[Authors and titles are listed at the end of the review]
All who have studied Latin know well that Gaul is a whole divided into three parts, and can name each of them: Belgica, Aquitania, and Celtica. But there are also more famous names linked to Gaul—ones that ring bells both with Latin learners and with those who have never had contact with the language: the fortified Roman camps of Aquarium and Laudanum, to mention just two.[1] They are known to children, teens, and adults nearly the whole world over, thus testifying to the power of the culture aimed at a young audience in the reception of Classical Antiquity across time and space.
Indeed, since 1959 readers (and viewers) of the adventures of Astérix have been able to observe the brave Gaul and his company holding out against the Roman legionnaires—whose life is not easy, as they are caught between Caesar’s expectation that they will finally conquer the last free Gallic village and the tough resistance of its indomitable inhabitants.
Nor is life easy for classical scholars who endeavour to study the reception of ancient culture in children’s and young adult literature. There are many reasons for this, but let us mention just a few. The age of the intended audience is often difficult to define. The amount of material available for analysis is vast and extends over a range of genres that, obviously, require their own methodological approaches. Additionally, global popular culture overshadows some of the local phenomena whose true importance remains unknown also due to the language barriers in a world where the lingua franca is English.
The volume edited by Olivier Devillers and Séverine Garat is a successful attempt to address some of these issues. It offers a fresh perspective on the reception of Classical Antiquity in youth literature and it fills a vital gap in studies on its local manifestations (here: francophone), while offering reflections on global popular culture, as well.
The volume consists of 19 chapters that are a whole divided into three parts. Instead of seeking to make a rigorous differentiation between children and young adults, the authors consciously opt for a more inclusive term, “la littérature de jeunesse”—“literature for young people”—a very good choice also in light of the studies by Barbara Wall and Perry Nodelman into the issues regarding target audience.[2] The reception of both mythology and history is taken into consideration, and, although the focus is on Greece and Rome, there are also chapters dedicated to Egypt. The time span extends from what is traditionally considered the beginning of children’s literature in the eighteenth century to our own day. The content favours three literary genres: the novel, comics, and manga, with the predominance of the latter two due to their popularity in France and the contribution of French authors to the comic genre.
Part I is devoted to a general picture of the field. Its first chapter, by the experienced scholar Claude Aziza (see his Guide de l’Antiquité imaginaire. Roman, cinéma, bande dessinée, Paris: Les Belles Lettres, 2008), offers a succinct introduction to the core issues by presenting the origins of French youth literature (starting with Mme Jeanne-Marie Leprince de Beaumont, 1711–ca. 1776), and including collections of fairy tales, the “robinsonnades”, and magazines from the nineteenth century. The author also offers readers some vital food for thought by means of a maxim from that period on the role of youth literature in shaping good people for the future world.
Next, Mathieu Scapin and Matthieu Soler discuss the reception of Classical Antiquity in manga and comics. The choice of these genres for the volume’s opening is perfectly justified by their significant share of the French market, as well as by the role of France as a hub of comic book art. The chapter offers a solid introduction with fundamental research questions (e.g., “Do the comics still belong to youth literature?”) and a rich bibliography.
Children’s literature of the late twentieth century in France is the theme of Grégory Miura’s interesting reflections on the reception of the gods of the Greek pantheon. The scholar offers several examples within three genres: historical novel (a book from France), gamebooks (a cycle from the UK), and, naturally, comics (this time, a series from the USA).
Hélène Raux takes up the mythological threads and analyzes their presence in French comic book series from the twenty-first century. She tackles the creators’ approach to ancient sources (such as Plutarch for Theseus’ myth) and the role of such series in equipping young readers with the skills that enable their conscious participation in culture.
Alizée Lacotte develops the educational thread in relation to history by taking as her case study the Astérix series and discussing its role in school. This rich chapter presents the theme from multiple angles, including the relationship between text and image and that between history and fiction. The particular value of this chapter results from the fact that the author is a practitioner affiliated with the Collège Sainte-Apolline in Courdimanche and she shares with readers her pedagogical experience in using the Astérix series during lessons dedicated to how Rome developed from a small village to the capital of a vast empire. Two of her observations are crucial for the visionary education our societies need: the necessity of interdisciplinary cooperation between teachers (e.g., she worked with the arts teacher who had helped students understand the comics aesthetics) and the potential of the use of pop-cultural works (here: Astérix) in school curriculum.
Part II of the volume is focused on “peoples and heroes”, thus complementing the general remarks formulated in Part I with analyses of the reception of specific mythological and historical characters.
