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The Arabesque Novels of Rodolphe Töpffer
by
Thierry Smolderen
in
Arts
/ Civil law
/ Comic theater
/ Communications
/ Fiction
/ Formal speech
/ Gestures
/ Grammar
/ Industrial property
/ Intellectual property law
/ Inventions
/ Irony
/ Law
/ Linguistics
/ Literary devices
/ Literary genres
/ Literary history
/ Literary studies
/ Literature
/ Materialism
/ Metaphysics
/ Musical comedies
/ Nonverbal communication
/ Novels
/ Ontology
/ Oratory
/ Pantomime
/ Performing arts
/ Philosophy
/ Property law
/ Romantic literature
/ Social sciences
/ Speech
/ Syntax
/ Theater
/ Theater history
/ Theatrical genres
2014
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The Arabesque Novels of Rodolphe Töpffer
by
Thierry Smolderen
in
Arts
/ Civil law
/ Comic theater
/ Communications
/ Fiction
/ Formal speech
/ Gestures
/ Grammar
/ Industrial property
/ Intellectual property law
/ Inventions
/ Irony
/ Law
/ Linguistics
/ Literary devices
/ Literary genres
/ Literary history
/ Literary studies
/ Literature
/ Materialism
/ Metaphysics
/ Musical comedies
/ Nonverbal communication
/ Novels
/ Ontology
/ Oratory
/ Pantomime
/ Performing arts
/ Philosophy
/ Property law
/ Romantic literature
/ Social sciences
/ Speech
/ Syntax
/ Theater
/ Theater history
/ Theatrical genres
2014
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Do you wish to request the book?
The Arabesque Novels of Rodolphe Töpffer
by
Thierry Smolderen
in
Arts
/ Civil law
/ Comic theater
/ Communications
/ Fiction
/ Formal speech
/ Gestures
/ Grammar
/ Industrial property
/ Intellectual property law
/ Inventions
/ Irony
/ Law
/ Linguistics
/ Literary devices
/ Literary genres
/ Literary history
/ Literary studies
/ Literature
/ Materialism
/ Metaphysics
/ Musical comedies
/ Nonverbal communication
/ Novels
/ Ontology
/ Oratory
/ Pantomime
/ Performing arts
/ Philosophy
/ Property law
/ Romantic literature
/ Social sciences
/ Speech
/ Syntax
/ Theater
/ Theater history
/ Theatrical genres
2014
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Book Chapter
The Arabesque Novels of Rodolphe Töpffer
2014
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Overview
The second form of the novel in prints was born at the end of the 1820s before a small group of students whose teacher, Rodolphe Töpffer, wanted to share his interest in pantomime and the theory of theatrical action. A very busy amateur
actor in his home town of Geneva, this son of a painter, who earned his living in a private school, had good reason to be interested in the rhetoric of gesture, a subject that carried a great deal of formative baggage for him both as an artist and as an actor.
Fortunately, Töpffer’s first paper pantomime has
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