Esta pesquisa pretende refletir sobre os quadrinhos de Luiz Gê sobre a Avenida Paulista, considerando o diálogo entre os discursos de paulistanidade e os ideais de modernidade brasileira. A proposta é investigar como o quadrinista constrói narrativamente representações de São Paulo que estabelecem críticas e, simultaneamente, reiteram os símbolos de desenvolvimento industrial, de modernização tecnológica e de principal centro financeiro, econômico e industrial do país. Luiz Gê buscou ambientar muitas de suas histórias na cidade de São Paulo ao longo de sua carreira, tornando a capital bem mais do que apenas um cenário para seus enredos. São Paulo está presente tanto de forma literal, com sua paisagem urbana e seus marcos arquitetônicos – como o túnel da av. 9 de Julho, o prédio do Banespa ou a av. Paulista – como indireta, através de metáforas – como na paródia ao episódio do Grito do Ipiranga. Tentaremos compreender sua produção como parte de um processo de mudança de eixos de poder no Brasil a partir do conceito de “horizonte cultural” proposto por Feenberg (2010), levando em conta sua relação com as questões de hegemonia pertinentes ao momento em que Fragmentos Completos, a história da Avenida Paulista em quadrinhos, é produzida. Outro aspecto a ser analisado é a abordagem que Luiz Gê faz da Avenida Paulista por ocasião de seu centenário, em 1991: um marco urbanístico da cidade que materializa ao mesmo tempo em que representa muitos dos anseios e contradições de São Paulo. / This research intends to reflect about the comics of Luiz Gê about Avenida Paulista, considering the dialogue between the discourses of paulistanity and the ideals of Brazilian modernity. The goal is to investigate how the comics artist builds, through his narrative, representations of São Paulo that establish critics and, simultaneously, reiterate the symbols of industrial development, technological modernization and main financial, economic and industrial center of the country. Luiz Gê sought to set many of his stories in the city of São Paulo throughout his career, making the capital city more than just a scenario for his entanglements. São Paulo is present both literally, with its urban landscape and its architectural landmarks - as the 9 de Julho avenue, the building of Banespa or the Avenida Paulista - as indirect, through metaphors - as the parody of the Grito do Ipiranga episode. We will try to understand his comics as part of a process of change of power axes in Brazil using the concept of “cultural horizon” proposed by Feenberg (2010), taking into account its relation with the questions of hegemony pertinent to the moment in which Fragmentos completos (Complete Fragments), the story of Avenida Paulista in comics, is produced. Another aspect to be analyzed is Luiz Gê’s approach to Avenida Paulista on the occasion of its centenary, in 1991: an urban landmark of the city that materializes at the same time that it represents many of São Paulo’s yearnings and contradictions.

Acompanha: Entendendo a radioatividade com a ajuda do Watchmen / Esta pesquisa utiliza as histórias em quadrinhos das séries “Watchmen” e “Before Watchmen - Dr. Manhattan” como base para ensinar física com enfoque CTS, levando em consideração a interdisciplinaridade da linguagem da arte sequencial. As revistas selecionadas inter-relacionam conteúdos referentes a física, história, sociologia, filosofia e arte em uma narrativa que gira em torno da física atômica, fazendo assim com que possam ser utilizadas como ferramenta para fazer um primeiro contato entre alunos e conteúdo e assim aumentar o engajamento. Esta pesquisa objetiva buscar informações para a elaboração de um material didático na forma de histórias em quadrinhos para o ensino de física, para isso utiliza-se de textos de diversos autores como Kakalios e Will Eisner, além de questionários e da matriz dialógica problematizadora. / This research uses the comics from the series “Watchmen” and “Before Watchmen Dr. Manhattan” as a base to teach physics with and enphasis on STS, considering the interdisciplinarity of the sequential arts, which on the selected comics interrelates subjects referring to physics, history, sociology, philosophy and art in a narrative that revolves around atomic physics, making it possible to use it as a tool for a first contact between the students and the subject as a way to increase the students engagement when studying physics with an enphasis on STS, specially on subjects concerning modern physcis. This research presents an history of the uses of comic books in teaching, historic reports concerning the dangers that a lack of information and the scarcity of a education focused on STS can cause when populations interact with radioactive technological artifacts.

A presente dissertação investiga a construção do estereótipo do colono italiano nos quadrinhos de Radicci, de Carlos Henrique Iotti, com vistas a contribuir para os estudos sobre a identidade regional da Serra Gaúcha. A análise é feita a partir da seleção de três categorias na série de histórias em quadrinhos: a construção dos personagens, a representação dos espaços em que se situam as narrativas e o conflito identitário existente entre os protagonistas. Para tanto, busca-se estabelecer relações com o contexto histórico, social e cultural da Região de Colonização Italiana no Rio Grande do Sul, a fim de averiguar a forma como é feita a estereotipação dos traços culturais do imigrante italiano. O aporte teórico é multidisciplinar, contemplando Estudos Literários, História, Sociologia, Comunicação Social e Artes Visuais. Os resultados obtidos permitem considerar que a estereotipação de dados históricos é capaz de (re)criar identidades, conservar e dar novos significados a práticas e usos culturais. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES. / The present dissertation investigates the stereotyped construction of the Italian colonists in Radicci comics series, by Carlos Henrique Iotti, with the intention to contribute to the studies about the regional identity of Serra Gaúcha. The analysis starts with the selection of three categories in the comics series: character development, description of spaces in which the narrative takes place, and the identity conflict existing among characters. For this purpose, connections are established with the historical, social, and cultural context of the Italian Colonization Region in Rio Grande do Sul, in order to verify how the stereotyping of the Italian immigrant cultural features happens. The theoretical basis is multidisciplinary, including: Literary Studies, History, Sociology, Social Communication and Visual Arts. From the results, one can consider that stereotyping historical data can (re)create identities while preserving and providing new meanings for cultural habits and manners.

Orientador: José Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T20:23:51Z (GMT). No. of bitstreams: 1 Pereira_Priscila_M.pdf: 27248639 bytes, checksum: 801076349c108b5c8a789f5258de65f3 (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa analisa as representações do gaucho nos quadrinhos de Inodoro Pereyra, personagem criada pelo humorista argentino Roberto Fontanarrosa na década de 70 do século XX. Nascido como uma paródia da literatura gauchesca, do radioteatro e do folclore argentino, a trajetória do renegau retoma a metáfora sarmientina civilização e barbárie, que atravessa não só a história deste país, mas se inscreve na tradição política de toda a América Latina. Neste sentido, através dos quadrinhos deste gaucho é possível rediscutir importantes questões que marcaram a história da República Argentina, tais como as oposições entre pampa e litoral, unitários e federais, nacionalismo e cosmopolitismo, e que compõem a imagem de uma nação dividida. Além disso, a epopéia vivida pela personagem permite que redimensionemos o tema "as duas Argentinas", tendo em vista que este quadrinho está transpassado por imagens relacionadas ao imaginário social desta nação / Abstract: This research analyzes the representations of the gaucho in the comics of Inodoro Pereyra, a character created by the Argentine comedian Roberto Fontanarrosa, in the 70s of the twentieth century. Born as a parody of Gauchesca literature, of radiotheater and of Argentine folklore, the renegau's trajectory retakes the sarmientina metaphor of civilization and barbarism, which crosses not only the History of this country, but also inscribes itself in all Latin America's political tradition. In this sense, through the comic of this gaucho, it is possible to rediscuss important issues that have marked the history of the Argentine Republic such as the oppositions between pampa and coast, unitary and federal, nationalism and cosmopolitanism, which composes the image of a divided nation. Moreover, the epopee experienced by the character allows us to resize the theme "two Argentinas". Considering that, this comic is transfixed by images related to the social imagination of this nation / Mestrado / Politica, Memoria e Cidade / Mestre em História

