Abstract

At the height of the Spanish Civil War, over 450,000 Spanish citizens fled to France in an exodus known as the Retirada. Multimediality has long marked representations of this history: among its first accounts were illustrated texts by refugees held in French detention camps, and many contemporary works about this period integrate a similar interplay of words and images. This article explores two French graphic novels about the Retirada and the intergenerational transmission of its memory: Alain Munoz’s D’ailleurs (2017) and Henri Fabuel and Jean-Marie Minguez’s Exil (2013). Drawing upon Maurice Halbwachs and Paul Ricœur’s theories of memory, I argue that these texts’ multimedia and multigenre approach—involving not only the interaction between text and image, but also letters, family photographs, and different modes of storytelling—reflects a similarly dynamic interdependence between individual and collective memory. I also consider a 1939 refugee-run review, Barraca, to trace this intersection of media and memory back to the Retirada’s very first publications.

摘要

在西班牙内战最激烈的时期，超过 450,000 名西班牙公民逃往法国，这被称为“雷蒂拉达”(Retirada) 逃亡。多媒体长期以来一直是这段历史的代表：它的第一个记录是被关押在法国拘留营的难民的插图文本，许多关于这一时期的当代作品也融入了类似的文字和图像的相互作用。本文探讨了两部关于 Retirada 及其记忆的代际传承的法国图画小说：阿兰·穆尼奥斯 (Alain Munoz) 的《D'ailleurs》 (2017) 以及亨利·法布尔 (Henri Fabuel) 和让-马里·明格斯 (Jean-Marie Minguez) 的《流亡》 (Exil)（2013）。借鉴莫里斯·哈布瓦克斯和保罗·利科的记忆理论，我认为这些文本的多媒体和多流派方法——不仅涉及文本和图像之间的互动，还涉及信件、家庭照片和不同的讲故事模式——反映了类似的动态相互依赖个人记忆与集体记忆之间。我还考虑了 1939 年难民经营的评论《Barraca》，将媒体和记忆的这种交集追溯到 Retirada 的第一份出版物。