Abstract

This paper examines two French graphic novels which reconstruct the Transpyrenean memory of the Spanish civil war: Le Convoi by D. Lapière and E. Torrents (2013), Dolorès by B. Loth (2016 Loth, Bruno. Dolorès. La boîte à bulles, 2016. [Google Scholar]). Both works reshape the narrative model of war testimony created by A. Spiegelman in Maus, where the memory of a traumatic past is transmitted between generations within the family circle (postmemory), combining both personal life story and collective History. Focusing on the narratological device of the voice, three major changes are highlighted: the non-actorialization of the author-narrator (unmaking of the autobiographical identity), the feminization of the recipient of the testimony (not a son but a daughter who listens on behalf of a silent mother), and the extension of the family circle beyond a particular family through condensation or displacement. The paper discusses these points studying the stories as well as the paratexts and argues that the specific combination of the three major changes in each graphic novel produces different ways of disjunction between the subjective and the political dimensions of trauma, in other words, between the intimate and the collective sides of History.

摘要

本文考察了两部重建西班牙内战外比利牛斯记忆的法国图画小说：D. Lapière 和 E. Torrents 的《Le Convoi》 （2013 年）、 B. Loth 的《Dolorès》 （ 2016 年） 洛斯，布鲁诺。 多洛雷斯. 子弹头，2016。 [谷歌学术]）。两部作品都重塑了A·斯皮格曼在《鼠族》中所创造的战争证言的叙事模式，过去的创伤记忆在家庭圈内的几代人之间传递（后记忆），结合了个人生活故事和集体历史。着眼于声音的叙事手段，突出了三个主要变化：作者-叙述者的非角色化（自传体身份的消解），证词接受者的女性化（不是儿子，而是倾听的女儿）。代表沉默的母亲），以及通过凝结或置换将家庭圈子扩展到特定家庭之外。本文讨论了研究故事和副文本的这些观点，并认为每部图画小说中三个主要变化的具体组合在创伤的主观维度和政治维度之间产生了不同的分离方式，