A interação entre diferentes linguagens e meios artísticos é uma das marcas presente no processo de comunicação humana, sobretudo hoje em dia. Um dos aspectos que se destaca nessa interação é a constante revisitação de obras que são re-elaboradas em diferentes suportes comunicativos. É o que ocorre quando temos o diálogo entre os quadrinhos e a literatura, artes que trabalham com a narratividade e que trazem em si peculiaridades que as definem como importantes meios de veiculação e propagação de idéias, valores e ideologias. Nesse estudo procuramos abordar a relação entre os dois meios artísticos destacando se tal diálogo propicia uma reprodução ou questionamento das tradições culturais, atualizando-as (ou não) a partir de sua transposição de uma arte para outra. A partir de teorias que versam sobre quadrinhos, intertextualidade, dialogismo, história da arte e da literatura e outras, traçamos um painel das diversas relações que se estabelecem entre obras criadas nos quadrinhos a partir do material literário, e que se revelam por meio de uma gradação em que temos desde obras que remetem diretamente ao texto clássico literário até aquelas que procuram fazer dos elementos oriundos da literatura um mote para o desenvolvimento de novas produções em quadrinhos. Também num movimento contrário, procuramos mostrar como os quadrinhos fornecem material para a criação de obras na literatura e como sua linguagem múltipla pode atuar em conjunto com o texto literário para a construção de obras mistas. / The interaction between different languages and artistic circles is one of the main issues in the process of human communication, especially today. One thing that stands out is that the constant interaction revisiting of works that are re-elaborated in various communication media. This is what happens when there is a dialogue between comics and literature, both arts which work with narrative and are filled with peculiarities that define them as important means of transmitting and spreading ideas, values and ideologies. In this study we tried to address the relationship between those two media arts, highlighting the questions concerning whether this dialogue provides a repetition or a questioning of cultural traditions, updating them (or not) from this translation of one art to another. Based on theories that deal with comics, intertexture, dialogism, history of art and literature and others, we draw a panel of the diverse relationships established between works created in comics from literary material, which reveal themselves by means of a gradation that goes from works that refer directly to the classic literary text to those who attempt to make the elements of literature a means for the development of new productions in comics. Also in an opposite movement, we try to show how comics provide material for the creation of works in literature and its varied language can co-act with the literary text for the construction of mixed works.

Discute a importância das histórias em quadrinhos na formação do gusto pela leitura, assim como da proficiência na compreensão das mensagens transmitidas tanto pelo código escrito como pelo visual, ou seja, dos elementos constituintes do letramento, abrindo possibilidades de inserção dos produtos da linguagem gráfica seqüencial nas práticas biblioteconômicas e pedagógicas atuais. Para o estabelecimento de analogias essenciais, a metodologia contemplou o estudo comparativo do panorama cultural brasileiro e europeu. Os resultados apontaram entre outras coisas, que as histórias em quadrinhos podem realmente ser relevantes na formação do leitor, possibilitando a familiarização, repetição, formação de hábitos e obtenção de prazer no ato de ler. / Discusses the importance of comics in the acquisitions of reading preferences, as well as in the literacy of the messages communicated both by the written and the visual codes, or rather, of the elements that concur to literacy, creating possibilities for including graphic sequential art products into the domain of library sciences and of the pedagogical practices. For establishing essential analogies, the methodology focused on the comparative study of the Brazilian and European cultural contexts. Among other things, the results confirmed that comics can really be relevant to the readers education, making possible the familiarity, repetition, habit creation and the obtention of pleasure in the act of reading.

