Les spectacles tirés des « Aventures de Tintin », tels que Tintin et l’Île Noire en 1983 ou Les Bijoux de la Castafiore en 2011, sont des cas particuliers dans le domaine de l’adaptation théâtrale. D’abord, parce que les œuvres canoniques d’Hergé sont ancrées dans la mémoire collective et, à ce titre, agissent comme une matrice visuelle auprès du grand public, matrice qui modèle ses attentes. Ensuite, parce que Moulinsart, la société qui gère l’image de Tintin, maintient depuis plus de vingt ans une politique conservatrice quant aux droits de reproduction et d’adaptation du corpus d’Hergé. La fidélité à l’œuvre source devient donc quelque chose à négocier pour quiconque voudrait transposer Tintin à la scène, difficultés qui s’ajoutent à celles, plus génériques, d’adapter le langage bédéesque au théâtre.

The objective of this study was to investigate differences in the portrayal of Western European citizens and non Western European citizens in Hergé’s graphic novels about the young journalist Tintin. We wanted to see if the globalization during the mid 1900’s had an effect on Hergé’s way of portraying the world. We started off by selecting nine novels from three different periods of time, though we read all of the novels in The Adventures of Tintin. The periods were: the years in between the world wars (three novels), the post war years (four novels), and the beginning of the new age – late 60’s and 70’s (two novels). In each novel, we analyzed three different situations, in three different boxes from the novel. The situations we chose to analyze were: a portraying of one or more non Western European citizens, a communication between two Western European citizens about a non Western European citizen or its culture, and a communication between a Western European citizen and a person from outside Western Europe. We also made an analysis on every album which we based on our impressions of the novel as a whole. The analysis revealed a certain difference in the way Hergé depicted people from Western Europe as compared to people from other parts of the world. People outside of the culture of Western Europe are portrayed as uncivilized (Native Americans), revolutionary (white South Americans) or evil (the Japanese). At the same time Western Europeans are portrayed as smarter and more civilized. However the study also shows that over time there is as significant change in the way that non Western Europeans are portrayed, ranging from the first album to the last. As Hergé gets older, the novels become more sophisticated and the characterizations of people from other cultures than the Western European evolve.

Cette thèse étudie, dans une perspective épistémocritique, la représentation du paranormal dans les Aventures de Tintin de Georges Remi, dit Hergé (1907-1983), et plus précisément dans quatre albums où le paranormal fait partie intégrante de l’intrigue : Les 7 boules de cristal et Le temple du soleil (1948 et 1949), Tintin au Tibet (1960) et Vol 714 pour Sydney (1968). Tout en débordant de péripéties captivantes et de gags pour divertir le (jeune) lecteur, ces albums font de nombreuses références à divers phénomènes paranormaux qui fascinaient Hergé : la voyance, l’hypnose, l’envoûtement et les objets volants non identifiés. Il s’agira d’analyser les modalités d’insertion de ces phénomènes paranormaux dans les albums du corpus, en précisant quels savoirs ils véhiculent principalement, en identifiant certaines de leurs sources et en dégageant tant leur fonction que leur effet sur le lecteur implicite. Nous suggérons que, conscient d’être devenu un façonneur de représentations collectives, l’Hergé de la maturité se veut un passeur de savoirs contestables et contestés, mais auxquels il porte foi.

