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                <title xml:lang="fr">Gargantua au pays des oukases, ou Rabelais mis en cases : l’Histoire de la sainte Russie de Gustave Doré (1854)</title>
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                <term xml:lang="en">Crimean War</term>
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              <p>With the History of Holy Russia, published in 1854 following his illustrated edition of Rabelais, Gustave Doré presents his fourth and final comic album, following in the tradition of the “literature in images” of Töpffer and the eccentricity of Sterne. This article demonstrates that Doré’s Holy Russia is also to be read as an imitation of Gargantua. Doré engages in a parody of historiography, drawing on the Rabelaisian model, referencing it abundantly, and adopting its narrative tricks with pleasure. Moreover, he copies – and distorts – passages from Rabelais, mimicking his writing to the extent of declaring him the “sole true historian of Russia”. Finally, Doré invents a new artistic language that plays with the codes of emerging comics, sometimes challenging them, inspired by Rabelais’s own linguistic innovations.</p>
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              <p>Avec l’Histoire de la sainte Russie, publiée en 1854 dans la foulée de son Rabelais illustré, Gustave Doré livre son quatrième et dernier album de bande dessinée, dans la lignée de la « littérature en images » d’un Töpffer et de l’excentricité d’un Sterne. Le présent article montre que la Sainte Russie est également à lire comme une imitation du Gargantua. Doré s’y livre en effet à une parodie d’historiographie qui s’appuie sur le modèle rabelaisien, auquel il multiplie à plaisir les références et dont il reprend les pirouettes narratives. Mieux, il recopie (et travestit) des passages de Rabelais, ou encore imite son écriture, au point d’en faire le « seul véritable historien de la Russie ». Enfin, Doré crée une langue d’art nouvelle, qui joue sur les codes de la bande dessinée naissante, non sans les malmener, s’inspirant du propre travail de Rabelais sur la langue.</p>
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