This section’s opening chapter by Laurence Allain-Le Forestier is dedicated to a renarration of the Atlas myth by Denis Baronnet, Les extraordinaires aventures du géant Atlas (2017), a book targeted at 8-year-olds. The scholar’s compelling analysis tempts the reader to reach for this book: Baronnet displays a creative approach to mythology. He does not present the story of Atlas according to the ancient sources,[3] but retains the main character traits attributed to this figure along with his most important deeds. Le Forestier calls what is produced in this way “une épopée drôle”, a kind of comic (funny) epic, one that makes readers hungry for ancient stories. This particular case study can serve as a starting point for broader reflection on how to communicate myths to young people.
Next, Émilie Druilhe analyzes the reception of the myth of Atalanta in books for young readers. She offers a short presentation of the heroine in ancient sources before mentioning as many as 25 contemporary works featuring Atalanta (the complete list is given at the end of the chapter). Atalanta appears as a universal heroine, with her story endlessly adaptable to all epochs and concepts, our own times included. Druilhe juxtaposes Atalanta with Princess Merida from Disney’s Brave, and she sees in her an inspirational model for today’s youth.
Danielle Berthier focuses on francophone historical novels where the action is set in Minoan civilization. This setting makes the author face the relationship between history and mythology. A very interesting issue raised here concerns the use of archaeological artefacts in novels, such as the famous rhyton in the shape of a bull’s head. There is also, of course, a reference to a palace which resembles a labyrinth. In this way, famous archaeological discoveries are not only reflected in the novels but also contribute to the construction of a credible narrative and thereby enhance its educational value.
Séverine Clément-Tarantino takes readers to ancient Italy and analyzes the “problematic” reception of Aeneas. She offers an interesting approach, by comparing selected works of French and Italian literature for youth. In Italy, adaptations of the Aeneid for young people are no less numerous than those of the Iliad or the Divine Comedy, as authors can count on readers who do not need much encouragement to read about Aeneas. Notwithstanding these conditions, authors from both linguistic backgrounds address a similar theme of “des zones d’ombre”, shadow zones in Aeneas’ story, most notably his leaving of Dido and the loss of Creusa. From such shadows, a tragic hero emerges, credible and interesting for contemporary (and not only young) readers.
The two final chapters in this section are dedicated to the image of Gauls in comics, from the period after World War II to the twenty-first century. Alain Chante focuses on concepts of heroism and the role of didacticism. Sylvie Dardaillon and Christophe Meunier discuss the issue of stereotyping, and show how cultural heritage as transmitted via comic books acts as a testimony of the given period of reception.
Part III of the volume takes the readers further into specific case studies and is devoted to “authors and works”.
First, Kondylenia Belitsou presents the work Histoire ancienne by the French professor of Latin rhetoric Charles Rollin (1661–1741). The scholar poses an important question (worth asking about reception in other countries, as well) about the influence of such texts, now rarely remembered, on the formation of whole generations in the past; e.g., Rollin’s work, in an abridged version, had at least 49 editions in the nineteenth century.
Claude Aziza presents a succinct list of the ancient motifs in Jules Verne’s works. One might wish to read more on such a fascinating topic, yet these four pages alone offer an exquisite treasure of materials for further studies on the “Classical side” of Nemo’s creator.
The two next chapters take readers to ancient Egypt. Vincent Marie analyzes the Belgian comic series Papyrus by Lucien De Gieter (33 albums since 1974) with reference to Fernand Braudel’s historiosophical approach. Jérémie Bondoux and Pascal Montlahuc focus on the educational valours of the comics genre and develop their observations also in the context of other media (Assassin’s Creed Origins).
Frédérique Reguant reflects on the Harry Potter mythological universe, providing a succinct analysis of the main mythical creatures and motifs in the series by J.K. Rowling (Phoenix, centaurs, Fluffy as Cerberus, Sphinx, basilisk, griffin, sirens, labyrinth) with some hints at other elements (the mythology behind the names of Minerva McGonagall, Argus Filch, Remus Lupin). In analyzing this material, Reguant draws on theoretical approaches to myth in the works of Sigmund Freud, Carl Gustav Jung, Mircea Eliade, Roland Barthes, Bronisław Malinowski, and Joseph Campbell, and discusses the meaning of myths in our times.
Cecilia Tarasco reconsiders the personage of Percy Jackson as a new Ulysses and proposes to use Rick Riordan’s series in order to talk with students about the concept of heroism. As in Lacotte’s case, this chapter is also of special importance for practitioners in education.
