Le théâtre de Fabien Cloutier suscite abondamment le rire chez les spectateurs, mais ce rire est, très souvent, accompagné d'un sentiment de malaise qui investit la salle. Quel rôle joue le comique dans les pièces de Fabien Cloutier et quelle est la fonction du rire des spectateurs lors des représentations ? Ce mémoire postule que le rire, tel que provoqué par le théâtre de Fabien Cloutier, joue un rôle fondamentalement critique. À partir des dynamiques à la fois d’identification et de distanciation mises en œuvre par le théâtre de Fabien Cloutier, ce mémoire propose d’étudier la fonction critique du rire dans les pièces Scotstown, Cranbourne, Billy [Les jours de hurlement] et Pour réussir un poulet à la lumière de la théorie bergsonienne du rire, qui conçoit le rire comme un correctif social. / Fabien Cloutier’s plays spark copious laughter in spectators, but said laughter is often accompanied by a sense of discomfort which takes over the theatre. What part does the comic play in Fabien Cloutier’s work, and what is the function of audience members’ laughter during performances? This paper argues that laughter, as provoked by Fabien Cloutier’s theatre, serves a fundamentally critical purpose. Using the dynamics of both identification and distanciation at play in Fabien Cloutier’s theatre, this paper proposes that the critical function of laughter in plays Scotstown, Cranbourne, Billy [Les jours de hurlement] and Pour réussir un poulet be studied in light of the Bergsonian theory of laughter, which conceives of laughter as a social corrective.

Main aim of this diploma thesis is a comparison of K. M. Čapek-Chod's Turbina and The man of seven sisters by J. Havlíček with emphasis on comic in both works. Thesis is based on theoretical discourse about comic in general and on resulsts of existing evaluations of Turbina and The man of seven sisters. Comparison of the interpetation by itself, which is based on the comic in both works shows that comic is an integral part of both works and that both work express positively material bodily values of human life through the comic. Turbina does the work by showing invincibility of a man that resides in the immortality of mankind as a whole. The man of seven sisters nods in agreement to material bodily values by showing comical efforts to overcome this immortality of mankind.

Il y a quelque chose à prendre au sérieux à la lecture des bandes dessinées de Winsor McCay. C’est sur ce postulat, qu’après avoir décidé que mon corpus se limiterait à son œuvre en songes (toutes les planches qui finissent par une case où le personnage se réveille et réalise qu’il vient de rêver), j’ai envisagé de découvrir ce que l’on pouvait apprendre de la modernité new-yorkaise à lecture de Little Nemo in Slumberland (publié de 1905 à 1927) et de Dreams of the Rarebit Fiend (Les cauchemars de l’amateur de fondue au chester, publié de 1904 à1914). Cette thèse débute par une réflexion sur le concept esthétique et philosophique de la Modernité, et l’établissement méthodologique d’une sociologie de l’œuvre ouverte à la singularité de l’auteur. Elle détaille la construction de son matériel d’analyse et les limites qui se sont révélées à l’usage. Mon analyse de l’œuvre en songes de McCay se divise en deux étapes : l’une s’astreint à une étude différenciée de la case, de l’entre-case et de la planche, afin d’organiser le regard ;l’autre retient de l’œuvre quelques grandes trajectoires. Ce dernier développement permet de mettre l’accent sur la passion moderne du mouvement, le devenir de la fin de l’histoire à l’ère du sériel et le recours à la notion d’infini dans le processus de narration. Cette étude est aussi l’occasion de développer des concepts comme la saute, la création machinale, la rationalité baudelairienne ou le récit d’élection. / There is something serious about reading Winsor McCay's comics. It is based on this basic premise that, after I had decided that I would restrict my corpus to his sleepy stories (all the storyboard in which in the last panel the character wakes up and realizes that he wasdreaming), I intend to seek for what could be taught of new yorker modernity through the reading of Little Nemo in Slumberland (published from 1905 to 1929) and of Dreams of the Rarebit Fiend (published from 1904 to 1914). This thesis begins with a thought on a estheticand philosophical concept of Modernity and goes on with a methodic establishment of sociology of the work of art that encompasses the singularity of the author.I divided my analysis of the sleepy stories of McCay in two steps : one whose aims is toorganize the look provides a differentiated study of the panel, the gutters and the page ; the other one focus on main paths of the work. This last development allows to emphasize the modern passion of movement, the outcome of the end of the story in the age of seria lproduction and the concept of infinity in narrative process. This study also gives the opportunity to develop concepts such as tellings of the chosen one, mechanical creation,baudelerian rationality or the concept of skip.

