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Les œuvres de Neil Gaiman sont souvent qualifiées de postmodernes dans la mesure où elles lient expérimentation et autoréflexivité à une démarche de fiction populaire qui leur paraît antagoniste. A l’inverse d'une œuvre postmoderniste typique, qui met en avant sa mise à nu des mécanismes fabulateurs, les métafictions et les parodies gaimaniennes restent des fictions fantastiques et merveilleuses où les enjeux fabulateurs (psychologie et parcours des personnages, intrigue, émotion et suspens) gardent leur place primordiale. Elles ne sont donc pas des œuvres expérimentales mêlées d'éléments de fiction populaire, mais des œuvres de fiction populaire autoréflexive. Cette posture singulière fait de ces œuvres un terrain d'exploration fertile pour la réflexion sur les spécificités de la fiction populaire, et sur la place privilégiée qu'y occupe la fabulation ("storytelling"), notion qu’Henri Bergson ou Frank McConnell considéraient comme le fil rouge entre l’écriture de fiction d’aujourd'hui et la mythopoèse religieuse d’autrefois. Cette dialectique instaurée entre fabulation, mythe et fiction populaire constitue le cœur thématique des œuvres de Gaiman, qui abondent en réécritures de mythes anciens, modernes, religieux, populaires, et en représentations de personnages d’écrivains et de conteurs traditionnels, ou de personae gaimaniennes, qui, au plus fort de l’intrigue comme aux confins du paratexte, au détour d’une préface ou d’une vignette de bande dessinée, forgent une représentation de la fiction comme mythe, de l’écrivain comme figure mythique du conteur, et de la fabulation comme activité humaine quintessentielle. / Neil Gaiman’s fantasy works are often deemed postmodernist since they experiment with self-reflexivity and mix it with a supposedly antagonistic impulse towards popular fiction. Typical postmodernist works mostly emphasize their attacks against the fictional illusions of referentiality, character or plot. On the contrary, Gaiman’s works unapologetically remain within the bounds of fantasy, a genre in which imagination and storytelling are paramount–along with their related issues: characterization, plot, emotion and suspense. Thus, Gaiman’s fiction is not experimental fiction enhanced with elements of popular fiction, but actual popular fiction made self-reflexive. Thanks to that peculiar mood, studying Gaiman’s work is a very fruitful means of investigating the distinctive features of popular fiction, and its inherent emphasis on storytelling–or, as Henri Bergson called it, “fabulation.” Both Bergson and Frank McConnell focused on this notion which they saw as the essential link between ancient mythmaking and today’s fiction writing. Gaiman’s fiction mostly relies on such a dialectics between myth, popular fiction and storytelling or fabulation. His fantasy stories constantly rewrite ancient, religious myths, modern myths or the “myths” of popular fiction, and feature many fictional and historical writers, traditional storytellers, or Gaiman’s own personae, so that in paratext as well as in the heart of a narrative, in the quiet and supposedly reliable words of an introduction as surely as on the most striking comics panels, fiction is portrayed as myth, writers as mythical avatars of some archetypal storyteller, and storytelling as the one, quintessential human act.

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Neste trabalho, as histórias em quadrinhos são compreendidas como uma linguagem que, através da justaposição de imagens, transmitem informações que produzem uma resposta no leitor. A proposta é observar as possibilidades de apropriação do conhecimento e da informação cultural presentes em um artefato que se mostra amplo no sentido de interpretação e significação: as histórias em quadrinhos. A metodologia de pesquisa adotada compreende uma abordagem interpretativa e qualitativa que envolve tanto texto verbal como visual. No objeto empírico desta pesquisa, na história em quadrinhos Sandman, de Neil Gaiman, foram percebidas diversas referências culturais, históricas e literárias no conteúdo narrativo. Desta forma, refletiu-se sobre as apropriações culturais, estéticas, cinematográficas, entre outras, que fazem parte da composição da série, observando seus aspectos intertextuais e semióticos. Assim, ao nos debruçarmos sobre a análise da intertextualidade em Sandman, procuramos entender como as informações culturais se articulam na constituição de um campo de conhecimento específico, reunindo referências as mais diversas. Esta análise almejou contribuir para a Ciência da Informação por meio de uma reflexão acerca de como se constituem as mediações da leitura por meio da identificação das camadas intertextuais presentes na obra, os processos sociais de construção de conhecimento e a montagem de \"enciclopédias\" dos leitores na atual sociedade da informação / In this work, comics are understood as a language that, through the juxtaposition of images, transmit information that produces an answer in the reader. The proposal is to observe the possibilities of appropriation of knowledge and cultural information present in an artifact that shows itself broad in the sense of interpretation and meaning: comic books. The adopted research methodology comprises an interpretative and qualitative approach that involves both verbal and visual text. In the empirical object of this research, The Sandman, of Neil Gaiman, diverse cultural, historical and literary references in the narrative content were perceived. In this way, the cultural appropriations, aesthetic, cinematographic, among others, that are part of the composition of the series, were considerate, observing its intertextual and semiotic aspects. Thus, when we look at the analysis of intertextuality in Sandman, we try to understand how cultural information is articulated in the constitution of a specific field of knowledge, bringing together the most diverse references. This case study aimed to contribute to the Information Science through a reflection on how the mediations of reading are constituted through the identification of the intertextual layers present in the work, the social processes of knowledge construction and the assembly of \"encyclopedias\" Of readers in today\'s information society.