A pesquisa partiu do levantamento das principais publicações on-line de histórias em quadrinhos feitas por mulheres no Brasil, a partir dos registros contidos nas iniciativas Lady\'s Comics (website) e Zine XXX (grupo no Facebook), que são plataformas dedicadas à divulgação de HQs femininas. Foram selecionadas oito quadrinistas e suas respectivas obras, considerando histórias contínuas, em que o mesmo enredo se desenvolve à medida que as plataformas on-line são atualizadas pelas autoras, desconsiderando publicações de tiras, cartuns, charges e histórias avulsas. São elas: Bianca Pinheiro (Bear); Brendda Costa Lima (Manual de sobrevivência à vida adulta); Cátia Ana (O diário de Virgínia); Cris Peter (Quimera); Fernanda Ferreira (Como eu realmente...); Gabriela Masson (Garota Siririca); Germana Viana (Lizzie Bordello e as Piratas do Espaço) e Lita Hayata (Bete vive). Buscou-se identificar os principais temas dessas webcomics selecionadas e situá-las entre obras ficcionais e não ficcionais, realizando uma breve comparação com as publicações de editoras brasileiras. Aplicou-se a metodologia de análise de conteúdo para identificação dos temas; entrevistas estruturadas com as autoras selecionadas, para obter os apontamentos qualitativos da amostra. Como resultados principais, identificamos que todas as webcomics são protagonizadas por personagens femininas, sete são ficcionais e uma é autobiográfica. Após comparação com as publicações de editoras brasileiras, observou-se que as histórias de não ficção (sobretudo, as autobiografias) predominam nos catálogos, quando consideramos as HQs de autoria feminina. Os resultados mostram que na internet existe maior autonomia, permitindo que as quadrinistas escapem aos filtros editoriais na produção de suas HQs. Embora exista maior independência na criação, ter uma publicação on-line não garante credibilidade e projeção às autoras, o que depende de fatores como a presença no circuito de premiações e nos eventos relacionados aos quadrinhos e interesse da mídia especializada. / The research aimed to carry out a survey of the main online comics publications made by women in Brazil, from the records contained in the initiatives Lady\'s Comics (website) and Zine XXX (Facebook group), which are platforms dedicated to the dissemination of female comics. Eight comic artists and their respective works were selected, considering continuous histories, in which the same plot develops as the online platforms are updated by the authors, disregarding strip publications, cartoons, cartoons and single stories. They are: Bianca Pinheiro (Bear); Brendda Costa Lima (Manual de sobrevivência à vida adulta); Cátia Ana (O diário de Virgínia); Cris Peter (Quimera); Fernanda Ferreira (Como eu realmente...); Gabriela Masson (Garota Siririca); Germana Viana (Lizzie Bordello e as Piratas do Espaço) and Lita Hayata (Bete Vive). We sought to identify the main themes of the selected comics (which we chose to call \"webcomics\") and place them between fictional and nonfiction works, making a brief comparison with the publications of Brazilian publishers. The content analysis methodology was applied to identify themes and structured interviews with the selected authors, which allowed qualitative results to be obtained from the sample. As main results, we identified that all webcomics are female characters, seven are fictional and one is autobiographical. After comparison with the publications of Brazilian publishers, it was observed that non-fiction stories (especially autobiographies) predominate in catalogs, when we consider female comics. The results show that on the internet there is more autonomy, allowing comics to escape the editorial filters in the production of their comics. Although there is greater independence in the creation, having an online publication does not guarantee credibility and projection to the authors, which depends on factors such as the presence in the circuit of awards and events related to comics and interest of the specialized media.

Analisa o processo de construção e reconstrução de identidades por meio das histórias em quadrinhos e a consolidação da imagem que a linguagem reivindica para si. Utiliza os fundamentos do método arqueológico/genealógico (FOUCAULT, 1979) como uma via de aproximação do processo de construção cultural na sociedade. A hipótese sustentada é a de que as linguagens, como um todo, estão sujeitas a um duplo movimento de incorporação de aspectos da sociedade disciplinar e construção de novas realidades identitárias. Os resultados da pesquisa reforçam a necessidade de se lançar um novo olhar em relação às histórias em quadrinhos no contexto social de esmaecimento das fronteiras identitárias. É possível se perceber, por meio da linguagem, os novos papéis reservados à representação e à interação entre imagens e coisas, arte e produto. / Discusses the process of construction and reconstruction of identities in comics and how this form of expression builds a particular image for itself. The process of cultural construction in society is analyzed by means of the archaeological and genealogical methodology (FOUCAULT, 1979). The work sustains that any form of expression, comics included, is subject to a double movement that comprises the incorporation of some aspects of the disciplinary society but also creates new possibilities for identitarian expressions. The results reinforce the importance of a new look at comics, considering the context of vanishing identity boundaries in present society. The language of comics makes it possible to recognize new roles performed by representation and the interaction between images and things, art and products.