This thesis discusses narrative texts by Japanese female writers and popular manga artists* that deal with fantasies of male-male sex. It applies a variety of psychoanalytic theories (Freudian, Kleinian, feminist and so forth) to demonstrate how fantasies about male homosexuality may be analyzed in terms of the psychological orientations of the many Japanese women who are the readers of this narrative genre. I also discuss a variety of themes that often accompany and appear to support female fantasies of male homosexuality: the concept of Thomme fatal' in Mori Mari's male homosexual trilogy; sadomasochism in Kono Taeko's "Toddler-Hunting"; the decadent aestheticism of Okamoto Kanoko's "The Bygone World'; postmodernism in Matsuura Rieko's The Reverse Version; and the concept of . pornography as it relates to yaoi manga. * * In attempting to analyze the discursive aspects of female fantasies of male homosexuality, I begin with an examination of Sigmund Freud's article, "A Child is Being Beaten," in which he refers to the female scoptophilic impulse. Several Japanese female writers—Kono Taeko, in particular—provide clear examples of narratives that parallel Freud's model of the beating fantasy. This female scoptophilic desire to watch a male homoerotic 'show' is activated by a psychological orientation such as that defined by Klein's model of projective identification: female characters and readers project their 'unbalanced egos' onto male homosexual characters, and this enhances the processes of identification with and (scoptophilic) dissociation from these characters—which in turn create the possibility of regaining psychological 'balance.' One of the main themes of my analysis is the development of subconscious female desires to access the bisexual (simultaneously masculine and feminine) body. I discuss the idealization of the shorten (boy) identity (in "Toddler-Hunting" and The Reverse Version) and the image of the 'reversible couple' in yaoi manga as specific forms of a sexual discourse that presents possibilities of escape from the arbitrary, socially-constructed, but institutionalized concepts of the female body. *manga: narrative comic books for readers of all ages **yaoi manga: a subgenre of comic books by and for women that feature male-male eroticism / Arts, Faculty of / Asian Studies, Department of / Graduate

La seconde moitié du XVIIIe siècle est une période de recherche et d’expérimentation dramatiques qui se traduisent, au sein de la programmation du théâtre de la Comédie-Italienne de Paris, en la conception d’une soixantaine de canevas italiens inédits, mis en scène par les acteurs-auteurs de la troupe italienne du théâtre, entre 1760 et 1779, année de la « suppression » du genre italien. À travers le dépouillement des sources périodiques, contenant les résumés des soirées et les récits des performances, des registres du théâtre, ouvrant l’accès aux effectifs des troupes, cette thèse propose la reconstitution du répertoire de pièces italiennes d’acteur et l’étude de la dramaturgie de ce spectacle parisien durant la seconde moitié du XVIIIe siècle. À partir des années 1760, la pratique de la scène, les modalités créatives et représentatives de la commedia dell’arte migrent vers les dramaturgies adjacentes à l’intérieur d’un répertoire mixte, français et italien, en donnant lieu à des phénomènes d’« hybridation » permettant de pérenniser la dramaturgie italienne et la « pratique » scénique des comédiens italiens, à l’intérieur des comédies des dramaturges français qui écrivent pour ce théâtre : J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. Il sera donc question de relire la « suppression » du genre italien en 1779, en les termes d’une « réexistence », en étudiant la portée globale du répertoire et de la dramaturgie italienne du point de vue de leur évolution, durant la seconde moitié du XVIIIe siècle, au sein du contexte productif et de la palette représentative de la Comédie-Italienne. / The second half of the eighteenth century represents a period of research and experimentation in dramatics that manifest themselves, within the theater’s programs of the Comédie-Italienne. These experimentations materialize in approximately sixty unpublished Italian plots, directed by the actors-authors of the Italian company between 1760 and 1779, year of the “suppression” of the Italian genre. Sorting through periodical sources, that include summaries of the evening performances and performances’s telling, and theater’s