[pt] Parte dos álbuns da série franco-belga As Aventuras de Tintin, a obra Tintin no Congo (ou Tintin na África) foi editada semanalmente entre maio de 1930 e junho de 1931, com diversas publicações posteriores. Sucesso comercial durante as décadas seguintes, passou a ser criticada por demonstrações de atitudes racistas contra negros congoleses, revelando o profundo teor colonial da época entranhado nas páginas escritas e desenhadas por Georges Prosper Remi, o Hergé. Como consequência, passou a sofrer com mais força a partir da década de 1990 tentativas de restrição de disponibilidade para crianças em países como Bélgica, Reino Unido e Estados Unidos. Com base na literatura especializada e em face de movimentos recentes como Black Lives Matter, que levantaram análises sobre monumentos e obras consideradas racistas, este estudo tem o objetivo de analisar e mostrar, sob viés da comunicação e da memória coletiva através de um produto cultural, as representações racistas e coloniais que marcam a obra. O estudo utiliza a revisão dos próprios quadrinhos, além de bibliografia especializada e reportagens de veículos da mídia, para tentar destacar como um produto cultural, inserido dentro da realidade da Bélgica dos anos 1930, é encarado por jovens leitores hoje. Com base na literatura especializada e em face de movimentos recentes como Black Lives Matter, que levantaram análises sobre monumentos e obras consideradas racistas, este estudo tem o objetivo de analisar e mostrar, sob viés da comunicação e da memória coletiva através de um produto cultural, as representações racistas e coloniais que marcam a obra. O estudo utiliza a revisão dos próprios quadrinhos, além de bibliografia especializada e reportagens de veículos da mídia, para tentar destacar como um produto cultural, inserido dentro da realidade da Bélgica dos anos 1930, encarado por jovens leitores hoje. / [en] Part of the albums of the Franco-Belgian series The Adventures of Tintin, Tintin in the Congo was edited weekly between May 1930 and June 1931, with several later publications. A commercial success during the following decades, it came to be criticized for demonstrating racist attitudes against Africans, revealing the deep colonial content ingrained in the pages written and drawn by Georges Prosper Remi, aka Hergé. Based on specialized literature and in the face of recent movements such as Black Lives Matter, which raised questions of prominent monuments and pieces of art considered racist, this study aims to analyze and show how a cultural product can generate representations of the period in which it s inserted. The study uses the review of the comics themselves, in addition to specialized bibliography and media reports, to try to highlight how a cultural product, inserted within the reality of Belgium in the 1930s, is seen by young readers today.

This essay examines through a postcolonial analysis of the intermedial aspects of comicbooks how stereotypes and depictions of the Other and the alien are formed in Tintin au Congo and Tintin en Amérique. The aim has been to call attention to the importance of the relationship between text and image to create meaning, as well as to gain a deeper insight into how different stereotypes are created and their function. Hergé illustrated the Tintin-books according to something that would come to be known as ”The Clear Line”, a way of drawing that focused on the readbility of the images. In this essay I argue that the simplicity of these readable images were used in his work as comic relief but also to create an awareness of deeper social issues in the world. There is a notable difference between Tintin au Congo and Tintin en Amérique where in the first album Hergé seems to be governed by these stereotypes, fully embracing them without questioning. In the second one however he is consciously and playfully using these images to make the reader aware of the problems with Othering, simultaneously using recognizable symbols that everyone can understand but with a critical gaze that not only reveals these problems but also condemns them. The use of these symbols and stereotypes highlights the importance of the relationship between text and image, as signification and meaning can differ depending on translation and the words used.

In recent years, several cases have been brought to attention in media where children have been harmed while interacting with a violent parent. In some cases, the child has died due to the violence. The aim of this study is to analyze how district courts considers the best interest of the child in decisions regarding visitation rights where there is alleged or proven violence against the child. Examples from a well-known Swedish case “the case of Tintin” is used. Previous research was gathered through a literature search in the databases Scopus and Discovery. The method used was a qualitative literature analysis of seventeen verdicts concerning decisions on visitation rights. The theories that were used were the attachment theory and developmental ecology. Results showed that the best interest of the child is assessed differently in different courts and the right to both parents tend to outweigh the safety of the child. / Under de senaste åren har flera fall uppmärksammats i media där barn har farit illa vid umgänge med en våldsam förälder. I några av fallen har barnet dött till följd av våldet. Syftet med denna studie är att analysera hur tingsrätten tar barnets bästa i beaktande vid beslut om umgängesrätt där det påstås eller bevisligen har förekommit våld mot barnet. Exempel från ett känt svenskt fall vid namn ”fallet Tintin” används för att belysa det valda ämnet. Genom en litteratursökning i databaserna Scopus och Discovery inhämtades tidigare forskning. Metoden som användes var en kvalitativ innehållsanalys av sjutton domar rörande beslut om umgängesrätt. Teorierna som användes var anknytningsteorin och utvecklingsekologin. Resultatet visade att barnets bästa bedöms olika i olika tingsrätter och rätten till båda föräldrar tenderar att väga tyngre än barnets säkerhet.

