Launched in 1959 by René Goscinny and Jean-Michel Charlier, partially in reaction to the unfair labor conditions offered by the then leading comics magazines, Pilote is considered today the publication that made the bridge between traditional children and adolescent comics magazines such as Tintin or Spirou and adult comic journals such as Fluide Glacial and Métal Hurlant (which will even develop a US sister publication).
A reading suggestion for the summer: Traversals: The Use of Preservation for Early Electronic Writing by Stuart Moulthrop and Dene Grigar and with foreword by Joseph Tabbi, described as “An exercise in reclaiming electronic literary works on inaccessible platforms, examining four works as both artifacts and operations.”
For many decades, scholars of adaptation studies have been quarreling on the flaws and merits of the so-called fidelity issue, that is the (biased) idea that the novel is always better than the film and that the value of a movie thus depends on its more or less faithful recreation of the original, whatever all these terms (recreation, faithful, original) may mean.
How do we respond to the current ecological issues and how much of environmental consciousness is getting to us? How can we, collectively or individually, improve the natural environment within the city of Leuven? What are the most pollution-free sites in Leuven and how to visit them?
What comes to your mind when you hear Brussels? Politics, terrorism, rain? Or Magritte, beer and waffles? We are 5 Cultural Studies Students from KU Leuven who decided to shift the stereotypes about the “heart of Europe” and show the fun side of Brussels. The photo exhibition “WHY SO SERIOUS?!” will be held in the city center from 7th MAY till 24th MAY 2018.
For many years, adaptation studies have been the core business of film and literature studies. The often sterile debates address issues of fidelity as well as the progressive opening of adaptation studies to other media than just film and literature.
This is not a new book and many readers may find it pathetically old-fashioned. Yet this collection of writings on art with a capital A by an author often discarded as typically WASP is doing what so much modern art criticism seems no longer “capable and willing” of doing, as we are asked by the air hostess when boarding the plane and being offered an exit seat: