À l'ombre des jeunes filles en
fleurs – Deuxième partie. Paris, 2002.
Kozlov E. B. Komiks kak yavleniye lingvokultury: znak – tekst – mif. Volgograd, 2002. (in Russ.)
Lemoine F. The Representation of the Ineffable: Proust in Images. In: The
Imaginary: Word and Image = L'Imaginaire: texte et image. Leiden, 2015,
p. 131–146.
Müller J. Proust en BD : économie de lecture et ré-création proustienne.
URL: http://journals.openedition.org/narratologie/7604 (accessed 31.03.2020).
Proust M. Du côté de chez Swann. Paris, 1993.
Prust M. Kombre. St/ Petersburg, 2008. (in Russ.)
Prust M. Pod senyu devushek v tsvetu. Moscow, 2007. (in Russ.)
Shatin Yu. V. Khronotop i tayming. Diskurs, 1998, no. 7, p. 29–32.
(in Russ.)
Shatin Yu. V. Politicheskiy mif i ego khudozhestvennaya dekonstruktsiya.
Critique and Semiotics, 2003, no. 6, p. 67–78. (in Russ.)
Timing of Loss: Reflection of the Novelistic Time in the Comic Book
Adaptation of Proust С. 170–185. DOI 10.25205/2307-1737-2020-1-170-185