Trata das representações de protagonistas femininas nas histórias em quadrinhos, enfatizando exemplos de histórias que abordam concepções identitárias distintas. Com o intuito de compreender como o feminino aparece em determinadas criações, esta tese se apoia nos pressupostos metodológicos da Hermenêutica de Profundidade, de John B. Thompson (2011). Assim, a pesquisa apresenta dois momentos dorsais, sendo que o primeiro aborda as construções femininas, a partir da perspectiva de autores masculinos; e o segundo aborda tais construções a partir da perspectiva de autoras-mulheres e do autor transgênero Laerte. Em princípio, foram enfatizadas as personagens das obras Rê Bordosa, Mara-Tara, As skotinhas, Radical Chic e Aline. Posteriormente, tratou-se de destacar também as criações Mulher de 30, Amely: uma mulher de verdade, Uma Patada com carinho e Muriel. Dessa forma, constatouse que grande parte dessas narrativas oscilam entre criticar, debochar e apoiar uma ideia de feminino fundamentada na mística feminina, desenvolvida pela pensadora Betty Friedan (1971). / The feminine issue within today\'s society is an essential part of the communication field. In comics, the female representations are even more intricate. Based on that, and emphasizing cases that present differents conceptions of identity, this research is constituted by two dorsal moments: the first of which covers the female constructs from the perspective of maleauthors; and the second discusses such constructions from the perspective of the femaleauthor and Laerte, who is, by the way, a transgender author. In order to understand how the female shows up in several creations, this thesis is based on the methodological assumptions of John B. Thompson (2011). First of all, were objects of this work the characters Rê Bordosa, Mara-Tara, As skotinhas, Radical Chic and Aline. Later, were added the works Mulher de 30, Amely: uma mulher de verdade, Uma patada com carinho; and Muriel. Thus, there is a large evidence that the most part of these narratives swings between scoffing and supporting the idea of female, based on the feminine mystic, by Betty Friedan (1971).

My dissertation argues that comics’ unique formal properties are particularly suited toward exploring and representing the complex nature of identity. Just as the comics form is broadly defined by a peculiar tension between word and image, so identity can be conceived as a constant negotiation between abstract (“unrepresentable”) concepts that define identity and an individual’s attempts to represent that identity. Due to its formal negotiation of word and image, the comics form is thus uniquely suited to address the problems of identity and its representation. I begin this project by examining the relationship between word and image in comics. Some comics scholars have argued verbal and visual signification are hybridized, while others go so far as to claim the distinction between word and image is unsustainable. Still others reject these claims, arguing comics’ hybridity necessitates a strict separation of word from image. I argue that words and images in comics function on a spectrum in which the line between word and image must be able to be hybridized and distinct at the same time. This definition of the word/image relationship can describe the most straightforward, illustrative comics as well as the most experimental comics texts; it also provides the methodological framework for my project. In this dissertation, I examine the representation of gendered identity in Gilbert Hernandez's Love and Rockets stories and Junot Díaz's novel The Brief Wondrous Life of Oscar Wao, arguing both authors’ injunction that the reader look at the mothers in their works is evidence of their demand that we understand the women as whole, ambivalent subjects. I explore the way the Gene Yang and Sonny Liew’s graphic novel The Shadow Hero addresses the repressive and racist history of superhero comics. In doing so, Yang and Liew’s text reveals the ways superhero texts constantly negotiate the genre’s conservative instinct to protect the status quo and its revolutionary vision for a better world. Finally, I contend Greg Rucka and J. H. Williams III's Batwoman: Elegy reveals at least one intrinsically progressive theme in superhero genre: its performative and inherently queer conception of identity.

Os documentos oficiais e a concretização das propostas no livro didático analisado abordam a ambiguidade lexical como algo a ser evitado e corrigido através de estratégias de desambiguação, ignorando a importância da natureza polissêmica da língua como recurso expressivo na comunicação cotidiana e como instrumento fundamental do humor, especialmente as variantes de humor popular e infantil. O presente trabalho busca abordar a ambiguidade lexical, polissemia e homonímia, no gênero tirinha cômica, texto multimodal e humorístico, visando observar a eficácia da proposta de leitura e produção como exercício de contextualização, levando os alunos a observarem, explicarem e produzirem texto, utilizando-se dos diversos significados possíveis das palavras em uso, em situação concreta de enunciação. A proposta se dá dentro do conceito de multimodalidade, trabalhando a ambiguidade lexical e o letramento visual, objetivando que o aluno não apenas observe e compreenda as tirinhas apresentadas, mas também que produza a sua própria, compondo o texto com os elementos verbal e visual. As atividades foram divididas em dez passos: pesquisa e compartilhamento de HQs, atividade diagnóstica, análise da ambiguidade lexical em tirinha cômica no livro didático, jogo digital Quem ri seus males espanta Piadas, consulta às diferentes acepções no dicionário, escrita do glossário de unidades lexicais polissêmicas ou homônimas, elaboração do roteiro da tirinha, autoavaliação, produção final de uma tirinha cômica e apreciação dos trabalhos das turmas. / The analised official papers and textbook proposals approach lexical ambiguity as something to be avoided and correct through desambiguation strategies, ignoring the importance of the polissemic nature of language as an expressive resource of the language in daily communication and as a fundamental tool of comedy and humor, especially popular and childrens jokes and puns. This paper aims to approach lexical ambiguity, polissemy and homonyms, within the comic strip genre, which is a multimodal and comic text genre, with the objetive of observing how effective this proposal of reading and writing can be to help students comprehend, learn and explain lexical ambiguity, by using a word in multiple possible meanings in the comic strip, in concrete enunciation. This proposal uses multimodality, by combining lexical ambiguity and visual litteracy, aiming to enable the student not only to observe and understand the comic strips presented, but also to produce their own by using verbal and visual components. The sequence is divided in ten steps: research and sharing comics, diagnostic evaluation, lexical ambiguity in the textbook, digital game Quem ri seus males espanta Piadas, searching for different meanings of words in the dictionary, writing a glossary of polissemic unities, production of a scratch comic, self evaluation, final production and appreciation of the classes works.