registers, which give the access to the acting company, this thesis intends to recreate the company’s repertoire of Italian plays. The intention is also to study the dramatic art of this Parisian show during the second half of the eighteenth century. From the 1760s, the experience of the stage, the creative and representative modalities of the commedia dell’arte slide towards closed dramaturgies inside a mixed repertoire French and Italian. It generates “hybrid” phenomena that give the possibility to preserve the Italian dramatic art and the scenic “technique” of the Italian comic actors, within the plays of French playwrights who have written for this theater: J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. This thesis will provide a rereading of the “suppression” of the Italian genre in 1779, in terms of “rebirth”. Then it will analyze the complete impact of the Italian repertoire and the dramatic art inside the productive context and the representative range of the Comédie-Italienne from the outlook of their evolution during the second half of the eighteenth century. / La seconda metà del XVIII secolo è un periodo di ricerca e sperimentazione drammatica che sfociano,nell’ambito della programmazione del teatro della Comédie-Italienne di Parigi, nella creazione di unasessantina di canovacci italiani inediti allestiti e rappresentati dagli attori-autori della compagnia italiana delteatro, tra il 1760 e il 1779, anno della « soppressione » del genere italiano. Attraverso lo spoglio delle fontiperiodiche, che contengono i riassunti degli spettacoli e i resoconti delle performance attoriali, le ricerched’archivio effettuate nei registri del teatro, che permettono di accedere agli effettivi delle troupes, la tesipropone la ricostituzione del repertorio italiano e lo studio della drammaturgia di questo teatro parigino dellaseconda metà del Settecento. A partire dal 1760 la pratica scenica, le modalità compositive e rappresentativedella commedia dell’arte migrano verso le forme drammaturgiche ad essa vicine all’interno di un repertoriobilingue, francese e italiano dando luogo a fenomeni di « ibridazione » che permettono la fissazione delladrammaturgia italiana e della pratica teatrale degli attori italiani, nella produzione francese degli autori checompogono per questo teatro : J.-F. Cailhava de l’Estandoux e J.-P. Claris de Florian. Lo studio dell’ampiezzadel repertorio e della drammaturgia italiana, considerati dal punto di vista dell’evoluzione che subiscono inseno al contesto produttivo e all’offerta rappresentativa della Comédie-Italienne, permette di rileggere la« soppressione » del genere italiano avvenuta nel 1779 come « riesistenza » e « perennizzazione » di questogenere. / Die zweite Hälfte des 18. Jahrhunderts ist eine von dramaturgischer Forschung und Experimentierfreudigkeitgeprägte Periode, was sich in den Jahren 1760 bis 1779, Jahr der ‚Abschaffung’ des italienischen Genres,innerhalb des Programms des Pariser Theaters Comédie Italienne in der Konzeption von ungefähr 60unveröffentlichten neuen italienischen Kanevas, die von Schauspieler-Autoren der italienischen Truppe desTheaters inszeniert wurden, ausdrückt. Durch die Aufarbeitung publizistischer Quellen, die neben Kritikenund Inhalten dieser Abende auch Theaterregister beinhalten, und somit einen Zugang zum Personalbestandder Truppe eröffnen, wird in der vorliegenden Dissertation eine Rekonstruktion des Repertoires deritalienischen Schauspielerstücke sowie die Untersuchung der Dramaturgie dieser Pariser Vorstellungen derzweiten Hälfte des 18. Jahrhunderts vorgenommen. Ab den 1760er Jahren verlagern sich die Szenenpraxis,die kreativen und repräsentativen Modalitäten der commedia dell’arte hin zu benachbarten Dramaturgieneines gemischten, französisch und italienischen Repertoires hin und machen Platz für hybride Phänomene,was erlaubt, die italienische Dramaturgie und die Bühnenpraxis der italienischen Schauspieler innerhalb derKomödien französischer Dramaturgen, die für dieses Theater schreiben (J.-F. Cailhava de l’Estandoux und J.-P. Claris de Florian), zu einem festen Bestandteil zu machen. Es geht also darum, die „Abschaffung“ desitalienischen Genres 1779 hinsichtlich einer „Reexistenz“ noch einmal zu überdenken, indem man denglobalen Beitrag von „italienischem“ Repertoire und „italienischer“ Dramaturgie aus Sicht ihrer Entwicklungin der zweiten Hälfte des 18. Jahrhunderts im Kontext der Produktion und der Darstellungspalette derComédie Italienne untersucht.

