The Revisionist comics of the 1980s to present represent an effort to literally revise the existing conventions of mainstream comics. The most prominent and common device employed by the Revisionists was self-reflexivity; thus, they created metacomics. The Revisionists make a spectacle of critically interrogating the conventions of mainstream comics, but do so using those same conventions: formal, generic, stylistic, etc. At their most practical level, Revisionist metacomics denaturalise the dominant genres of the American mainstream and therefore also denaturalise the ideological underpinnings of those genres. At their most abstract level, they destabilise the concepts of "fiction," "reality," "realism," and "fantasy," and even collapse them into each other. Chapter 1 explains my methodological approach to metacomics: formal (sequence and hybridity), self-reflexive (metafiction, metapictures, metacomics), and finally denaturalising (articulation and myth). Chapter 2 analyses two metacomic cycles in the mainstream (the Crisis and Squadron Supreme cycles) and surveys the self-reflexive elements of Underground comix (specifically with regard to gender and feminist concerns). Chapter 3 presents three motifs in Revisionist comics by which they denaturalise the superhero: the dictator-hero, postmodern historiography, and fantasy genres. Finally, Chapter 4 analyses three major Revisionist comic-book seriesTransmetropolitan, Promethea, and Sandmanall of which comment on contemporary culture and the nature of representation using the dominant genres of American comics (science fiction, superhero, and fantasy, respectively). / English

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Made available in DSpace on 2015-09-25T12:20:12Z (GMT). No. of bitstreams: 1 PDF - Ligia Coeli Silva Rodrigues.pdf: 1145439 bytes, checksum: 41a3e506d346ebd1682763db52b93b8a (MD5) Previous issue date: 2012-10-01 / The objective of this research was compare the use of the Gonzo style in the journalists Hunter S. Thompson and Xico Sá. To check the extent to which they use this style as a way to avoid censorship and write critically and unusual, in hybrid form, unveiling details in texts that could not be shown with other resources. For this, observe the circumstances under which Thompson takes this new journalistic style and produces a literary work. Comparing the writers-journalists, as noted Gonzo is successfully applied to both journalistic texts as for literature. Our theoretical basis using comparative and critical journalistic critics, including Thompson himself as the creator of this style. The choice of comparative criticism was motivated with the aim of bringing these writings without reducing them to action to establish social hierarchies, or intellectual power to reach readers, but starting to look a style of his creation (Thompson) up to a likely manifestation (Xico Sá). We realized that the work of Sá is no mere stylistic copy, but it illustrates a way of writing that presents similarities to Gonzo when breaking paradigms in Brazilian journalistic context and brings to light the way of writing that goes beyond barriers in time and is present in contemporary. The 'influence', seen from the perspective of comparative theory, does not reduce the value writer influenced. The comparison allowed us to highlight the features of Gonzo more clearly in both works and thus we conclude that the use of this style is not limited to journalism, can be used in literary works, without compromising their specific characteristics. / O objetivo desta pesquisa foi comparar o uso do estilo Gonzo na escrita dos jornalistas Hunter S. Thompson e Xico Sá. Para averiguar até que ponto eles utilizam esse estilo como via de evitar a censura e escrever de maneira crítica e inusitada, na forma híbrida, desvelando nos textos detalhes que não poderiam ser mostrados com outros recursos. Para isso, observamos as circunstâncias em que Thompson adota este novo estilo jornalístico e produz uma obra literária. Comparando os escritores-jornalistas, notamos como o Gonzo é aplicado com sucesso tanto para os textos jornalísticos quanto para a literatura. Nossa base teórica utiliza críticos comparativos e críticos jornalísticos, incluindo o próprio Thompson como criador desse estilo. A escolha da crítica comparativa foi motivada com o intuito de aproximar essas escritas sem reduzi-las à ação de estabelecer hierarquias sociais, intelectuais ou de poder de alcance aos leitores, mas sim para analisar um estilo partindo da criação dele (Thompson) até a uma provável manifestação (Xico Sá). Percebemos que a obra de Sá não é mera cópia estilística, mas ilustra uma maneira de escrever que apresenta similitudes ao Gonzo, quando quebra paradigmas no contexto jornalístico brasileiro e traz à tona o modo de escrever que ultrapassa barreiras no tempo e se faz presente na contemporaneidade. A influência , vista sob a ótica da teoria comparada, não reduz o valor de escritor influenciado. A comparação nos permitiu destacar as características do Gonzo com mais clareza em ambas as obras e com isso concluímos que o uso desse estilo não se limita apenas ao jornalismo, podendo ser utilizado em obras literárias, sem comprometer suas características especificas.

<p>En sudie i gonzojournalistiken, dess innebörd och vad den förmedlar. Studien beskriver och kopplar gonzojournalistiken till romantikens teori och kunskapssyn och är uppdelad i två huvuddelar vilka beskriver perspektivismen samt den romantika ironi som rymms inom gonzojournalistikens teknik.</p>

En sudie i gonzojournalistiken, dess innebörd och vad den förmedlar. Studien beskriver och kopplar gonzojournalistiken till romantikens teori och kunskapssyn och är uppdelad i två huvuddelar vilka beskriver perspektivismen samt den romantika ironi som rymms inom gonzojournalistikens teknik.

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