Should libraries first and foremost be a source of free informationwhere the citizens can find whatever information they want, or dothe librarians have a responsibility for what kind of works theypresent to people on their shelves? A wild debate broke out inSwedish media in September 2012, after the artistic leader ofKulturhuset in Stockholm; Behrang Miri decided to weed out allthe Tintin albums from the children´s library Tiotretton. Hewanted to start a debate on stereotypes in children´s fiction, andwhat damage they do to children who face them. The purpose ofthe thesis is to carry out a discourse analysis of this media debate,and to identify the different views that are expressed on thedemocratic mission of the libraries, what media they shouldpresent. The method and theory is based on the discourse theory ofErnesto Laclau and Chantal Mouffe and their concepts are used toarrange the analysis around certain themes that build up twodifferent discourses; “Freedom of information discourse” and the“Weeding out discourse”.The two main questions are: What views of the public librariesselection of works are expressed in the Tintin debate in Tiotretton,and how do the views relate to each other? What concepts arespecific for the debate, and what meanings do they get in thesedifferent views?In the concluding chapter I discuss which consequences theseopposing opinions can have for the future selection processes ofthe library. / Program: Bibliotekarie

Användningen av serietidningar inom historisk forskning har ökat och kan jämföras med romaner, fiktion, filmer och affischer. Michael F. Scholz, en tysk professor i modern och samtida historia, har lyft flera argument för att använda serietidningar inom modern historia. Han skapade en modell för att analysera innehållet i en serietidning, som har anpassats i detta arbete för att sedan används för att analysera Hergés berömda äventyr om Tintin. I denna uppsats diskuteras användningen av ”Tintins äventyr” inom historisk forskning som en kulturhistorisk källa för icke-demokratiska element under författarens samtid, och i vilken utsträckning (om möjligt) det går att använda tecknade serier inom undervisning av historia. Forskningen baseras på teorierna av Scholz och en anpassad version av hans analysmodell, som används för att sedan analysera innehållet i Tintin för icke-demokratiska element som: förtryck, ledarskap, diktatur och maktutövning. Innehållet i böckerna jämförs efteråt med verkliga diktaturer och händelser. Denna jämförelse mellan Tintin och böckernas samtid, avgör om Tintin kan användas som kulturhistorisk källa eller undervisningsmaterial. Forskningen baseras på ett urval av fyra böcker med ett visst kriterium: 1. Berättelsen äger rum i ett land med diktatur 2. Regeringen / staten är antagonisten 3. Diktaturen har koppling till författarens samtid. De fyra äventyr som används för denna uppsats är: ”Blå Lotus”, ”Kung Ottakars Spira”, ”Det Hemliga Vapnet” och ”Tintin hos Gerillan” Resultatet visar att Tintins äventyr kan användas i historisk forskning, eller när man undervisar i skolor, som ett komplement. Dock finns det flera problem och begränsningar kring användningen av Tintin, samt ett behov av att modifiera Scholz modell för att skapa önskat empiri. Trots begräsningar och modifieringar, poängterar denna uppsats (med analysen och de element som porträtteras av Hergé) att det finns ett starkt argument för användningen av Tintin som en kulturhistorisk källa inom historisk forskning och en möjlig användning av serietidningar när man undervisar historia i skolan.

