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{{Short description|French diplomat}} |
{{Short description|French diplomat}} |
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[[File:Zoopraxiscope 16485d.gif|thumb|[[Zoopraxiscope]] by British photographer [[Eadweard Muybridge]]. Drawn Ruade of a Donkey (1879). The epanadiplosis suggests an effect of repetition.]] |
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'''Epanadiplosis''' (from Ancient Greek ἐπαναδίπλωσις/epanadíplôsis, from ἐπί/epí, “on”, ἀνά/aná, “again”, and διπλόος/diplóos, “double”, i.e. “doubling in succession ”1) is a [[figure of speech]] in which the same word is used at the end of a clause as at the beginning of a preceding clause. The opposite figure is anadiplosis. It allows for melodic and rhythmic interplay to suggest emphasis or humor. Epanadiplosis can also be used to emphasize a word, a group of words or an idea. |
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Epanadiplosis is also a narrative figure used in many literary genres, in which case it's called “narrative epanadiplosis”. It's the repetition of an initial scene or motif (in the incipit) at the end (or clausule) of the plot. It suggests that the narrative is closed in on itself. |
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{{Infobox comic strip|title=César|bgcolor=orange|bgcolour=orange|genre=[[Humor]] |
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Franco-Belgian|language=French|author=Maurice Tillieux}} |
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== Nature et limites de la figure == |
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'''César''', or '''César and Ernestine''', is a Belgian comic strip series by author [[Maurice Tillieux]]. |
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Epanadiplosis is a figure of repetition affecting syntactic position (the order of words in the sentence).<ref>{{Cite book |last=Badir |first=Sémir |url=https://books.google.com/books?id=UyeIkQQIL3EC&printsec=frontcover |title=Figures de la figure: sémiotique et rhétorique générale |last2=Klinkenberg |first2=Jean-Marie |date=2008 |publisher=Presses Univ. Limoges |isbn=978-2-84287-458-2 |language=fr}}</ref> For César Chesneau Dumarsais, the figure appears “when, of two correlative propositions, one begins and the other ends with the same word”,<ref>{{Cite book |last=Dumarsais |url=https://books.google.fr/books?id=BdYFAAAAQAAJ&pg=PA139 |title=Oeuvres |date=1797 |publisher=Pougin |language=fr}}</ref> or when, according to Henri Suhamy4, only two propositions are involved. |
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He cites Tacitus5 as an example:<blockquote>“Principes pro victoria pugnant, comites pro principe (Leaders fight for victory, companions for their leader)”.</blockquote>More specifically, epanadiplosis is the repetition at the end of a sentence of a word or even a locution located at the beginning of a proposition. The figure therefore concerns the phrasal level, unlike narrative epanadiplosis, which concerns an entire text. It constitutes a linguistic mechanism that is the opposite of anadiplosis, and can be summarized as follows, according to Patrick Bacry6 : |
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It features a cartoonist, César, who has to cope with everyday problems, and Ernestine, his neighbor's daughter, whom he has to look after. He must also put up with his cleaning lady, Églantine, and his neighbor, police officer Petitcarné.<ref>{{Cite book |last=Dierick |first=Charles |url=https://books.google.com/books?id=foqRAAAAIAAJ&newbks=0&printsec=frontcover&dq=C%C3%A9sar+and+ernestine+(bande+dessin%C3%A9e)&q=C%C3%A9sar+and+ernestine+(bande+dessin%C3%A9e)&hl=en |title=Le Centre belge de la bande dessinée |date=2000 |publisher=Renaissance du livre |isbn=978-2-8046-0385-4 |language=fr}}</ref> |
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The series, first published in ''Spirou'' between 1957 and 1959, was then transferred to ''Le Moustique'' between 1959 and 1966 before the gags appearing in ''Le Moustique'' were republished in ''Spirou'' and its Dutch-language edition ''Robbedoes'' from 1969 to 1973. In parallel, the series was published in four paperback editions, then reissued as a complete series in the 1980s and 90s, as well as in November 2011.<ref>{{Cite web |last=Tomlameche/Latruffe/Zéas |title=Série BD : César et Ernestine |url=https://www.bdovore.com//serie-bd-1958-cesar-et-ernestine |access-date=2024-04-25 |website=www.bdovore.com |language=fr}}</ref> |
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A _______ / _______ A |
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== Synopsis == |
