Cette thèse porte sur le principe même de séquentialité d’images fixes, pour comprendre la différence entre la Bande Dessinée et les différentes formes de narration par images fixes, même les autres arts. Cela nous aide à comprendre pourquoi la Bande Dessinée est devenue un art autonome, pourquoi la Bande Dessinée s’est plus developpée que d'autres formes de narration par images, et quelles sont plus précisément les origines de la Bande Dessinée.Analyser la naissance de la Bande Dessinée signifie donc tracer un parcours à travers des oeuvres, des auteurs ou des mouvements fondamentaux, et considérer les thèmes, les poétiques, les technologies qui l'ont définie à telle ou telle époque. Ce travail vise donc à identifier les oeuvres qui forment une ligne de partage entre le Moyen Âge et l'Âge Moderne. Une analyse historique, mais également paradigmatique, aidera à mieux comprendre comment la Bande Dessinée a évolué, quelles influences ont eu les autres formes d'art (comme la peinture, la littérature, la caricature ou le théâtre) mais surtout, quelles techniques et stratégies ont été mises en place et ont fait évoluer la Bande Dessinée vers un système narratif à base iconique. / This thesis focuses to question the very principle of sequentiality of still images, that is to understand how in Sequential Art this dynamic takes different forms, but at the same time, how Sequential Art can be differentiated from other Arts. This help us to understand why it became an autonomous art, why it has developed more than any other sequential art, how and when the Comic was actually created.Analyze the rise of the Comics means tracing a path through the works, authors and the basic movements, considering the new poetics, themes, techonologies, that have defined this. This work aims to identify works which form a connection between the Middle Ages and the Modern Age. A historical analysis, but also paradigmatic one, will help to better understand how Comics evolved, what influences have had other forms of art (such as painting, literature, theater or caricature) but, above all, which techniques and strategies have been implemented and have changed Comics toward a narrative system based on images.

<p>The aim of this essay is to investigate the murals in the church of Arbrå, what they portrait and how they can be linked to medieval typology as described in <em>Biblia Pauperum </em>(BP), the Poor Man’s Bible. The aim is also to find out what the purpose was to paint medieval churches and what the function of the paintings was. Arbrå Church was painted around 1520-1530, and almost all of the motifs from the Old Testament can be directly traced back to BP as can one motif from the New Testament. Together these paintings represent most of the important events which make out the foundation of the Christian Cult. The purpose of painting churches was probably a combination of at least three; People of wealth could pay for different things for their church as a tribute to God, the paintings made people feel closer to God as they became enclosed in the biblical history and the paintings served an educative purpose as people could more easily remember what the priests preached.</p>

The aim of this essay is to investigate the murals in the church of Arbrå, what they portrait and how they can be linked to medieval typology as described in Biblia Pauperum (BP), the Poor Man’s Bible. The aim is also to find out what the purpose was to paint medieval churches and what the function of the paintings was. Arbrå Church was painted around 1520-1530, and almost all of the motifs from the Old Testament can be directly traced back to BP as can one motif from the New Testament. Together these paintings represent most of the important events which make out the foundation of the Christian Cult. The purpose of painting churches was probably a combination of at least three; People of wealth could pay for different things for their church as a tribute to God, the paintings made people feel closer to God as they became enclosed in the biblical history and the paintings served an educative purpose as people could more easily remember what the priests preached.

Syftet för denna studie är att analysera Albertus Pictors kalkmålningar i det senmedeltida kyrkorummet för att se om motivens symboliska värde är avgörande för placering, komposition och vem som var menad att betrakta bilderna. Dessutom syftar studien till att undersöka vad som låg bakom utformandet av Albertus konstverk, för att på så sätt få en bättre förståelse för vad som gett upphov till hans muralmålningar samt vad som utmärker hans stil. Studiens övergripande frågeställning är: Vad kännetecknar Albertus Pictors kalkmålningar med motivet av Syndafallet och Kristi Himmelsfärd? Vilka övervägande yttre faktorer har påverkat motivens utformning? Vilken betydelse har motivens placering i kyrkorummet? De teoretiska utgångspunkterna är Erwin Panofskys ikonologiska metod, Hans Haydens begrepp om att kontextualisera konst och Chloë Reddaways begrepp sacred space. Materialet består av alla Albertus målningar av Syndafallet och Kristi Himmelsfärd med huvudsaklig fokus på målningarna i Täby Kyrka i Uppland. I uppsatsen kommer jag bland annat att undersöka bildprogrammens typologiska koppling till litterära verk som Biblia Pauperum Predicatorum och Speculum Humanae Salvationis, samt vilken betydelse kyrkornas vapensköldar har haft för motivens utformande. / The purpose of this study is to analyze Albertus Pictor's frescoes in the late medieval church room to see if the symbolic value of the motifs is decisive for placement, composition and who was meant to look at the pictures. In addition, the study aims to examine what was behind the design of Albertus' artwork, in order to gain a better understanding of what gave rise to his murals and what characterizes his style. The overall question of the study is: What characterizes Albertus Pictor's frescoes with the motif of the The Fall of Man and Ascension of Christ? What predominant external factors have influenced the design of the motifs? What is the significance of the motif's location in the church room? The theoretical starting points are Erwin Panofsky's iconological method, Hans Hayden's concept of contextualizing art and Chloë Reddaway's concept of sacred space. The material consists of all Albertus paintings of The Fall of Man and Ascension of Christ with the main focus on the paintings in Täby Church in Uppland. In the essay, I will, among other things, examine the image programs 'typological connection to literary works such as Biblia Pauperum Predicatorum and Speculum Humanae Salvationis, and the significance of the churches' coats of arms for the design of the motifs.