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Miller, Ann und Murray Pratt: "Transgressive Bodies in the work of Julie Doucet, Fabrice Neaud and Jean-Christophe Menu. Towards a Theory of the ‘AutobioBD’." In: Belphégor 4.1 (2004)<>. 
Added by: Deleted user (08/04/2009 01:02:28 AM)   Last edited by: Deleted user (01/06/2015 10:03:44 AM)
Resource type: Web Article
Languages: English
Peer reviewed
BibTeX citation key: Miller2004
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Categories: General
Keywords: Autobiography, Body, Canada, Doucet. Julie, France, Gender, Menu. Jean-Christophe, Neaud. Fabrice
Creators: Miller, Pratt
Collection: Belphégor
Views: 15/406
Attachments   URLs ... handle/10222/47696
This paper draws on the autobiographical work of bande dessinée artists Fabrice Neaud, Julie Doucet and Jean-Christophe Menu with the aim of investigating the potential of the medium to disturb the normative visual order of heterocentricity and phallocracy. The paper discusses Neaud's exploration of the isolations, separations and segregations which produce and constrict the orderings and disorderings of a gayed male body in social space(s), together with his theorisation of the social politics of self and other. It considers in particular the trope of the insult, drawing on Didier Eribon's work on the insult as constitutive of gay identity. The work of the Québecoise artist Julie Doucet is discussed in relation to her refusal of the disembodied speaking voice that has often characterized male autobiographies, and her occupation of the terrain which Kristeva has called the ‘abject’, through her exuberant portrayal of bodily fluids. In contrast, Jean-Christophe Menu seems to resist narrative embodiment, making copious use of voiceover and distancing the body of his diegetic self from the rationality of the narrative ‘I’ through his disguise as a cartoon character, while the body of his wife is repeatedly represented. It is argued, however, that an apparently phallocratic occupation of socio-sexual terrain is ultimately called into question in Menu's work. The article concludes that bande dessinée has complex resources for contesting the construction of masculinity and femininity and for giving form to the autobiographical ‘I’.
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