The present work has as proposal expose the representation of teachers in comic books, introducing the relevant research line studies teacher training: knowledge and skills, graduate program in education of the UFS. For both the analysis turns to the work of Maurício de Souza, with the character´s comic Chico Bento; and Charles Schulz, with strips of Snoopy and the gang (Peanuts), considering the look of high school students from a school in the public school system in Aracaju (SE) with reference to the contribution of the theory of social representations. The qualitative research was chosen to exhibit and interpret the relationships recorded in data collection with the use of the fanzine and the questionnaires. The main problem being considered does not seem to be checking whether the current production of comics strives and/or discusses educational issues in a transparent manner and understandable by anyone who creates and for whom the consumes, since several projects checked already pored over this, but understand if the images themselves that feature teachers in comics may also allow a legitimate print showing somehow just their representations. For generation and coherent dissemination of this exhibition |graphic-figurative|, the focus is set by probable similarities observed between two sets different compositional elements with regard to authorship and origins, but with a similar orientation, referencing the same thematic and segment. / O presente trabalho tem como proposta analisar a representação social dos professores nos quadrinhos, introduzindo-se nos relevantes estudos da linha de pesquisa Formação de Educadores: saberes e competências, do Programa de Pós-Graduação em Educação da UFS. O interesse desta investigação não se trata, no entanto, de debater as definições inerentes a esta função ou analisar as considerações dos próprios docentes sobre a sua condição elementar na docência, mas diz respeito às significações relacionadas ao professor que precisam ser discutidas e, nesta pesquisa, com o viés se originando nos quadrinhos e com o olhar mais específico dos estudantes de ensino médio da Escola Estadual Santos Dumont (Aracaju - SE), e de suas apropriações e opiniões a partir de verificações pontuais ao trabalho de Maurício de Souza, com os quadrinhos do personagem Chico Bento; e de Charles Schulz, com tirinhas do Snoopy e sua turma. A busca primordial, evidenciando paralelos entre estes dois artistas, é por constatar se as imagens próprias que caracterizam os professores nos quadrinhos podem também permitir uma impressão legítima que evidencie uma representação coerente.

Este estudo apresenta uma reflexão sobre a linguagem na modalidade narrativa denominada história em quadrinhos, a partir do estudo do livro A Turma do Pererê: 365 dias na Mata do Fundão, de Ziraldo. O referido título foi selecionado para estudo por pertencer ao acervo do Programa Nacional Biblioteca da Escola de 2012 (PNBE 2012), destinado aos anos iniciais do Ensino Fundamental. A pesquisa contempla a análise de procedimentos verbo-visuais empregados na construção do título e que deveriam ser apreciados em situação de leitura escolarizada, a fim de contribuir para o letramento dos estudantes. A investigação justifica-se em virtude do baixo desempenho da capacidade de leitura de estudantes, conforme resultados de avaliações de desempenho, da complexidade dos produtos culturais direcionados ao leitor mirim e, ainda, da inserção de histórias em quadrinhos nos acervos do PNBE. A investigação insere-se no Programa de Pós-Graduação em Educação da Universidade de Caxias do Sul – PPGEd/UCS, na linha de pesquisa Educação, Linguagem e Tecnologia e é parte integrante do projeto de pesquisa “Desafios e acolhimentos da literatura infantil: a mediação de leitura literária”, aprovado pela FAPERGS, que objetiva estudar obras selecionadas para compor acervos dos anos iniciais do Ensino Fundamental do PNBE. Entre teóricos que subsidiam a pesquisa, destacam-se: Mikhail Bakhtin (2006) e Lev S. Vygotsky (1998) com reflexões sobre linguagem; Will Eisner (2012), Moacy Cirne (1972, 1973, 2000), Álvaro de Moya (1993, 2002), Paulo Ramos (2009) e Valdomiro Vergueiro (2009) com aspectos da linguagem dos quadrinhos; Brian Street (1984) e Soares (2010, 2013), com estudos sobre letramento, entre outros. O estudo está organizado em capítulos, discorrendo acerca de (a) relações entre educação e linguagem, considerando a escola como espaço de letramento; (b) processos metodológicos da pesquisa e (c) análise da obra e indicação de elementos presentes na composição do título, que deveriam ser considerados na mediação de leitura literária. A metodologia pautou-se na descrição analítica de aspectos da obra selecionada, a fim de apontar procedimentos empregados na construção dessa modalidade discursiva presente nas bibliotecas escolares brasileiras. Como resultados, destacamos, a partir do corpus estudado, que as histórias em quadrinhos contemplam temas que possibilitam a identificação do estudante com o conflito posto, por apresentar situações presentes no cotidiano e que há constâncias