Location<\/strong>: Room Jacques Glowinski, Coll\u00e8ge de France, 11 place Marcelin-Berthelot, 75231 Paris cedex 05<\/p>\n\n\n\n Event held in person with a virtual attendance\u00a0option (Zoom link provided upon request).\u00a0With the support of the Maison de la Culture du Japon \u00e0 Paris and the\u00a0East Asian Civilizations Research Centre (CRCAO) Presentation<\/strong> Website:\u00a0https:\/\/www.crcao.fr\/recherche\/formes-du-texte-usages-de-limage-dans-les-livres-japonais\/?lang=en<\/a><\/p>\n\n\n\n Program<\/strong><\/p>\n\n\n\n Morning session<\/strong><\/p>\n\n\n\n Chair: Matthias Hayek (\u00c9cole Pratique des Hautes \u00c9tudes-PSL, to be confirmed)<\/strong><\/p>\n\n\n\n 09:30-09:45. Opening remarks.\u00a0Marianne Simon-Oikawa (Paris Cit\u00e9 University)<\/strong><\/p>\n\n\n\n 09:45-10:30. Marianne Simon-Oikawa.\u00a0Fukidashi<\/em>, Building an Object Between Text and Image<\/strong> 10:30-11:15. Estelle Bauer (Mus\u00e9e Guimet).\u00a0When Pictures Start Talking. Dialogues and other Texts Written in\u00a0Emaki<\/em>\u00a0(gach\u00fbshi<\/em>\u753b\u4e2d\u8a5e)<\/strong> 11:15-12:00. Jaqueline Berndt (Stockholm University).\u00a0Speech Balloons Beyond Speech: The \u2018Return\u2019 of Pictorial Contents?<\/strong> Afternoon session<\/strong><\/p>\n\n\n\n Chair: Thomas Lamarre (The University of Chicago)<\/strong><\/p>\n\n\n\n 14:00-14:45. Blanche Delaborde (Fukuoka University).\u00a0The Spatial Paradox of Speech Bubbles in Manga<\/strong> 14:45-15:30. Ladan Niayesh.\u00a0From Playscript to Mangascript: The Speech Bubbles in Manga Shakespeare’s\u00a0The Tempest<\/em><\/strong> The Speech Bubble, Between Text and ImageInternational one-day symposiumFriday,\u00a0March 14th, 2025\u00a0 Location: Room Jacques Glowinski, Coll\u00e8ge de France, 11 place Marcelin-Berthelot, 75231 Paris cedex 05 Event held in person with a virtual attendance\u00a0option (Zoom link provided upon request).\u00a0With the support… Lire la suite<\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"categories":[28,30],"tags":[],"class_list":["post-7217","post","type-post","status-publish","format-standard","hentry","category-actualites","category-colloque"],"_links":{"self":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts\/7217","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7217"}],"version-history":[{"count":1,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts\/7217\/revisions"}],"predecessor-version":[{"id":7218,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts\/7217\/revisions\/7218"}],"wp:attachment":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7217"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7217"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Contact<\/strong>: information and Zoom link:\u00a0marianne.simon-oikawa@u-paris.fr<\/a><\/p>\n\n\n\n
This one-day symposium aims at showing the full complexity of the speech bubble, an object that has been largely neglected by research until now, and that cannot be defined solely as \u2018the curve surrounding the words spoken by comic strip characters\u2019 (Tr\u00e9sor de la langue fran\u00e7aise<\/em>). Based on the observation that the speech bubble often also contains images and even blank spaces, and that its forms and functions vary according to the objects, periods and geographical areas in which it is present, the papers\u00a0presented during this symposium\u00a0propose to analyse the complex relation between speech bubble, text and image in a number of visual sources objects drawn from Japanese corpora or indirectly linked to Japan.This one-day symposium is the first event organized within\u00a0the \u2018Histoires de bulles\u2019 programme (CRCAO,\u00a0East Asian Civilizations Research Centre,\u00a02025-2029), which\u00a0aims to study the speech bubble and turn it into an object of knowledge, both in terms of its own characteristics and its visual and wider cultural ecosystem, in order to ultimately identify an \u201ceconomy of the bubble\u201d, or even sketch out a general theory of it.<\/p>\n\n\n\n
In Japanese, the word\u00a0fukidashi<\/em>, which designates the speech bubble, does not refer to any specific form or content. It\u00a0instead designates a breath\u00a0exhaled out of an unidentified source. The variety of objects in which the speech bubble appears in Japan during the Edo period makes it necessary to\u00a0draft a list of the types of objects\u00a0in which it is concentrated, and to\u00a0make a few initial\u00a0hypotheses about it, which future research may support, develop or contradict. This presentation will focus on selected examples that challenge the definition of the bubble as a container for speech.\u00a0<\/p>\n\n\n\n