O presente trabalho tem como objetivo analisar, do ponto de vista da tradução, as histórias em quadrinhos de língua francesa Astérix, dos quadrinistas Uderzo e Goscinny, e Les aventures de Tintin, do autor belga Hergé, considerando as obras originais em francês e as suas traduções em português. Para a realização da pesquisa, foram considerados aspectos que envolvem a tradução dos elementos textuais inseridos nos balões em conjunção com as imagens, atentando para a relação entre imagem e texto e sua interdependência, bem como as implicações que essa relação traz para o processo tradutório. Vale notar que, ao estabelecer uma relação interdependente entre imagem e texto nos quadrinhos, os autores de ambas as séries buscavam, frequentemente, provocar efeitos de humor, o que se mostrou um dos principais desafios para as traduções em língua portuguesa. A partir da análise da relação entre os códigos verbal e imagético presente nos quadrinhos, foi possível observar que o processo de tradução dessa forma de linguagem apresenta especificidades que indicam dessemelhanças ou similaridades com outras formas de linguagem, como o cinema, e a literatura ilustrada, graças à sua forma de expressão que, como salientamos, é formada por dois sistemas de signos distintos. Nesse sentido, a tradução de histórias em quadrinhos deve tomar como ponto de partida não só o material escrito em língua estrangeira, mas também a imagem, haja vista a função desta última na construção de efeitos interpretativos nos contextos originais e a inteligibilidade da mensagem nos contextos de tradução. Em nosso trabalho, buscamos definir os principais processos em que a relação entre imagem e texto se manifesta nos quadrinhos originais para, assim, propor estratégias de tradução que reproduzissem, de forma análoga, os efeitos desses processos tanto nas traduções publicadas quanto naquelas sugeridas por nós no decorrer das análises. / This thesis reviews tha transalations of the French language comic books Astérix, by Uderzo and Goscinny, and Les aventures de Tintin, by Hergé into Brazilian Portuguese. In the course of our investigation, we have taken into account aspects which involve the translation of the textual elements inserted in the balloons, and particularly the situations in which the interdependence of text and image is evident, with the aim at determining the implications of such interdependence on the translational process. The text/image relationship is often established for the sake of humour, which proved one of the major challenges for the translations into Brazilian Portuguese. Our analysis of the relationship between the verbal and the image codes enabled us to determine certain specificities in the translation of this kind of language, in part similar and in part dissimilar to the translation of other forms of language particularly cinema and illustrated literature. In this sense, the translation of comic stories must take as a starting point not only the written language material, but also the image, essential to the construction of the interpretative effects in te original contexs and to the intelligibility of the message in the translational contexts. The thesis proposes a definition of the major procedures whereby the image/text relationship becomes manifest in the original comics, and of the translation strategies which will generate analogous effects both, as found both in the published translations and in the alternative translations we have suggested in the course of our analyses.