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The series follows the daily life of César, a single cartoonist.<ref>{{Cite web |title=Jean Jour - M. Tillieux "Monographie de la bande dessinée" avec jacquette - Amazonie BD Librairie BD à Paris |url=https://amazoniebd.com/produit/jean-jour-m-tillieux-monographie-de-la-bande-dessinee-avec-jacquette/ |access-date=2024-04-24 |website=Amazonie BD |page=46 |language=fr-FR}}</ref> He'd like to lead a quiet life, but unfortunately for him, he has to put up with Ernestine, his neighbor's daughter, whom he has to look after,<ref>{{Cite web |title=César et Ernestine, L'école des gags |url=https://archive.wikiwix.com/cache/index2.php?url=http://www.coinbd.com/bd/albums/resume/7613/cesar-et-ernestine/tome-7-l-ecole-des-gags.html#federation=archive.wikiwix.com&tab=url |access-date=2024-04-24 |website=Coin BD}}</ref> the police officer Petitcarné, neighbor and Ernestine's father, who gives him tickets for nothing, and the impossible-to-live-with cleaning lady Églantine.<ref>{{Cite web |title=Jean Jour - M. Tillieux "Monographie de la bande dessinée" avec jacquette - Amazonie BD Librairie BD à Paris |url=https://amazoniebd.com/produit/jean-jour-m-tillieux-monographie-de-la-bande-dessinee-avec-jacquette/ |access-date=2024-04-24 |website=Amazonie BD |page=47 |language=fr-FR}}</ref> |
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== History == |
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<timeline> |
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ImageSize = width:1100 height:auto barincrement:38 |
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PlotArea = left:5 right:5 bottom:20 top:5 |
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#Legend = top:50 columnwidth:250 orientation:vertical left:250 |
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Legend = top:40 columnwidth:200 orientation:vertical left:110 |
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As in these verses by François de Malherbe7 :<blockquote>[...] But she was of the world, where the most beautiful things |
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Colors = |
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id:gridMajor value:rgb(0.60,0.60,0.60) |
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id:gridMinor value:rgb(0.86,0.86,0.86) |
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id:gris value:gray(0.7) legend:arrêt_de_publication |
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id:brun value:rgb(0.86,0.56,0.56) |
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# value:red, black, white, green, drabgreen, teal |
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have the worst fate, |
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TimeAxis = orientation:horizontal format:yyyy |
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DateFormat = yyyy # European date format |
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Period = from:1952 till:1976 |
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ScaleMajor = unit:year increment:5 start:1955 gridcolor:gridMajor |
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ScaleMinor = unit:year increment:1 start:1955 gridcolor:gridMinor |
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AlignBars = justify |
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'''And rose she lived what roses live''' |
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BarData= |
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bar:Cesar_et_Ernestine_Dates |
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bar:Cesar_et_Ernestine |
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PlotData = align:middle textcolor:black fontsize:10 mark:(line,white) width:50 shift:(0,0) |
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bar:Cesar_et_Ernestine_Dates |
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from:1957 till:1957 text:"1957-07-11" |
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from:1959 till:1959 text:"1959-12-31" |
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from:1966 till:1966 text:"1966-07-28" |
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from:1969 till:1969 text:"1969-01-02" |
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from:1973 till:1973 text:"1973-12-27" |
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# from:1960 till:1960 text:"1960-08-25~" shift:(2,0) color:black |
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bar:Cesar_et_Ernestine |
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from:start till:1954 color:brun align:center text:"Publié dans:" |
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from:1957 till:1959 color:skyblue align:center text:"[[Spirou]]" |
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from:1959 till:1966 color:teal align:center text:"[[Le Moustique]]" |
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from:1966 till:1969 color:gris |
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from:1969 till:1973 color:skyblue text:"[[Spirou]]" |
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</timeline> |
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The series was first published in ''Spirou'' between 1957 and 1959. Caesar's first appearance was in ''Spirou'' No. 1004,<ref name=":0">{{Cite web |title=César dans Spirou |url=https://bdoubliees.com/journalspirou/series1/cesar.htm |access-date=2024-04-25 |website=bdoubliees.com}}</ref> July 11, 1957, in a two-page story called Petit divertissement en chambre. This first appearance was a rough sketch of the character. He has black hair but already owns an old car. |
