Results 11 to 20 of about 331,952 (57)
This article focuses on visions of the end in contemporary science fiction bande dessinée to explore the combined potentialities of the sf genre and the comics medium for imaginaries of world-rebuilding in the Anthropocene, and to develop an ecopolitics ...
Armelle Blin-Rolland
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Et si, au Louvre, on respirait du fantôme ! Géocritique d’un espace muséal
The Ghosts of the Louvre by Enki Bilal embodies an exhibition of this artist which took place in this same place. The author offers an unusual visit to the museum: he has chosen works from which he brings up so many ghosts.
Lamia Mecheri
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Postcolonialism and Migration in French Comics
Postcolonialism and migration are major themes in contemporary French comics and have roots in the Algerian War (1954–62), antiracist struggle, and mass migration to France.
M. Mckinney
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Graphical ...
D. O. Rees +6 more
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UEG Week 2016 Poster Presentations
United European Gastroenterology Journal, Volume 4, Issue S5, Page A157-A720, October 2016.
wiley +1 more source
UEG Week 2015 Poster Presentations
United European Gastroenterology Journal, Volume 3, Issue S5, Page 146-687, October 2015.
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UEG Week 2014 Poster Presentations
United European Gastroenterology Journal, Volume 2, Issue S1, Page A132-A605, October 2014.
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UEG Week 2013 Poster Presentations
United European Gastroenterology Journal, Volume 1, Issue S1, Page A135-A587, October 2013.
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2014 ■ MecanHumanimal de Enki Bilal au Musée des arts et métiers (exposition)
Quand la culture technique et l’art populaire se rencontrent Affiche officielle de l’exposition Mécanhumanimal proposée par Enki Bilal et le Musée des arts et métiers à Paris. Situé au cœur de Paris, le Musée des Arts et Métiers est le temple national de l’histoire des techniques.
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Ilustraci?n, reescritura y transficci?n de la ?Trilogie Nikopol? de Enki Bilal
[EN]This article focuses on the study of the intermedial adaptations of one of the most recognizable titles of adult bande dessin?e in France, Nikopol Trilogy by Serbian-born French author Enki Bilal. After a brief discussion of some of the main categories of adaptation, and their applicability to the intermedial circulations from comics to other media
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