no modo de enunciação das narrativas que precisam ser consideradas em propostas de leitura mediada no ambiente escolar. Alertamos, ainda, para a necessidade de o professor ter conhecimento acerca da linguagem dos quadrinhos e sua especificidade como gênero, a fim de contribuir para o letramento dos estudantes. / Based on a study on Ziraldo´s book A Turma do Pererê: 365 dias na Mata do Fundão, this piece of work presents some reflection on the language used in comic books (or comic strips). The book above mentioned was chosen for this study because it is part of 2012´s Library in the School National Program (PNBE 2012), a range of books aimed at the early years of Elementary School in Brazil. The study means to carry out an analysis on enunciation procedures used in the construction of the work, and which can be analyzed in the context of schooled reading, meaning to contribute to students´ literacy learning process. The research can be justified on the fact that students tend to present poor reading skills, as shown in assessments made public about this area, on the complexity of the cultural products aimed at the young reader, and, besides, on the insertion of comic strips in the PNBE range of books. The investigation follows the Education, Language and Technology approach, and it is part of the Post-Graduation in Education Program of the Caxias do Sul University (PPGEd/UCS). It is also part of a research project called “Challenges and welcomings in children´s literature: the mediation of the literary reading”, which has been approved by FAPERGS and which means to study the books that have been short-listed to make up the PNBE range of books for the early years of Elementary Education. Among the authors whose ideas have contributed to the research there are: Mikhail Bakhtin (2006), Lev S. Vygotsky (1998), both of which helped on reflections upon language; Will Eisner (2012), Moacy Cirne (1972, 1973, 2000), Álvaro de Moya (1993, 2002), Paulo Ramos (2009) and Valdomiro Vergueiro (2009), who discuss aspects of the language used in comic strips; Brian Street (1984), with his studies on literacy, and Joseph Schwarcz (1982), who elaborates on the role played by illustration on children´s books, among others. The study is organized in chapters, which contemplate (a) the relations between education and language, considering the school as a space for literacy; (b) the methodological processes of the research, and (c) an analysis of the work and indication of the elements present in the making up of the title, which should be taken into consideration in the mediation of literary reading. It was the analytical description of aspects of the work chosen that guided the method, aiming to pinpoint the procedures used in the construction of this discursive modality present in the Brazilian schools´ libraries. As a result, it stands out in the studied corpus that comic books contemplate themes that make it possible to identify the student with the expressed conflict, as it presents situations that are present in daily life and that there are instances in the way the narrative is enunciated which need to be taken into consideration when mediated reading is proposed in the school environment. Last but not least, one highlights the importance of teachers being familiar with the language used in comic strips, besides its specificity as a genre so as to make it possible for them to contribute for the students´ literacy.

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T09:31:29Z (GMT). No. of bitstreams: 1 Zouvi_AlinedeAlvarenga_M.pdf: 20010510 bytes, checksum: 7961a9cb7fab81dcec6c56a743811134 (MD5) Previous issue date: 2015 / Resumo: Este trabalho tem como objetivo a análise da obra autobiográfica da cartunista estadunidense Alison Bechdel publicada no formato livro, composta, até o momento, por duas histórias em quadrinhos: Fun Home ¿ A Family Tragicomic (2006) e Are you my mother? ¿ A Comic Drama (2012). Além do estudo de obras autobiográficas em quadrinhos e as implicações desta combinação de meio e gênero, visamos observar a maneira como Bechdel estrutura suas narrativas através da intertextualidade com outras produções, sejam elas literárias, psicanalíticas, ou imagéticas. Nossa atenção será voltada para o uso que Bechdel faz de tais obras e qual a relação desta construção de paralelos com a sua criação autobiográfica, na qual articula obras e biografias (das personagens relacionadas à sua história e experiência de vida) em diversos níveis, bem como a maneira como a autora reflete sobre o próprio ato de autobiografar-se ao longo de suas obras / Abstract: The aim of this work is the analysis of the autobiographical work of American cartoonist Alison Bechdel, published in book form, composed, so far, of two comics: Fun Home ¿ A Family Tragicomic (2006) and Are you my mother? ¿ A Comic Drama (2012). Apart from the study of autobiographical works in comics and the implications of this specific media and genre combination, we aim to observe how Bechdel structures her narratives through intertextuality with other productions, such as