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Pylyser, Charlotte und Steven Surdiacourt: "De gestileerde auteur. Stijl, auteurschap en grafische literatuur." In: Cahier voor de literatuurwetenschap 5 (2013), S. 17–28. 
Added by: Benoît Crucifix (11 Sep 2014 12:56:59 UTC)   Last edited by: joachim (01 Oct 2017 09:56:08 UTC)
Resource type: Journal Article
Languages: niederländisch
Peer reviewed
BibTeX citation key: Pylyser2013
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Categories: General
Keywords: Autorschaft, Belgien, Foucault. Michel, Hergé, Jacobs. Edgar Pierre, Kirby. Jack, Remi. Georges, Stil, USA
Creators: Pylyser, Surdiacourt
Collection: Cahier voor de literatuurwetenschap
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Abstract
This article looks at the factors that are involved in the process that determines whether a certain style can be recognised as an author style. It does so from the point of view of graphic literature and comics in particular. Based on a prototypical Foucauldian modelling of the relationship between authorship and style in the field of comics, the authors posit that the contextual specificity (in particular the productional specificity) of a medium as well as the discursive perpetuation of it are always important factors in the recognition of a style as an author style. In the case of comics, as in the case of other phenomena (partly) residing in the cultural margin, this factor often problematises the one-on-one relationship between work, style and subject that dominates the (scholarly) debates about style and authorship. Comics makers that figure in the golden age of comics of the previous century, for example, are only very rarely awarded an author style because they are part of a collective production process that bestows the author function onto large publishing concerns rather than onto a subject. At the end of the 20th century, with the rise of the graphic novel, style, authorship and subject are reunited, however, and an author (style) discourse is established in the field of comics. The authors conclude the article with a discussion of three cases – Kirby, Hergé, Edgar P. Jacobs – that neither fit the collective nor the personalistic interpretation of the relationship between style and authorship. These cases belong to the era and tradition of collective production, but have interestingly become recognised as authors and their style has come to be recognised as an author style. As a result of this exploration, the authors posit that next to the contextual factor, an (inter)textual factor exist which influences the recognition of a style as an author style.
  
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