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Nous reprenons ici une information diffusée par nos collègues des Carnets de la BD, pour sa proximité avec la culture et la littérature de jeunesse.La Modern langage Association lance, pour sa conférence annuelle qui aura lieu en janvier 2012, un appel à communication intitulé : « Why Comics are and are not picture books ? » Cette proposition entend donc interroger la spécificité du « système de la bande dessinée », pour reprendre le titre de célèbre ouvrage de Thierry Groensteen, en invitant des chercheurs à examiner ses proximités avec la littérature de jeunesse, et plus spécifiquement ce que nous nommons en France des « albums ». Ce terme, commun aux deux secteurs éditoriaux, montre bien qu’il y a à là matière à réflexion. Outre les nombreux exemples (anglophones) que donne l’appel à communication que nous reproduisons ci-dessous, nous nous contenterons de citer le travail de Claude Ponti qui utilise dans nombre d’œuvres (comme par exemple Blaise et le château et le château d’Anne Hiversère) un découpage et une technique de narration dont le neuvième art est coutumier et pose ce faisant une question : la bande dessinée n’est-elle pas tout autant un langage susceptible d’être mis au service de toutes sortes de littérature qu’un secteur éditorial bien défini ?“Why Comics Are and Are Not Picture Books”Modern Language Association (MLA) Annual Convention,5-8 Jan. 2012, Seattle, WashingtonA proposed panel jointly sponsored by the MLA Children’s Literature Division and the MLA Comics and Graphic Narratives Discussion GroupThis panel will explore the possible relationships between comics and picture books, two imagetext genres implicated in children’s literacy learning which, despite overlapping formally and aesthetically, nonetheless stand apart socially and culturally. The potential application of picture book theory to comics, and, conversely, comics theory to picture books, promises to challenge this apartness—that is, to call into question the generic distinctiveness of the two forms. In that spirit, this panel invites participation from multiple perspectives, including but not limited to genre theory, education, history, formalism, aesthetics, semiotics, and ideological criticism.Discussion:Scholars of the picture book (e.g., Nodelman, Nikolajeva and Scott, and op de Beeck) have gestured toward, in some cases briefly addressed, the aesthetics and reading demands of comics. By the same token, comics theorists (see e.g. McCloud’s Understanding Comics and Varnum and Gibbons’ anthologyThe Language of Comics: Word and Image) have in effect suggested, if not yet pursued, formal likenesses between the genres. Yet the critical dialogue between the genres remains muted. This panel will seek to enliven that dialogue by posing questions such as:·  What formal resources and aesthetic strategies do comics and picture books share? Do they tend to deploy those resources and use those strategies differently?·  What similar or different demands do the two genres make of readers?·  How does the typical experience—if indeed we may posit a typical experience—of reading one genre differ from that of reading the other? For instance, how conducive are comics to what Ellen Spitz callsconversational reading, that is, reading shared by adult and child?·  How do both comics and picture books participate in discourses and projects related to literacy learning and cultural literacy? For example, the possible role of comics in reading instruction has garnered much interest in recent studies (see e.g. Cary 2004; Carter 2007; Frey and Fisher 2008; Thompson 2008)—how might this development be regarded culturally and critically? How might comics differ from or resemble picture books in their classroom use?The creative dialogue between the two genres has intensified: consider for example comics-oriented picture books by David Wiesner, Art Spiegelman, Eleanor Davis, Posy Simmonds, Peter Sís, Mo Willems, or Marcia Williams; continued interest in classics such as Maurice Sendak’s In the Night Kitchenor Raymond Briggs’ The Snowman; and recent genre-blurring texts such as Shaun Tan’s The Arrival or Brian Selznick’s The Invention of Hugo Cabret. This proposed session would encourage a critical conversation to match: diverse, energetic, and timely.Several factors make this an opportune and even urgent topic for MLA 2012, including the many artists who have worked in both genres; the genres’ shared aesthetic and narrative resources, and the relevance of image/text theories to both; the new prominence of comics in both children’s book publishing and reading instruction; and the current struggle of the picture book market to respond to social, educational, economic, and technological change. In addition, this topic well suits MLA 2012’s location in Seattle (a bastion of comics and graphic novels) and its Presidential theme, Language, Literature, Learning, which emphasizes the role of reading in cognitive growth, educational attainment, and critical thinking. These issues are of great concern in the emerging discourse on children’s comics reading, and have always been central to picture book scholarship.Send abstracts of roughly 500 words in Word or PDF form to Charles Hatfield atcharles.hatfield@gmail.com. The deadline for submissions is 5 March 2011. Submitters will receive notification of results by April 1.Please note that this CFP is for a proposed, not a guaranteed, session at MLA 2012, meaning that it is contingent on approval by the MLA Program Committee (which will make its decisions after April 1). All prospective presenters must be current MLA members by no later than 7 April 2011.This CFP can also be viewed at http://graphicnarratives.org/2011/02/02/cfp-why-comics-are-and-are-not-picture-books-mla-2012/ .