ABSTRACT:To challenge the so-called inherent fictionality of graphic memoirs, I begin by reconsidering the opposition between nonfictional and fictional representation from a pragmatic and transmedial perspective, which will lead me to state that no medium can be considered as inherently factual or fictional. Then, I discuss the specific case of Art Spiegelman's Maus in the attempt to reevaluate the most obvious aspects of this graphic memoir that have been be wrongly interpreted as signposts of fictionality. We will see, among other things, why comics readers are not necessarily deceived or embarrassed by scenic reconstructions of lived experiences, and that the representation of people in the form of animals (mice, cats, pigs, frogs, etc.) does not appear to compromise the sincerity of the narrative. Based on this discussion, my aim is to show that invented elements are treated differently in the case of nonfictional representation, and that each medium can develop stylistic strategies complying with the illocutionary constraints of serious assertions as outlined by John R. Searle.

中文翻译：

---

老鼠为人：虚构性的跨媒体视角

摘要：为了挑战图形回忆录的所谓内在虚构性，我首先从实用和跨媒体的角度重新考虑非虚构和虚构表现之间的对立，这将导致我声明没有任何媒介可以被视为固有的事实或虚构。然后，我讨论了 Art Spiegelman 的 Maus 的具体案例，试图重新评估这本图形回忆录中最明显的方面，这些方面被错误地解释为虚构性的路标。我们将看到，除其他外，为什么漫画读者不一定会被生活经验的风景再现所欺骗或尴尬，并且不会出现以动物（老鼠、猫、猪、青蛙等）形式表现的人以牺牲叙述的诚意。基于这个讨论，