Le paysage numérique de la culture française et mondiale subit de grands bouleversements depuis une quinzaine d’années avec des mutations historiques des médias, de leur format traditionnel au format numérique, tirant avantageusement parti des nouveaux moyens de communication et des dispositifs mobiles aujourd’hui popularisés. Aux côtés de formes culturelles ayant achevé, ou étant en passe d’achever, leur transition vers le numérique, la bande dessinée tâtonne encore pour trouver sa place dans l’espace du tout dématérialisé. En parallèle de l’émergence de jeunes auteurs créant spécifiquement pour ces nouveaux supports de lecture que sont ordinateurs, tablettes et smartphones, plusieurs acteurs du monde socio-économique s’intéressent à la valorisation du patrimoine existant. Les efforts se concentrent autant sur une démarche d’adaptation des œuvres aux nouveaux paradigmes de lecture que sur celle d’une indexation de leur contenu facilitant la recherche d’informations dans des bases d’albums numérisés ou dans des collections d’œuvres rares. La problématique est double, il s’agit premièrement d’être en mesure d’identifier la structure d’une planche de bande dessinée en se basant sur des extractions de primitives, issues d’une analyse d’image, validées et corrigées grâce à l’action conjointe de deux ontologies, la première manipulant les extractions d’images bas-niveau, la deuxième modélisant les règles de composition classiques de la bande dessinée franco-belge. Dans un second temps l’accent est mis sur l’enrichissement sémantique des éléments identifiés comme composants individuels d’une planche en s’appuyant sur les relations spatiales qu’ils entretiennent les uns avec les autres ainsi que sur leurs caractéristiques physiques intrinsèques. Ces annotations peuvent porter sur des éléments seuls (place d’une case dans la séquence de lecture) ou sur des liens entre éléments (texte prononcé par un personnage). / Since the beginning of the twenty-first century, the cultural industry, both in France and worldwide, has been through a massive and historical mutation. They have had to adapt to the emerging digital technology represented by the Internet and the new handheld devices such as smartphones and tablets. Although some industries successfully transfered a piece of their activity to the digital market and are about to find a sound business model, the comic books industry keeps looking for the right solution and has not yet produce anything as convincing as the music or movie offers. While many new young authors and writers use their creativity to produce specifically digital designed pieces of art, some other minds are focused on the preservation and the development of the already existing heritage. So far, efforts have been concentrated on the transfer from printed to digital support, with a special attention given to their specific features and how they can be used to create new reading conventions. There has also been some concerns about the content indexing, which is a hard task regarding the large amount of data created since the very beginning of the comics history. From a scientific point of view, there are several issues related to these goals. First, it implies to be able to identify the underlying structure of a comic books page. This comes through the extraction of the page's components, their validation and their correction based on the representation and reasoning capacities of two ontologies. The first one focus on the representation of the image analysis concepts and the second one represents the comic books domain knowledge. Secondly, a special attention is given to the semantic enhancement of the extracted elements, based on their spatial relations to each others and on their own characteristics. These annotations can be related to elements only (e.g. the position of a panel in the reading sequence), or to the bound between several elements (e.g. the text pronounced by a character).

Indiana University-Purdue University Indianapolis (IUPUI) / This project responds to previous available literature on the subject of heroism, which tends to deal with either an isolated work or with genre- and archetype-specific analysis, and applies their concepts to case studies of Frank Miller’s various heroic models. In particular, this project addresses the film Sin City and the graphic novel The Dark Knight Strikes Again, arguing that DK2 serves as a departure of sorts from Miller’s ideals of heroism in his middle years (such as those presented in Sin City), as the protagonist becomes more of a revolutionary engaged in revamping society than the vigilante or “lone wolf” on the fringes of society. With the aforementioned sources as a general background, it is evident that Miller’s heroic ideals shift in their active capacity and scope but remain more or less steady in their strong individual sense of ethical duty. In addition, these sources aid in establishing the comparisons Miller actually invites to traditional, “archetypal” understandings of the hero as well as to the particular heroic form of Ayn Rand, which he explicitly references in DK2. Miller’s response to these previous models bolsters the assertion that theories of heroic ideals are inherently political as they deal with representations of the kind of person a hero must be, in turn involving issues of gender, ethnicity and class.

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