Shaped by both those who make and read them, maps generate a two-way transformative process whereby subjective imagination inscribes and reinscribes place with meaning and, at the same time, prompts the subject to figure and re-configure portrayals of self as reflected in the charting of place. This enactment of the sociology of the map is particularly evident in Running in the Family by Michael Ondaatje and Volkswagen Blues by Jacques Poulin. Both texts provoke an awareness of the close connection between the representation of space and the process of mapping space on the one hand, and the intimate quest for personal and cultural identity on the other. Resume Façonnées tant par ceux qui les dressent que par ceux qui les lisent, les cartes déclenchent un processus de transformation bidirectionnelle par lequel l'imagination subjective non seulement donne et redonne une signification au lieu, mais aussi invite le sujet à construire et reconstruire des représentations de soi dans la localisation du lieu. Cette mise en scène de la sociologie des cartes est marquante dans Un air de famille de Michael Ondaatje et Volkswagen Blues de Jacques Poulin. Les deux livres éveillent la conscience, du lien étroit entre, d'une part, là représentation et la localisation de l'espace et, d'autre part, la recherche intime de l'identité personnelle et culturelle.
This article focuses on the question of character subjectivity as it relates to the portrayal of perspective in graphic memoir. Adopting a narratological approach, it interrogates the distinction between focalization and ocularization, thinking and seeing, to ask if it is theoretically attractive to distinguish between the two when considering the presentation of subjectivity in graphic memoir. Through a critically informed analysis of visual techniques used by comics artists to represent character perspective, the article concludes that ocularization is a part of focalization, and not separate from it. Examples are drawn from Persepolis, Stitches , and Fun Home .
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