ABSTRACT This article compares two adaptations of Zazie dans le métro into comics format: Jacques Carelman’s, from 1966, and Clément Oubrerie’s, from 2008. The former received a negative critical reception and was deemed old-fashioned and excessively faithful, on grounds of its inclusion of the entire text under the comics panels, whereas the latter has been highly praised. The article considers the question of fidelity in relation to legitimacy, before expounding two frameworks for analysis of comics adaptations from literature, Gaudreault and Marion’s notions of the ‘intrinsic narrative potential’ of a medium and the médiagénie of a narrative project, and Berthou’s tripartite categorisation into mediation, figuration and tradaptation. After a discussion of the wider context of the two Zazie adaptations, including their relationship to intertexts and to discourses around sexuality and gender, in which it is acknowledged that Carelman’s stereotyped visual treatment of homosexuality is dated, the article sets out to demonstrate that Carelman’s strategy of figuration makes more radical use of the intrinsic narrative potential of the medium, through a play between non-diegetic and diegetic elements, metaphor, mutation, proliferation, text/image dissonance, and visual incongruity than Oubrerie’s tradaptation, which seeks to create a credible fictional world rather than to emulate Queneau’s experimentation.

中文翻译：

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Zazie dans le métro 的两部漫画改编版：从形象化到传统化

摘要 本文将《地铁》的两部改编作品比较为漫画格式：1966 年的雅克·卡雷尔曼 (Jacques Carelman) 和 2008 年的克莱门特·奥布里 (Clément Oubrerie)。前者受到批评的负面评价，并被认为是过时且过于忠实，因为它包含在内漫画面板下的整个文本，而后者受到了高度赞扬。文章考虑了与合法性相关的忠实度问题，然后阐述了分析文学改编的漫画的两个框架、高德罗和马里恩关于媒介的“内在叙事潜力”和叙事项目的媒体的概念，以及贝尔图的三方分类进入调解、形象化和传统化。在讨论了两个 Zazie 改编的更广泛的背景之后，