AbstractIn this paper, I will argue for key role played by the global culture of comics, of which the '/> <Emphasis Type='Italic'>Qui est Charlie…</Emphasis>? A Sociological Perspective on <Emphasis Type='Italic'>Charlie Hebdo</Emphasis> and the Culture of Comics
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Qui est Charlie…? A Sociological Perspective on Charlie Hebdo and the Culture of Comics

机译:<重点类型=“斜体”> Qui Est Charlie ... ? 关于<重点类型=“斜体”>查理Hebdo 以及漫画文化的社会学的视角

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AbstractIn this paper, I will argue for key role played by the global culture of comics, of which the French publicationCharlie Hebdois but one small part, in the development and aftermath of the Paris terrorist attacks of 2015. I begin by exploring and elucidating this culture of comics that exists across France and other comic book producing nations and its associations with youthful rebellion, anarchy, and, more recently, misrecognized privilege and bigotry. A sociological perspective on the cultural history and practice of comics publishing through the twentieth and twenty-first centuries adds important context to theJe Suis Charliemovement and its place in the public discourse—while also further problematizing it.]]>
机译:<![cdata [ <标题>抽象 ara id =“par1”>在本文中,我将争论播放的关键角色 由全球漫画文化,其中法国出版物<重点类型=“斜体”>查理Hebdo 是一小部分,在2015年巴黎恐怖袭击事件的发展和后果。我从探索和探索开始 阐明法国和其他漫画制作国家及其与青年叛乱,无政府状态的协会存在的漫画文化,以及最近,最近,误导性的特权和偏见。 通过二十二十一世纪的文化历史和漫画文化史上实践的社会学观点为<重点类型=“斜体”> JE Suis Charlie 运动及其在公众话语中的行动和地位 也进一步解决了它。 ]]>

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