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In the space of a morning. [...]</blockquote>For Jean-Jacques Robrieux, epanadiplosis is a figure close to chiasmus8 , as in this line by [[Victor Hugo]], in which the indefinite pronoun “rien” is repeated symmetrically at the beginning and end of the proposition:<blockquote>“Rien ne me verra plus, je ne verrai plus rien9 ”.</blockquote>For Nicole Ricalens-Pourchot, epanadiplosis is signaled by the use of “two juxtaposed propositions, separated by a comma or semicolon ‘10 ; it is, therefore, as Georges Molinié notes, a ’microstructural figure”, as it only affects the limits of the sentence, and therefore only plays on both elocution and construction11. It is, moreover, a very rare figure1. |
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Ernest returns in ''Spirou'' no. 1042<ref name=":0" /> (April 3, 1958) for a special spring issue in which the police officer Petitcarné, disrupts César's spring cleaning. A third story appeared in ''Spirou''<nowiki/>'s special issue no. 1055 of July 7, 1958, for the 1958 Brussels World's Fair, in which César and Ernest participate in a model-building competition. A fourth and final story appeared in ''Spirou'' no. 1107, July 2, 1959. César's appearance has changed, he wears glasses and his hair has thinned. He looks a little like [[Spirou & Fantasio|Fantasio]], one of the two heroes of the ''Spirou et Fantasio'' series<ref>{{Cite web |title=Spirou et Fantasio, la série de BD de Abitan - Cauvin - Fournier - Franquin - Greg - Guerrive - Janry - Jean-David Morvan - Jijé - Munuera - Nic - Roba - Rosy - Schwartz - Tome - Vehlmann - Yann - Yoann - Éditions Dupuis |url=https://www.dupuis.com//seriebd/spirou-et-fantasio/124 |access-date=2024-04-25 |website=Les Éditions Dupuis}}</ref> drawn by [[André Franquin]], who was at the time the model for the ''Spirou'' newspaper.<ref>{{Cite web |title=Spirou, the classic period (1938-1969) |url=https://www.lambiek.net/magazines/spirou.htm |access-date=2024-04-25 |website=www.lambiek.net |language=en}}</ref><ref>{{Harvtxt|Tout César|Tome 2|p=05}}</ref>[[File:Australian Model T Ford.jpg|left|thumb|300x300px|Photo of a Ford T, the car that inspired Caesar's car (which is yellow in the comic strip).]] |
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The series was then published in ''Le Moustique'' between 1959 and 1966. César left ''Spirou'' to join Le Moustique on December 31, 1959. ''Le Moustique'' is published by ''Dupuis'', which also publishes ''Spirou''. For a long time, it acted as a laboratory for ''Spirou''<nowiki/>'s young authors, but by the end of the 1950s, it was mainly Anglo-Saxon series such as ''Judd Saxon'' and ''Caroline'' that were published there. Charles Dupuis wanted the magazine to have its hero, so he asked Maurice Tillieux - who had been drawing Gil Jourdan in ''Spirou'' since 1956 - to provide one. Maurice Tillieux brought out his character César, created three years earlier in ''Spirou'' for four short stories, and modified him slightly by replacing young Ernest with his sister Ernestine. In Le Moustique, the series was published on a half-page, but the layout of the squares - nine squares spread over three strips - would allow it to occupy a full page elsewhere. César's rapid success enabled the series to be published in a full-page format from the nineteenth strip on May 5, 1960.<ref>{{Cite web |title=Maurice Tillieux |url=https://www.lambiek.net/artists/t/tillieux_maurice.htm |access-date=2024-04-25 |website=lambiek.net |language=en}}</ref> |
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Limits of the figure |
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Secondary characters are grafted on around César, inspired to Maurice Tillieux by real people more or less close to him: Ernestine is inspired by his youngest daughter, the agent Petitcarné by one of his neighbors, and the cleaning lady Églantine by a cleaning lady who had worked for him. All this little world evolves in a neighborhood inspired to Maurice Tillieux by his neighborhood.<ref>{{Harvtxt|Tout César Tome 1||p=08}}</ref> |
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The series appeared regularly until July 28, 1966, when Maurice Tillieux stopped the series at gag two hundred and ninety-nine, feeling that he had come to the end of his subject and finding less and less inspiration. This was particularly true of his youngest daughter, who was about to turn eight and no longer uttered the spontaneous lines that inspired Ernestine. |
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César found a second life when he returned to ''Spirou'' from no. 1603, January 2, 1969, and simultaneously to ''Robbedoes'', the Dutch-language equivalent of ''Spirou'' until 1973. |