The purpose of this project is to argue the effectiveness of utilizing comics as a learning tool in the first-year composition classroom to help students better understand synthesis. The two main features of comics that help teach synthesis are comic panels and comic closure. Library research was conducted to give insight into the history and terminology of comics, the value of comics in the classroom and in the field of rhetoric and composition, the practicality of using visual rhetoric and literacy in the classroom, and synthesis in the first-year composition classroom. I furthered my research by conducting a retrospective account of my own synthesis comic that I created during my graduate program. I analyzed how creating the synthesis comic helped me to better understand synthesis. I also analyzed how I was better able to effectively execute synthesis specifically through the genre conventions of panels and comic closure. Based on insights from my retrospective account, I will illustrate how the scaffolding exercise of creating a synthesis comic can be an effective tool in the first-year composition classroom. Additionally, I will offer suggestions for further research on the significance of this scaffolding exercise. Comics are becoming more widely valued in academia at large, as well as valued specifically in the field of rhetoric and composition. It is my hope that this thesis will contribute positively to this trend.

How can the structures of graphic narratives help us to interrogate, analyse, and ultimately ground stories of ourselves and our world? By not relying solely on verbal or visual language, but the complex interplay between multiple signification strategies, comics open up possibilities for transcending the limits of any single linguistic mode and more fully enunciating the complex layers of superimposed truths that make up our lived experiences. In this doctoral project, I utilize media-specific analysis of graphic narratives and interrogate the multi-modal communication strategies inherent in comics. The result is a multidisciplinary construction of the structural and semiotic modes of comics as an enactment of contemporary narrative ideals that privilege reader-centric, subjective constructions of meaning. My submission consists of four chapters of written research, to be submitted at the end of January, and a collection of autobiographical narrative works that will form an exhibition which will be shown at the time of the viva in April. The presentation of the textual material is an inseparable component of the content, and a piece of practical work in itself. The chapters can be read in any sequence; for the purposes of this abstract, I will discuss them in alphabetical order. My practice work challenges the traditional use of comics-specific affordances, such as panel borders, gutter, use of space as time, and other verbo-visual techniques by remediating them outwith book and digital book-like objects we associate with graphic narratives. Each chapter in the dissertation is its own book-object that enacts the content as well as relates to the larger body of practice work. Childhood Memoirs—Autobiographical Approaches The use of multiple signification strategies allows for communication that transcends the limits of textual or verbal language and can allow a creator to enunciate what may be unspeakable or incomprehensible, such as moments of trauma. I pay special attention to how subjectivity is presented in graphic memoirs within this context, as the drawn nature of comics allows for shifts in the status of the author/narrator that are unique to the medium. Comics as a Synthetic Medium—A Very Short Introduction The ‘introductory’ chapter contextualizes my research and comics studies more generally within non-binary, non-hierarchical concepts of rhizomatic knowledge structures that utilize the concept of text in the Barthesian sense as a mode of communication rather than solely lexicographic writing. In comics, text and imagery can actively oppose each other, creating a space where new meaning can be synthesized from this tension. This is Derrida’s deconstruction, Benjamin’s inclusion of cultural production in literature, or Barthes’ writerly text. Each utterance on a comics page may convey multiple levels of independent meaning, making it unique among narrative media. By examining the semiotic and structural theories presented by Barthes and Derrida, as well as Benjamin, Deleuze, Witgenstein and others, I develop the case for a comics-specific theory of trans-medial, subjective, deconstructed communication. Mapping the Journey—The Cartography of Autobiography In this chapter, I analyse the mythology of the supposed inductive system of representation in mapping and explore how including a secondary visual semiological system, that of the map, within the primary system of comics impacts reader perception of truth through verifiability. I also explore the intersection of non-representational theory within geography and authentication within autographics. Media Specificity of Non-traditional Graphic Narratives The focus of this chapter is on the impact of disseminatory (re)mediation on the medium of graphic narratives. I assert that neither digital nor print is superior to the other, but deliver different experiences to the reader. Through close analysis of the formal qualities inherent in digital and physical representation of comic content, I articulate the qualities unique to each distribution strategy and theorize ways that creators can take advantage of the media at their disposal. The practical element of my submission takes the form of a collection of objects that utilize a variety of graphic narrative structures outwith traditional comics forms in order to explore facets of my childhood memories. The exhibition will be constituted of several lanterns, dioramas and dolls’ houses, as well as some printed material. I attempt to ground my memories in architecture and place, while aware that the sense of solidity this lends my recollections is a false sense of objective security. To counteract any attempt to present a wholly unified and reliable narratorial self, I present the same places and memories through various angles and media. I make explicit some of the dissonant ‘truths’ myself and other members of my family were presented with, as an attempt to consciously confront the fragility of utilizing such collectively constructed memory to construct a stable self-image.