. (Suite de la publication de la thèse  de Camille Filliot. > Présentation et table des matières ici.)

[Partie I : Les dispositifs éditoriaux]

Chapitre II. LE JOURNAL

Dans le secteur de la librairie, la bande dessinée ne parvient pas à se constituer d’identité stable en termes d’édition et, au-delà de sa non-reconnaissance, la forme artistique est fragilisée dans ses fondements par l’hybridation avec d’autres pratiques graphiques. Qu’en est-il de son statut lorsqu’elle intègre les pages du journal et accompagne le support dans son incroyable expansion jusqu’aux années  ? Du cercle privé et restreint des premiers albums töpfferiens, l’histoire en images journalistique touche un public beaucoup plus étendu à l’heure de la reproductibilité technique. Quels changements qualitatifs cette portée médiatique et ce déplacement quantitatif opèrent-ils sur un moyen d’expression adapté de fait aux contraintes de la périodicité, de l’effet-rubrique ou de l’actualité ? Celui-ci trouve une place de choix dans la « petite presse », cette pléiade de feuilles alternatives sinon parodiques, brassant de la matière seconde  (1). C’est à une véritable industr

Voyages En Zigzag (Classic Reprint)

Excerpt from Voyages en Zigzag

Rodolphe tôpffer, whom Pierre Loti oells Le md véri table poète des écoliers, was born at Geneva in , and died in He began life as an artist, but became a schoolmaster and author, retaming a remarkable knack at caricature sketches which helped to make the success of his books. He is well known by his novels and by the two series of Voyages en Zzlgzag, that describe long holiday excursions on which this peripatetic teacher loved to lead an international band of pupils coming from too far to go home in their vacations. These hu e volumes are highly esteemed for both their pen and penci pictures of Swiss and Italian scenery, as well as for the humorously spirited tone of the journals which form their narrative perhaps only their size and the richness of their illustration have hindered them from being translated into English.

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Rodolphe Töpffer (), the father of comic strips, was a Swiss teacher, author, painter, cartoonist, and caricaturist whose groundbreaking work laid the foundation for the world of comics as we know it today. His innovative approach to storytelling through pictures and captions in the 19th century entertained and paved the way for the modern comic book industry. In this article, we delve into the life and contributions of Rodolphe Töpffer, who possibly created the earliest European comics.

Rodolphe Töpffer
Name in native languageRodolphe Töpffer
Date of birth31 January
Place of birthGeneva
Date of death8 June
Place of deathGeneva
Place of burialCemetery of Kings
Work period (start)
Work period (end)
Country of citizenship
  • Republic of Geneva
  • Switzerland (–)
Educated atCollège Calvin
Occupation
  • Writer
  • Painter
  • Comics artist
  • Politician
  • Teacher
  • Illustrator
  • University teacher (–)
  • Caricaturist
EmployerUniversity of Geneva (–)
FatherWolfgang Adam Töpffer
Children
  • Jean-Charles Töpffer
  • Adele Töpffer
  • François Töpffer
Work location
Award receivedWill Eisner Hall of Fame ()
Known forCred

IN there appeared in New York a little brochure with scarcely any letter-press, which contained many pages of the most humorous and spirited sketches. Its title told the whole story, namely : —

The Adventures of Mr. Obadiah Oldbuck : wherein are duly set forth the Crosses, Chagrins, Calamities, Checks, Chills, Changes, and Circumgyrations by which his Courtship was attended.Showing also the Issue of his Suit, and his Espousal to his Ladye-Love."

Thousands laughed themselves to tears, when looking at these grotesque, yet lifelike pictures ; but scarcely one knew the name of their author, M. Rodolphe Topffer, of Geneva, Switzerland.

Long before Mr. Oldbuck made his appearance in America, he had been the means of uniting in fast friendship the great poetic giant of Germany. Goethe, and the modest Genevese caricaturist. The least of M. Topffer’s merit, however, was his ability to handle the pencil. As a humoristic, satiric, pathetic, and aesthetic writer, he is unique in the French language. His wonderful genius was so pliable, that, while he excelled in the power of catching the warmest glow of Nature in those exquisite descriptions with which his writings are filled


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