Anti-heroes of the Desamericanization? - The bandes dessinées of the Franco-Belgian school as actors of the popular cultural Europeanization of the comic culture in the long 1960s

在研究中，漫画经常被用作世纪后半叶欧洲社会美国化的反叙事。这个子项目“非美国化的反英雄？“有两个目标：一方面，法国-比利时漫画的成功故事必须在（西欧）背景下呈现; 2另一方面，欧洲化成功的假设，特别是在漫长的20世纪60年代，必须受到质疑。这一假设最早是由帕斯卡·奥利在20世纪80年代在他关于法国漫画“去美国化”的著作中提出的。许多研究延续了这一论点，例如Middendorf 2012和Gabilliet 2005。根据上述作者的说法，漫画是一种不仅成功地反对美国化趋势，而且设计了一种反模式的类型。这一工作假设，迄今为止，主要是在国家框架的研究，应深化在跨国approach.European漫画英雄：一个非常具体的兴趣是翻译策略应用于法国-比利时学校的中心作品。漫画的传播超越了语言的界限，其翻译使人们能够深入了解不同的现象：不同国家和文化之间的关系;文化产品在其生产地区之外流通的困难;文化调解人的作用;跨文化（错误）理解的复杂性;译者作为一个专业群体，他们的工作实践（Heilbron 1999）。欧洲化的假设受到了批判性的质疑。一方面，美国仍然是所有古典西欧漫画（例如西方类型）的投影空间。另一方面，20世纪60年代市场的动荡也是由于美国的影响。随着市场集中度的提高、生产的稳定以及美国正规品牌的出现，从20世纪60年代中期开始，一种新的类型--地下漫画--出现了。他们在欧洲产生了巨大的影响。虽然目前（西欧）欧洲的bandes dessinées越来越多地被描述为保守的，但新的有趣的杂交形式正在出现，西欧漫画文化与美国地下漫画相融合。相互矛盾的假设之间的紧张关系-成功的欧洲化和/或杂交-是这个项目在20世纪60年代漫画史上的动力。

Comic is often used in research as a counter-narrative for the Americanization of European societies in the second half of the 20th century. This subproject "Anti-Heroes of Deamericanization?" has a twofold objective: on the one hand, the story of the triumph of Franco-Belgian comics must be presented in a (West-) European context; on the other hand, the hypothesis of successful Europeanization, especially in the long 1960s, has to be questioned.The Franco-Belgian school as an example of a popular cultural Europeanization. This hypothesis has first been formulated by Pascal Ory in the 1980s in his work on the "de-Americanization" of French comics. Numerous studies have continued this thesis, e.g. Middendorf 2012 and Gabilliet 2005. According to the aforementioned authors, comics are a genre that not only successfully opposed the Americanization trends, but has designed a counter model. This working hypothesis, which has hitherto mainly been presented in national framed studies should be deepened in a transnational approach.European comic heroes: A very specific interest is the translation strategy applied to the central works of the French-Belgian school. Comics circulate beyond language boundaries, their translation allows insights into different phenomena: the relationship between different countries and cultures; the difficulty to unravel the circulation of cultural goods outside of their production area; the role of cultural mediators; the complexity of intercultural (mis)understandings; the translators as a professional group, their working practices (Heilbron 1999).Americanization in response to conservative comics? The hypothesis of Europeanization is to be questioned critically. On the one hand, America remained as a projection space for all the classical Western European comics (for example in the Western genre). On the other hand, the upheaval of the market in the 1960s was also due to American influences. Increasing market concentration, production stabilization, and the emergence of regular brands in the United States provoked a new genre, the underground comics, from the mid-1960s onwards. They had numerous influences in Europe. While current (western) European bandes dessinées were increasingly being characterised as conservative, new interesting forms of hybridization were emerging, in which West European comic culture intermingled with American underground comics.The tension between the contradictory hypotheses - successful Europeanization and/or hybridization - is the motor for this project on the history of comics in the 1960s.