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Clairement un sommet si ce n’est le sommet. Trop de scenes cultes dans cet album.
de EYE OF DOOM » 25/03/2020 19:11
de zourbi le grec » 25/03/2020 19:20
de Coldo3895 » 25/03/2020 21:32
EYE OF DOOM a écrit:Clairement un sommet si ce n’est le sommet. Trop de scenes cultes dans cet album.
de Yog-volo » 25/03/2020 22:50
corbulon a écrit:
de xof 24 » 26/03/2020 00:03
de Olaf Le Bou » 26/03/2020 00:29
Goscinny and Uderzo’s cheery comic-book parodies reflected none of the real horror of Roman imperialism – and painted an irresistible portrait of postwar Europe :
As a child, devouring every Asterix book I could lay my hands on, I failed to notice what now, with the sombre perspective of adulthood, I can recognise as perhaps the single most glaring inaccuracy in the series’ portrayal of Caesar’s conquest of Gaul: nobody dies. Even by the standards of Roman imperialism, the Gallic war was unspeakably violent. When Vercingetorix, the most formidable of Caesar’s adversaries, finally surrendered at Alesia, he did so surrounded by innumerable corpses, the limbs of horses and humans horribly tangled, their bellies swollen, their blood fertilising muddied fields.
The celebrated painting completed in 1899 by Lionel Reyer, Vercingetorix Throws His Arms at the Feet of Caesar, barely hints at the scale of this slaughter. Even less so do the parodies of the painting in which Goscinny and Uderzo, the authors of Asterix, so delighted. In these, the most vivid display of agony is likely to be a howl of pain from Caesar as Vercingetorix dumps a pile of armour on his foot. The entire theme of the series is the aftermath of a near-genocidal occupation – and yet the worst that ever happens to anyone in any of its various books is to be left hanging from the branch of a tree with a black eye and stars revolving round the head. The Gaul of Goscinny and Uderzo is a land of cheery, almost jovial, innocence.
Perhaps this is why the news of the death of Albert Uderzo has hit so many so hard. For decades after the death of René Goscinny in 1977, he provided a living link to the golden age of the greatest series of comic books ever written: Paul McCartney to Goscinny’s John Lennon. Uderzo, as the illustrator, was better able to continue the series after Goscinny’s death than Goscinny would have been had Uderzo had died first, and yet the later books were, so almost every fan agrees, not a patch on the originals: very much Wings to the Beatles. What elevated the cartoons, brilliant though they were, to the level of genius was the quality of the scripts that inspired them. Again and again, in illustration after illustration, the visual humour depends for its full force on the accompaniment provided by Goscinny’s jokes.
Equally, though, the conceit that underlay Asterix would have been nothing without Uderzo. The challenge was to portray the age of Julius Caesar in a way that was true to the history and yet an utterly joyous recalibration of it. Brutality had to be portrayed as knockabout; a world of mud and gore and fire repainted in primary colours. Uderzo, who was colour blind, much preferred the clear line to any hint of shade, and it was that that enabled his drawings to redefine antiquity so distinctively in his own terms.
Brilliantly though he draws on the various traditions of Gallic metalwork, or Greek statuary, or Egyptian hieroglyphs to diversify his artwork, nowhere visited by Asterix and Obelix ever slips his ability to render both the Roman empire and the lands beyond its frontiers as belonging to a single, coherent comic world. Simultaneously, however, it is also a portrayal of a very different period: that of the decades after the second world war. No other postwar artist offered Europeans a more universally popular portrait of themselves, perhaps, than did Uderzo. The stereotypes with which he made such affectionate play in his cartoons – the haughty Spaniard, the chocolate-loving Belgian, the stiff-upper-lipped Briton – seemed to be just what a continent left prostrate by war and nationalism were secretly craving.
Uderzo, who had lived through the Nazi occupation of France, certainly needed no reminding of what the realities of occupation might be. “All of Gaul is occupied. All? Not quite!” The village of indomitable Gauls is possibly the most brilliant antidote to Vichy that French literature has to show. The wooden palisades that surround it offer readers the absolute assurance that it will always hold out, that the tide of history will never sweep over it, that at the end of every adventure there will be a feast, with lots of boar, and no singing from Cacofonix.