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Inspirées des événements historiques du XXe siècle, Les Aventures de Tintin (1929-1976) introduisent au politique. La rencontre entre Tintin et Staline était inévitable. Hergé élabore ainsi certains scénarios staliniens, écho des peurs de ses contemporains envers le « communisme » et le totalitarisme. Ce mémoire s'interroge sur la nature et l'évolution de la représentation du stalinisme à des fins scénaristes. Il reconnaît les propositions théoriques majeures du totalitarisme stalinien d'Arendt, de Friedrich, de Brzezinski et d'Aron, à l'origine de l'école totalitariste; les différents courants historiographiques et l'ouverture partielle des archives soviétiques. Son cadre opératoire regroupe trois grandes variables staliniennes : l'idéologie, la terreur et le dictateur. En raison de la nature de la bande dessinée, il propose deux niveaux d'analyse: le lisible et le visible. Ses stratégies de vérification recourent au paradigme de l'indice de Ginzburg (1980) et à la représentation de l'ennemi soviétique dans le cinéma américain de la Guerre froide de Ballion (2014). Jamais, à notre connaissance, la représentation du stalinisme ne fut étudiée pour l'ensemble des albums Tintin. Notre analyse recense six albums « staliniens » sur les vingt-trois complétés. Ils constituent 26% du corpus Tintin, proportion significative. Or, à aucun moment Hergé ne personnifie Staline, sa figure s'incarnant plutôt dans celle des représentants officiels soviétiques. Le lecteur croise ces derniers sur 56% des pages du corpus étudié. Notre analyse discursive de la représentation hergéenne du stalinisme conclut qu'elle priorise la terreur et le dictateur, l'écart séparant ces deux variables s'avérant moins grand qu'anticipé. Réaliste, elle participe partiellement à la socialisation politique du jeune lecteur, le bédéiste y développant un discours politique convenu à l'égard de Staline et de l'Union soviétique. C'est en recourant à la dissémination d'indices dormants qu'Hergé le compose, soulevant l'intérêt du lecteur avisé à la recherche de différents niveaux de lecture. Ce discours politique dans la représentation du stalinisme d'Hergé n'atteint toutefois pas la complexité de celui du genre romanesque stalinien de Koestler, de Gheorghiu, d'Orwell, de Weisberg, de Soljenitsyne ou de London. Ce ne fut là nullement sa prétention. / Inspired by historical events of the twentieth century, Les Aventures de Tintin (The Adventures of Tintin) (1929-1976) introduces to politics. The encounter between Tintin and Stalin was inevitable. Hergé elaborates some Stalinist scenarios, echoing the fears of his contemporaries towards "communism" and totalitarianism. This thesis questions the nature and the evolution of the representation of Stalinism for screenwriting purposes. It acknowledges the major theoretical propositions of Stalinist totalitarianism (Arendt, Friedrich, Brzezinski and Aron of the totalitarian school), the different historiographic currents and the partial opening of the Soviet archives. Its operative framework identifies three major Stalinist variables: ideology, the terror and the dictator. Because of the nature of the comic book, it proposes two levels of analysis: the readable and the visible. Its verification strategies appeal to the indiciary paradigm (Ginzburg, 1980) and to the representation of the Soviet enemy in American Cold War cinema (Ballion, 2014). To our knowledge, the representation of Stalinism has never been studied in the entirety of the Tintin albums. Our analysis identifies six Stalin albums, representing 26% of the corpus Tintin. At no time is Stalin featured, his figure being personified in that of the official Soviet representatives on 56% of the corpus pages. This Hergean representation of Stalinism focuses on the terror and the dictator, the gap between these two variables is being less than anticipated. Realistic, it partially participates in the political socialization of young readers, while raising the interest of the advised reader with disseminating of dormant indices. However, this representation doesn't reach the complexity of Stalin's literary fiction genre (Koestler, Gheorghiu, Orwell, Weisberg, Soljenitsyne, London). This was in no way his pretense.