If speech bubbles are a way to make characters talk, some\u00a0emaki<\/em>\u00a0achieve the same effect by writing dialogue directly next to them. We will look at a few examples to reflect on the role these\u00a0gach\u00fbshi<\/em>\u00a0play in the production of the visual narrative: they provide details about the characters’ actions and emotions; they introduce a sense of time into the picture.\u00a0<\/p>\n\n\n\n
Manga researchers have approached\u00a0fukidashi<\/em>\u00a0mainly as speech balloons \u2013 \u201ctransdiegetic devices\u201d that turned manga into \u201caudiovisual comics\u201d (Exner 2022) and visual modifiers of dialogue lines\u2019 auditory properties (Manga no yomikata<\/em>\u00a01995). Attention has also been paid to speech balloons\u2019 placement on manga pages and their role in visually guiding the reader\u2019s gaze, while the analysis of their contents has considered hand-writing and type, font variations, and punctuation marks. Inspired by pictorial dream balloons from the late Edo period, my presentation focuses on non-linguistic contents: small pictures of characters\u2019 heads inside the balloon, as well as pictorial runes such as sweatdrops and cross-popping veins attached to a balloon rather than the respective speaker. These devices internalize the external parts of Hosoma\u2019s \u201cspeaker\u2013listener\u2013object\u201d triangle (2023), ultimately foregrounding relationalities through a blurring of previously clear divides. In addition, pictorial balloon contents serve exaggeration (both humorous and affective) and instruction (efficiently providing information), as well as an economy of space. This sets them apart from Edo-period imagery, which nevertheless may help challenge simplistic assumptions of \u2018speech\u2019 balloons as providing an auditory experience.<\/p>\n\n\n\n
Speech bubbles in manga form a surprisingly complex narrative device. In particular, although the space delimited by the outline of the bubbles initially appears as a two-dimensional space analogous to that of the page, many examples contradict this idea. For instance, speech bubbles outlines are often porous, especially in the presence of handwritten secondary lines. In other cases, the bubbles carry iconic or conventional signs (keiyu<\/em>) that suggest some depth. In addition, the anchoring of the balloons to the three-dimensional diegetic space presents many ambiguous cases, that blur between two-dimensional and three-dimensional spaces.\u00a0<\/p>\n\n\n\n
As the spearhead of the \u2018Self Made Hero\u2019 company\u2019s endeavour to break through a heavily Asianised global manga market, the British \u2018Manga Shakespeare\u2019 series paradoxically enlists that icon of European culture not hegemonically, but as a mediator gesturing East. Speech bubbles occupy a key position in this process of cultural negotiation in one of the early volumes in the series,\u00a0The Tempest<\/em>\u00a0(2007), illustrated by a British mangaka but set in a post-industrial, environmentally damaged island beaten by Hokusai-style waves. The speech bubbles keep about forty percent of the original Shakespearean text, but adapt it to visually and culturally navigate between a theatrical script and the aesthetic alphabet of the manga. This involves for example playing on bubble contours to express emotions and speech volume in the opening tempest scene, sticking in that to the received conventions of Japanese manga. But the artist also instills less common and inventive features into the manga format, such as deleting the speech bubble altogether to blend thought and nature for monologues. Eventually tailored into strips of paper carrying identity, speech is what both the spirit Ariel and the magician Prospero dissolve into in the final pages of the volume, recalling a dilapidated folio of Shakespeare\u2019s complete works scattered and lost to the winds, or alternatively and more optimistically Prospero\u2019s magic book travelling east over the oceans for a fresh lease of life with a rejuvenated audience.<\/p>\n","protected":false},"excerpt":{"rendered":"