Tom Holland.
de LeJoker » 26/03/2020 05:35
Monsieur Albert Uderzo a eu le temps de voir ses enfants prendre un nouveau départ avec des auteurs qu'il a du choisir.
de trimordiah » 26/03/2020 07:10
de Nicolas_Courdouan » 26/03/2020 08:08
LeJoker a écrit:[quote="xofMonsieur Albert Uderzo a eu le temps de voir ses enfants prendre un nouveau départ avec des auteurs qu'il a du choisir.
Rien compris.
Donc il a eu des enfants; sauf qu'il a une seule fille. 'prendre un nouveau depart': reconversion professionnelle, échec dans les etudes ? bref, changement de vie en tout cas, c'est le sens de l'expression. Je ne vois pas le rapport, ni ce que vient faire le licenciement de Sylvie Uderzo et son rebond professionnel dans tout ça . 'Du choisir': parce que pour les aider dans leur changement de vie, il a été obligé de choisir des auteurs ?
de Diddu » 26/03/2020 08:16
Nicolas_Courdouan a écrit:Ne parlait-il (elle ?) pas de ses autres "enfants", Astérix et Obélix ?
de Cooltrane » 26/03/2020 08:34
de LeJoker » 26/03/2020 08:38
Nicolas_Courdouan a écrit:
Ne parlait-il (elle ?) pas de ses autres "enfants", Astérix et Obélix ?
de LeJoker » 26/03/2020 08:45
Cooltrane a écrit:
il a déjà fait plus drôle le Kroll national, mais cela ne prêtait pas à rire de toutes façons
![[:bdgest]](./images/smilies/bdgest.gif "Mur")
de zourbi le grec » 26/03/2020 10:14
Olaf Le Bou a écrit:la presse française étant trop occupée avec le covid-19 pour prendre le temps de rendre un hommage digne à Uderzo, un petit tour outre-manche avec ce sympathique texte du Guardian :Goscinny and Uderzo’s cheery comic-book parodies reflected none of the real horror of Roman imperialism – and painted an irresistible portrait of postwar Europe :
As a child, devouring every Asterix book I could lay my hands on, I failed to notice what now, with the sombre perspective of adulthood, I can recognise as perhaps the single most glaring inaccuracy in the series’ portrayal of Caesar’s conquest of Gaul: nobody dies. Even by the standards of Roman imperialism, the Gallic war was unspeakably violent. When Vercingetorix, the most formidable of Caesar’s adversaries, finally surrendered at Alesia, he did so surrounded by innumerable corpses, the limbs of horses and humans horribly tangled, their bellies swollen, their blood fertilising muddied fields.
The celebrated painting completed in 1899 by Lionel Reyer, Vercingetorix Throws His Arms at the Feet of Caesar, barely hints at the scale of this slaughter. Even less so do the parodies of the painting in which Goscinny and Uderzo, the authors of Asterix, so delighted. In these, the most vivid display of agony is likely to be a howl of pain from Caesar as Vercingetorix dumps a pile of armour on his foot. The entire theme of the series is the aftermath of a near-genocidal occupation – and yet the worst that ever happens to anyone in any of its various books is to be left hanging from the branch of a tree with a black eye and stars revolving round the head. The Gaul of Goscinny and Uderzo is a land of cheery, almost jovial, innocence.
Perhaps this is why the news of the death of Albert Uderzo has hit so many so hard. For decades after the death of René Goscinny in 1977, he provided a living link to the golden age of the greatest series of comic books ever written: Paul McCartney to Goscinny’s John Lennon. Uderzo, as the illustrator, was better able to continue the series after Goscinny’s death than Goscinny would have been had Uderzo had died first, and yet the later books were, so almost every fan agrees, not a patch on the originals: very much Wings to the Beatles. What elevated the cartoons, brilliant though they were, to the level of genius was the quality of the scripts that inspired them. Again and again, in illustration after illustration, the visual humour depends for its full force on the accompaniment provided by Goscinny’s jokes.
Equally, though, the conceit that underlay Asterix would have been nothing without Uderzo. The challenge was to portray the age of Julius Caesar in a way that was true to the history and yet an utterly joyous recalibration of it. Brutality had to be portrayed as knockabout; a world of mud and gore and fire repainted in primary colours. Uderzo, who was colour blind, much preferred the clear line to any hint of shade, and it was that that enabled his drawings to redefine antiquity so distinctively in his own terms.
