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La bande dessinée hébraïque entre médium transnational et singularité locale : la représentation de l'Arabe palestinien de 1934 à nos jours

Abstract : The Hebrew comic strip emerged in the mid-1930s in Mandate Palestine. The few graphic artists who worked in this field serves by conviction the Jewish national project (Zionist). Among them the first cartoonist, Arié Navon and the author of children's texts, the poet Léah Goldberg. The local comic strips follow the genre's narrative codes imported from Europe and from the United States and bring together universal graphical components and singular Jewish-Hebrew ones.Initially considered marginal, criticized before 1948, by comparison with the supposedly noble and beautiful Hebrew letters, the comic strips display in the Israeli press of the seventies and nourishes twenty years later a profitable market. Till then, one or two artists (Ouri Fink) live off their art without having to resort to other side activities (caricature, illustration, teaching). The comic strip becomes institutionalize in the years 2000 (exhibitions, festival, awards). The artist's human and professional career has a direct impact on the aesthetic and ideological choices he puts forward in the content of his series. The Hebrew cartoon reflects the society the authors live in, whose standards authorize (or not) art's dissemination. The imaginary Arab results from a transposition of the artist's artistic projection. Essentially confined to a role of the Israeli Jewish hero's stooge, in the context of a story where its participation aims to highlight the latter, the Arab character is categorized as positive, neutral or negative accordingto the images associated with it. The physical deformation is mostly absent, other than through the caricatural conventions, with the significant exception of Dry Bones (Ya‘aqovKirschen) and Tsutsiq or the secret of the castle of Ismail El-Kaader (Élichéva / Yariv Amatsiah).In a war context, this character avoids the negative categorization because it often symbolizesthe real enemy (or an imaginary one) of the country.
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Submitted on : Thursday, October 29, 2020 - 5:32:14 PM
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  • HAL Id : tel-02983402, version 1

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Léon Halpéryn. La bande dessinée hébraïque entre médium transnational et singularité locale : la représentation de l'Arabe palestinien de 1934 à nos jours. Art et histoire de l'art. Université de la Sorbonne nouvelle - Paris III, 2019. Français. ⟨NNT : 2019PA030043⟩. ⟨tel-02983402⟩

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