literary, psychoanalytic, or imagery. Our attention will be focused on the use that Bechdel makes of such works and what is the connection between the building of parallels with the author's autobiographical production in which she articulates the works and biographies (of the characters related to her history and life experience) at various levels, as well as the way the author critically thinks, while constructing her autobiographies, of the act of autobiography itself / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Made available in DSpace on 2017-06-01T18:24:37Z (GMT). No. of bitstreams: 1 dissertacao_allyson_silva.pdf: 5173780 bytes, checksum: d0cb4ed9eb971b99b10af626b5916d52 (MD5) Previous issue date: 2011-04-18 / Many comic strips servs the entertainment sector, causing, due to its graphical representation styles, allure in those who observes them. Beyond the draws, the scripts are responsible for that attraction because, even in written way, attempt to reproduce generally informal speeches, leading the readers to a certain immersion in the displayed narratives. Those communicative qualities, associated to new challenges faced by education in a global and technological world, guide the present work in a route to sociolinguistics studies in the field of comic strips destined to distance superior education. For that, it was verified in texts done (manufactured) by the students in this teach-learning model, the daily different used linguistics terms between them, detaching their more characteristic informal lexicons, for, later, show to professionals of long distance educations how the verbal communication must be worked in the production of didactic comic strips directed to this public. For this purpose, this discoursive sort was evaluated in a course of Physics offered in two cities of brazilian northeast. The project considered twenty students, requested to develop, in accordance with the adopted methodology, an activity in which they freely filled the dialogue balloons of a comic story, in which only drawings contemplated a subject studied in previous lessons. At the same time, it was asked for, to these students, the supply of personal data age, genre, profession and address , and about their respective routine activities and concerning their respective habits with regard to reading of comic strips, aiming at one better identification of these citizens in the communities where they are inserted. Finally, these same students had answered to a linguistic preference test between a written comic strip writed on usual form and another version of same story, however contend based words and text constructions in the grammatical molds of the portuguese language. This last stage offered information on the best language to be applied in the studied materials / A maior porcentagem das histórias em quadrinhos (HQ s) atende ao setor do entretenimento, causando, devido aos seus estilos de representação gráfica, fascínio em quem as observa. Além dos desenhos, suas legendas são responsáveis por tal atração, uma vez que, mesmo no meio escrito, buscam reproduzir falas geralmente informais, permitindo certa imersão do leitor na narrativa ali exposta. Essas qualidades comunicativas, associadas aos novos desafios enfrentados pela educação no mundo globalizado e tecnológico, direcionaram o presente trabalho rumo a um estudo sociolinguístico no campo das escassas HQs destinadas a educação a distância (EAD) de nível superior. Para isso, verificou-se, em textos confeccionados por alunos pertencentes a referida modalidade de ensino-aprendizagem, os diferentes termos linguísticos usados cotidianamente entre eles, destacando seus léxicos informais mais característicos, para, depois, mostrar aos profissionais da EAD como a comunicação verbal deve ser trabalhada na produção de HQs didáticas direcionadas a esse público. Devido a tal propósito, este gênero discursivo foi analisado em um curso de Física ministrado em duas cidades do interior pernambucano. O projeto contou com a participação de vinte cursistas, solicitados a desenvolver, de acordo com a metodologia adotada, uma atividade na qual preencheram livremente os balões de diálogo em uma história em quadrinhos, que, apenas desenhada, contemplou um assunto estudado em aulas anteriores. Paralelamente, pediu-se, aos mesmos alunos, o fornecimento de dados tanto pessoais referentes à idade, sexo, profissão e endereço , quanto sobre suas atividades rotineiras e acerca dos respectivos hábitos com relação à leitura de quadrinhos, visando uma melhor identificação destes sujeitos nas comunidades onde estão inseridos. Por fim, esses mesmos alunos responderam a um teste de preferência entre uma HQ escrita linguisticamente de forma mais coloquial e outra versão da mesma história, porém contendo palavras e construções frasais embasadas nos moldes gramaticais da língua portuguesa. Esta última etapa ofertou informações sobre a melhor linguagem a ser aplicada nos materiais estudados

This thesis examines the precode horror comic books of the 1950's as an original American art form and as a popular medium in postwar America.