Neste trabalho, as histórias em quadrinhos são compreendidas como uma linguagem que, através da justaposição de imagens, transmitem informações que produzem uma resposta no leitor. A proposta é observar as possibilidades de apropriação do conhecimento e da informação cultural presentes em um artefato que se mostra amplo no sentido de interpretação e significação: as histórias em quadrinhos. A metodologia de pesquisa adotada compreende uma abordagem interpretativa e qualitativa que envolve tanto texto verbal como visual. No objeto empírico desta pesquisa, na história em quadrinhos Sandman, de Neil Gaiman, foram percebidas diversas referências culturais, históricas e literárias no conteúdo narrativo. Desta forma, refletiu-se sobre as apropriações culturais, estéticas, cinematográficas, entre outras, que fazem parte da composição da série, observando seus aspectos intertextuais e semióticos. Assim, ao nos debruçarmos sobre a análise da intertextualidade em Sandman, procuramos entender como as informações culturais se articulam na constituição de um campo de conhecimento específico, reunindo referências as mais diversas. Esta análise almejou contribuir para a Ciência da Informação por meio de uma reflexão acerca de como se constituem as mediações da leitura por meio da identificação das camadas intertextuais presentes na obra, os processos sociais de construção de conhecimento e a montagem de \"enciclopédias\" dos leitores na atual sociedade da informação / In this work, comics are understood as a language that, through the juxtaposition of images, transmit information that produces an answer in the reader. The proposal is to observe the possibilities of appropriation of knowledge and cultural information present in an artifact that shows itself broad in the sense of interpretation and meaning: comic books. The adopted research methodology comprises an interpretative and qualitative approach that involves both verbal and visual text. In the empirical object of this research, The Sandman, of Neil Gaiman, diverse cultural, historical and literary references in the narrative content were perceived. In this way, the cultural appropriations, aesthetic, cinematographic, among others, that are part of the composition of the series, were considerate, observing its intertextual and semiotic aspects. Thus, when we look at the analysis of intertextuality in Sandman, we try to understand how cultural information is articulated in the constitution of a specific field of knowledge, bringing together the most diverse references. This case study aimed to contribute to the Information Science through a reflection on how the mediations of reading are constituted through the identification of the intertextual layers present in the work, the social processes of knowledge construction and the assembly of \"encyclopedias\" Of readers in today\'s information society.

This thesis examines how Shakespearean play-texts are adapted into comic books in order to appeal to young readers. By analyzing four different adaptations including two comic book series and two manga series, it seeks to answer these research questions: what is the relationship between entertainment and education in comic book adaptations of Shakespeare? Are there problems that adaptations create at the same time as they try to solve issues of interest or understanding, as perceived by youth? This paper argues that the tension between entertainment and education in comic book adaptations of Shakespeare is usually imbalanced depending on an adaptation’s goals. Substantial changes to the narrative, setting, or characters can create strong dissonances while reading although these feelings can be countered by balancing them with other changes. Adapting Shakespeare’s work into comic books engages youth with an author that they often perceive as difficult and indicates his continued relevance in both education and entertainment.

This essay examines Neil Gaiman’s Coraline from a psychoanalytic perspective, with focus on the formation of the super ego. While the young girl’s identity formation has been examined before, the general focus is often oedipal. In this essay, I choose to step away from the oedipal and examine the psychosymbolism throughout the novella. The aim is to see how Coraline’s own psychic development manifests itself in the other world. The characters in the novella are looked upon as representations of different aspects of Coraline’s psyche. Her actions with them are considered to be representations of internal conflicts or resolutions.   In short, this essay examines how the novella portrays the psychodevelopmental nature of the child's identity formation.