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For the occasion, the gags that had appeared in ''Le Moustique'' were put in color and published in no particular order, with the deletion of some whose puns were unadaptable in Dutch. César was published until no. 1863, December 27, 1973. At the same time, four albums featuring the gags published in ''Spirou'' were released by ''Dupuis'', while the gags published in Le Moustique and the first gags published in ''Spirou'' remained unpublished until the release of the complete Tout César in two volumes. |
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The series was published in parallel in four paperback albums, then reissued as a complete series in the 1980s and 1990s, and again in November 2011. |
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In Spirou no. 3041 of July 24, 1996, cartoonist Godi paid tribute to the series and its author Maurice Tillieux by drawing the three-hundredth gag in the series9. Despite its numbering, this gag is only the 298th in the series. There's an error in the numbering of the series. There are two gags no. 33, and no gags no. 35, no. 36 and no. 37. As for gags no. 277 and no. 293, they are seriously modified copies of gags no. 5 and no. 37, respectively. The first four stories published in Spirou between 1957 and 1959 have their own numbering, and are not part of the official numbering of the series, which was reset to zero when the series moved to Le Moustique in 1959. |
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Characters |
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[[File:Little Nemo Walking Bed detail.jpg|left|thumb|A comic strip panel (here from the ''Little Nemo in Slumberland'' series). César's job is to draw comics, but we don't know what he draws.]] |
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The hero of the series is César, a bohemian1 and hardened10 bachelor cartoonist. His ordinary life is punctuated by everyday troubles, of which he is often the victim.<ref name=":1">{{Cite book |title=Monographie de la bande dessinée : M.Tillieux |page=46}}</ref> A rebel at heart, he's always repeating: “What's allowed by law must fit on the edge of a postage stamp!”; he's also hot-tempered and kind to the point of being trapped by his goodness. Despite his fits of anger, he's also a peaceful man who likes to smoke a pipe in his armchair and cook, an art in which he excels and knows it1. He could have a quiet life if he didn't have sticky neighbors around him, a housekeeper who makes trouble and the local police officer who gave him 3,236 tickets in six months.<ref name=":1" /> |
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César's great accomplice is ErnestineNote 2, his neighbor's daughter10. She must be around five years old, and possesses the perverse innocence of a child1. She doesn't understand the useless complications of the adult world, which leads to some funny, but common-sense remarks1. With her incredible repartee, she loves to play tricks, the victim of which is often poor Caesar1. Maurice Tillieux drew inspiration for Ernestine's reflections from his own youngest daughter, Anne11. |
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Constable PetitcarnéNote 3 is the neighborhood policeman, as well as César's neighbor and Ernestine's father3. He likes to write tickets for the smallest of reasons, César being his first victim with 3,236 tickets received in six months1. Speaking of César, he likes to say: “I give him tickets for his own good ”3. A former soldier who fought in the war, he often pesters César with his wartime memories3. In his family, he is known to have a sister-in-law who is a farmer and, according to him, never stops having calves3. Maurice Tillieux was inspired to create the character by one of his neighbors, who never realized it8. |
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[[File:Femme-de-menage.jpg|thumb|Drawing of a cleaning lady, the profession of the character Eglantine.]] |
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César also has a cleaning lady, ÉglantineNote 4, whose main characteristic is that she's lazy3. She buys brooms to lean on while she waits for time to pass, and often complains that pretending to work is more tiring than actually working3. Nevertheless, César finds her a good woman; she, for her part, criticizes César for being too intellectual and complicated3. A lazy cleaning lady who had worked for Tillieux gave her the idea for this character8. |
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Agent Petitcarné's son and Ernestine's brother is Ernest6. He played Ernestine's role in the very first stories of the series, before being replaced by her6. Thereafter, the only mention of him is that he's always busy playing marbles3. |
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== Publication == |
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=== Albums === |
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==== Album publication history ==== |