The two final chapters discuss examples of Japanese manga, famous also in France: Bounthavy Suvilay focuses on Thermae Romae by Mari Yamazaki (6 volumes from 2009 to 2013), and Olivier Devillers on Bestiarius by Masasumi Kakizaki (7 volumes from 2011 to 2018). Both scholars analyze ancient Greek and Roman content in relation to the traditions of Japanese culture, and their discussions encourage reflection on colonialism and intercultural transmission.
One of the strongest points of this stimulating volume is its francophone perspective, enriched by references to extra-European cultures. Together this portrays the reception of the Classics in cultural contexts less often discussed, thus making the volume a precious contribution to Classical reception studies. As for that format: two small remarks need to be made. Readers would benefit if there were an index, as that would facilitate work with this rich collection. Moreover, the lack of a general introduction from the editors is to be regretted, as this would have offered them the opportunity to voice their remarkable research vision as well as to present the volume’s centre of gravity. Thus, as the editors remain modestly hidden behind the contributions, by the right and duty of reviewer I wish to emphasize and appreciate their hard work and the importance of the perspective they offer along with those of the authors. Their readers are invited to reflect on the reception of Classical Antiquity in youth culture—above all, on the nature of retellings and adaptations, their applicability in education, and, last but not least, their role as a mirror of our times.
In sum, the volume’s focus on contemporary French literature for youth is original and very much needed, and it helps us realize that our classical community is growing in ever new, fascinating directions to the benefit of ever new generations all over the world. In particular, the volume offers precious insight into both older and more recent reception trends that reflect also the transformations taking place in France and beyond. Last but not least, as the reception of the Classics in children’s and young adults culture is still an emerging field and our knowledge of it is usually limited to our own geographical “backyard” or worldwide bestsellers (mostly available in English), this volume gives a plenitude of ideas for reading, both for study and leisure purposes.
Authors and Titles
Partie 1. Généralités
En guise d’introduction. Naissance et développement de la littérature de jeunesse, Claude Aziza
Le manga au prisme de la bande dessinée francophone: modèles et écarts, Mathieu Scapin et Matthieu Soler
L’Univers, les dieux, les enfants. Avatars de la relation aux divinités grecques dans la bibliographie de fiction destinée à la jeunesse de la fin du XXe siècle en France, Grégory Miura
Caser les mythes. Analyse de collections de bandes dessinées consacrées à la mythologie, Hélène Raux
Enseigner l’histoire par la bande dessinée: l’exemple de Rome à travers Astérix en classe de 6e, Alizée Lacotte
Partie 2. Peuples et héros
Les aventures d’Atlas: sentences et impertinences, Laurence Allain-Le Forestier
Atalante, libre et indépendante. Transmission d’un patrimoine culturel et d’une morale contemporaine à travers un mythe héroïque, Émilie Druilhe
Romans historiques pour la jeunesse et civilisation minoenne, Danièle Berthier
Énée dans la littérature de jeunesse: un héros “à faire aimer”, Séverine Clément-Tarantino
Les avatars du Gaulois dans la bande dessinée: du mythe héroïque à l’utopie didactique, Alain Chante
Les Gaulois sont dans la planche… Représentation des Gaulois dans la bande dessinée après la Seconde Guerre Mondiale, Sylvie Dardaillon et Christophe Meunier
Partie 3. Auteurs et œuvres
L’Histoire ancienne de Charles Rollin: un ouvrage destiné à la jeunesse, Kondylenia Belitsou
Jules Verne et l’Antiquité, Claude Aziza
Papyrus et le glaive magique. L’univers d’un petit fellah à l’époque de Méremptah, Vincent Marie
Du livre d’histoire à la classe: L’Égypte ancienne… en BD, Jérémie Bondoux et Pascal Montlahuc
L’univers mythologique de la saga à succès Harry Potter, Frédérique Reguant
Percy Jackson, nouvel Ulysse: réécrire les mythes littéraires antiques pour la jeunesse, Cecilia Tarasco
Double décentrement japonais et romain: pour une lecture littéraire du manga Thermae Romae, Bounthavy Suvilay
Le lieu de l’Arène dans Bestiarius (M. Kakizaki), Olivier Devillers
Notes
[1] While some proper names from the Astérix universum are translated differently in various languages, these two camps appear in nearly all the editions.
[2] Barbara Wall, The Narrator’s Voice: The Dilemma of Children’s Fiction, Basingstoke: Macmillan, 1991; Perry Nodelman, The Hidden Adult: Defining Children’s Literature, Baltimore: Johns Hopkins University Press, 2008.
[3] It would be interesting from an educational perspective to check how Baronnet handles the application of the term “géant” (Giant) in regard to the mythological character who belonged to the Titans.