Brilliantly though he draws on the various traditions of Gallic metalwork, or Greek statuary, or Egyptian hieroglyphs to diversify his artwork, nowhere visited by Asterix and Obelix ever slips his ability to render both the Roman empire and the lands beyond its frontiers as belonging to a single, coherent comic world. Simultaneously, however, it is also a portrayal of a very different period: that of the decades after the second world war. No other postwar artist offered Europeans a more universally popular portrait of themselves, perhaps, than did Uderzo. The stereotypes with which he made such affectionate play in his cartoons – the haughty Spaniard, the chocolate-loving Belgian, the stiff-upper-lipped Briton – seemed to be just what a continent left prostrate by war and nationalism were secretly craving.
Uderzo, who had lived through the Nazi occupation of France, certainly needed no reminding of what the realities of occupation might be. “All of Gaul is occupied. All? Not quite!” The village of indomitable Gauls is possibly the most brilliant antidote to Vichy that French literature has to show. The wooden palisades that surround it offer readers the absolute assurance that it will always hold out, that the tide of history will never sweep over it, that at the end of every adventure there will be a feast, with lots of boar, and no singing from Cacofonix.
Tom Holland.
de Olaf Le Bou » 26/03/2020 10:53
zourbi le grec a écrit:Merci pour l'article mais je ne suis pas très convaincu par cette lecture sociologique d'Astérix.
Réduire le succès de la série à une réaction contre les horreurs de la guerre, la culpabilité de Vichy et le désir de se rassurer dans le monde clos du village, c'est un peu facile et réducteur.
Mais je suis d'accord sur le fait qu'à la fin de la guerre, le monde entier avait besoin de rire et d'insouciance et c'est assez flagrant dans toute la production culturelle de l'après-guerre.
de zourbi le grec » 26/03/2020 11:10
Olaf Le Bou a écrit:zourbi le grec a écrit:Merci pour l'article mais je ne suis pas très convaincu par cette lecture sociologique d'Astérix.
Réduire le succès de la série à une réaction contre les horreurs de la guerre, la culpabilité de Vichy et le désir de se rassurer dans le monde clos du village, c'est un peu facile et réducteur.
Mais je suis d'accord sur le fait qu'à la fin de la guerre, le monde entier avait besoin de rire et d'insouciance et c'est assez flagrant dans toute la production culturelle de l'après-guerre.
Dans un autre article british, un commentateur faisait remarquer que dans toutes les aventures de nos Gaulois, les différentes nations sont gentiment brocardées à coups de stéréotypes, mais que cela reste toujours bienveillant. A l'exception des allemands, les références historiques des Goths sont essentiellement liées aux invasions barbares, et la satire y est plus crue, l'humour plus noir, et l'on ne retrouve rien de la bonhommie qui caractérise les autres caricatures.
de Sergent Garcia » 26/03/2020 11:39
de Gorkh » 26/03/2020 11:45
Olaf Le Bou a écrit:zourbi le grec a écrit:Merci pour l'article mais je ne suis pas très convaincu par cette lecture sociologique d'Astérix.
Réduire le succès de la série à une réaction contre les horreurs de la guerre, la culpabilité de Vichy et le désir de se rassurer dans le monde clos du village, c'est un peu facile et réducteur.
Mais je suis d'accord sur le fait qu'à la fin de la guerre, le monde entier avait besoin de rire et d'insouciance et c'est assez flagrant dans toute la production culturelle de l'après-guerre.
Dans un autre article british, un commentateur faisait remarquer que dans toutes les aventures de nos Gaulois, les différentes nations sont gentiment brocardées à coups de stéréotypes, mais que cela reste toujours bienveillant. A l'exception des allemands, les références historiques des Goths sont essentiellement liées aux invasions barbares, et la satire y est plus crue, l'humour plus noir, et l'on ne retrouve rien de la bonhommie qui caractérise les autres caricatures.
de trimordiah » 26/03/2020 12:41
de The Maze Echo » 26/03/2020 13:25
[img]https://scontent-cdg2-1.xx.fbcdn.net/v/t1.0-9/p960x960/90842629_3130750936944586_8703454284190056448_o.jpg?_nc_cat=107&_nc_sid=2d5d41&_nc_ohc=qToKP-3IoesAX9gqwV3&_nc_ht=scontent-cdg2-1.xx&_nc_tp=6&oh=32d0174bbbbdc53bfff02bab55afee92&oe=5EA37F39[/img]
de trimordiah » 26/03/2020 14:39
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