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The first César et Ernestine album appeared in 1964 in the gag de poche collection published by Dupuis. Containing 123 black-and-white pages, its title was simply CésarNote 5, and the series was not yet called César et Ernestine12. Shortly afterwards, César (Deuxième service), the second album in the César seriesNote 6, was released in the Gag de Poche collection, as no. 12. Like the first album, it is in black and white.<ref>{{Cite web |last=MAGNERON |first=Philippe |title=César et Ernestine -GP2- César (deuxième service) |url=https://www.bedetheque.com/BD-Cesar-et-Ernestine-GP2-Cesar-deuxieme-service-4745.html |access-date=2024-04-25 |website=www.bedetheque.com |language=fr}}</ref> |
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The revival of César's gags in Spirou gave the series a new lease of life. Editions Dupuis took advantage of the situation to bring out a first large-format album in 1971, entitled L'école des gagsNote 7. Paperback and in color, the series was renamed for the occasion César et Ernestine (for publications in Spirou, it always bore the name César)14. The second album, entitled La vie à deuxNote 8, came out a few months later15. Note 9 the third volume in 197216. The fourth volume, Au fil des mauvais joursNote 10, was not released until two years later, in 197417. Despite these four albums, many of the César et Ernestine gags published in Le Moustique and Spirou remained unpublished6. |
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They remained unpublished until 1988, when the first volume of Tout César came out, entitled Tout César - L'école des gagsNote 11, and listing in chronological order the issues published in Le Moustique7. It runs to 156 pages and is numbered 7, following the numbering of the earlier Tout Gil Jourdan albums by the same author, which comprised six volumes18. The following year, 1989, saw the release of volume two, Au fil des (mauvais) joursNote 12, with 160 pages and no. 8.<ref>{{Cite web |last=MAGNERON |first=Philippe |title=César et Ernestine -INT2- Tout César - Au fil des (mauvais) jours |url=https://www.bedetheque.com/BD-Cesar-et-Ernestine-INT2-Tout-Cesar-Au-fil-des-mauvais-jours-74756.html |access-date=2024-04-25 |website=www.bedetheque.com |language=fr}}</ref> |
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In 1997, a new 160-page complete edition was released, entitled Tout César - Tome 120,Note 13. Followed a few months later by volume two21. |
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== See also == |
== See also == |
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Revision as of 20:28, 25 April 2024
Epanadiplosis (from Ancient Greek ἐπαναδίπλωσις/epanadíplôsis, from ἐπί/epí, “on”, ἀνά/aná, “again”, and διπλόος/diplóos, “double”, i.e. “doubling in succession ”1) is a figure of speech in which the same word is used at the end of a clause as at the beginning of a preceding clause. The opposite figure is anadiplosis. It allows for melodic and rhythmic interplay to suggest emphasis or humor. Epanadiplosis can also be used to emphasize a word, a group of words or an idea.
Epanadiplosis is also a narrative figure used in many literary genres, in which case it's called “narrative epanadiplosis”. It's the repetition of an initial scene or motif (in the incipit) at the end (or clausule) of the plot. It suggests that the narrative is closed in on itself.
Nature et limites de la figure
Epanadiplosis is a figure of repetition affecting syntactic position (the order of words in the sentence).[1] For César Chesneau Dumarsais, the figure appears “when, of two correlative propositions, one begins and the other ends with the same word”,[2] or when, according to Henri Suhamy4, only two propositions are involved.
He cites Tacitus5 as an example:
“Principes pro victoria pugnant, comites pro principe (Leaders fight for victory, companions for their leader)”.
More specifically, epanadiplosis is the repetition at the end of a sentence of a word or even a locution located at the beginning of a proposition. The figure therefore concerns the phrasal level, unlike narrative epanadiplosis, which concerns an entire text. It constitutes a linguistic mechanism that is the opposite of anadiplosis, and can be summarized as follows, according to Patrick Bacry6 :
A _______ / _______ A
As in these verses by François de Malherbe7 :
[...] But she was of the world, where the most beautiful things
have the worst fate,
And rose she lived what roses live
In the space of a morning. [...]
For Jean-Jacques Robrieux, epanadiplosis is a figure close to chiasmus8 , as in this line by Victor Hugo, in which the indefinite pronoun “rien” is repeated symmetrically at the beginning and end of the proposition:
“Rien ne me verra plus, je ne verrai plus rien9 ”.
For Nicole Ricalens-Pourchot, epanadiplosis is signaled by the use of “two juxtaposed propositions, separated by a comma or semicolon ‘10 ; it is, therefore, as Georges Molinié notes, a ’microstructural figure”, as it only affects the limits of the sentence, and therefore only plays on both elocution and construction11. It is, moreover, a very rare figure1.
Limits of the figure
See also
References
- ^ Badir, Sémir; Klinkenberg, Jean-Marie (2008). Figures de la figure: sémiotique et rhétorique générale (in French). Presses Univ. Limoges. ISBN 978-2-84287-458-2.
- ^ Dumarsais (1797). Oeuvres (in French). Pougin.