Groensteen's Semiotic Theory of Comics Expanded in New PUF Volume

Thierry Groensteen's new book "Bande dessinée et narration" (PUF, 2012) extends his earlier semiotic theory of comics language developed in "Système de la bande dessinée" (1999). While the first volume focused on the articulation between panels—what Groensteen calls "iconic solidarity"—the sequel addresses narrative questions: whether a daily panel (single drawing) can be narrative, and who the narrator of a comic is (the longest chapter). Groensteen clarifies, corrects himself, and engages in polite disagreement with fellow theorists Jean-Christophe Menu and Harry Morgan. The book covers varied topics with clarity, accessible to non-semiologists and non-comics specialists: a subchapter on poetic works where creators seek harmonic links between panels rather than story; discussions of page layout rhythm, digital creation, manga, and illustrated children's books. An opening chapter tackles the rare subject of abstract comics. The book concludes with the conflicted relationship between the ninth art and contemporary art, quoting Will Eisner's resentment of Roy Lichtenstein's "arrogant artistic snobbery" and Art Spiegelman's indignation at MoMA's 1990 "High & Low" exhibition. Groensteen sees a persistent misunderstanding in recent exhibitions like "Vraoum!" at La Maison rouge and "Bande dessinée et art contemporain" at the Biennale du Havre, arguing that comics and contemporary art differ essentially in their nature.