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This article deals with the publication and reading of digitized comic books through the interface of the Izneo platform. Olivier Stucky questions the functioning and ambitions of such online platforms that offer the public an experience of reading an album, originally printed, on a plurality of screen formats (computer, smartphone, touch tablet, etc.). By proceeding to a historical contextualization of the emergence of this platform and then by proposing the description and the analysis of the various forms of display allowing to visualize the contents of a digitized album on various screens, the author intends to replace the material implications of the supports at the center of the reflection on the digital forms of comics.

This paper intends to study the adaptation of printed albums for the CD-ROM support in France during the 1990s. As an evidence of the first incursions of printed comics into digital publishing and composed of less than ten titles, the corpus studied nevertheless reveals a new situation in the editorial context in which it appeared. By situating these objects at the crossroads of upheavals in the editorial landscape of comics and books in general, at a time when entertainment computing is being democratized, this study aims to show how these marginal publications testify to and announce a disruption of the media identity of comic, at the crossroads of the symbolic influence of the album and the formal issues involved in publishing on an innovative support.

Cet article propose d’interroger la transition numérique de la bande dessinée franco-belge. Alors que d’autres médias ont été fortement reconfigurés par le numérique, nous montrerons que la bande dessinée semble opposer une résistance. L’étude historique des supports de publication permettra, dans un premier temps, d’éclairer les processus de reconfiguration liés à la multiplicité des supports de publication analogiques et numériques. Cette partie historique soulignera l’importance symbolique du rattachement de la bande dessinée au support du livre et les obstacles qui s’opposent à son transfert vers les écrans. Une seconde partie, fondée sur une analyse des représentations des acteurs, montrera comment les technologies numériques ont transformé le marché, les pratiques et l’identité professionnelle des auteurs et des autrices. Nous verrons à quel point le livre demeure une source de revenus difficilement remplaçable et une référence symbolique majeure pour un média dont le patrimoine ne se laisse pas facilement transférer sur des interfaces numériques. En l’absence de véritables alternatives économiques et du fait d’une émancipation médiatique des auteurs contemporains les plus créatifs, les déclinaisons numériques de la bande dessinée ne parviennent, ainsi, pas à transformer en profondeur le champ de production.

The author defends the hypothesis that the generation of the narrative voice’s concept in the « Discours du récit » by Gérard Genette would be largely conditioned by the complex maintained relationship with its object of study: À la recherche du temps perdu from Marcel Proust. Assuming that Genette’s article is built around a perspective in tension between theory and literary criticism, reflection is the influence established by the choice and treatment of this corpus on the construction of theoretical tools. Genette’s methodology is therefore well studied in the intellectual context of the late sixties, focusing on objectives explicitly stated in his article. Furthermore, the author proposes an analysis of the application of this method in the « Discours du récit » by showing that both in the general construction of the article, and in the section specifically devoted to the « Voix », critical target of the Proustian narrative complicates the theoretical establishment and directs the genettian narratology to a communicative representation of the narrative.