Discute o papel do poder político nas sociedades autoritárias e do pensamento libertário e anarquista, utilizando as histórias em quadrinhos V de Vingança e Watchmen, ambas do roteirista Alan Moore, em função das suas simbologias e temáticas. O foco de estudo são as relações políticas e sociais que estas graphic novels possuem, apresentando as histórias em quadrinhos como um recurso informacional que tem um papel na ampliação das possibilidades de comunicação e expressão na sociedade contemporânea, além de trabalhar a conscientização política do leitor acerca das diversas possibilidades de padrões de comportamentos individuais e coletivos no mundo atual. / Discusses the role of political power in authoritarian societies and libertarian and anarchist thought, using the comics V for Vendetta and Watchmen, both from writer Alan Moore, according to their symbols and themes. The focus of the study are the political and social relations that these graphic novels exhibit, featuring the comics as an informational resource that has a role in increasing the possibilities of communication and expression in contemporary society, in addition to working the political consciousness of the reader about the various possibilities for individual and collective behavior patterns in today\'s world.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2017-02-10T11:44:36Z No. of bitstreams: 1 Leandro Malósi Dóro_.pdf: 10742939 bytes, checksum: 1aedaa306f8f74fe63f456dc3ec87acc (MD5) / Made available in DSpace on 2017-02-10T11:44:36Z (GMT). No. of bitstreams: 1 Leandro Malósi Dóro_.pdf: 10742939 bytes, checksum: 1aedaa306f8f74fe63f456dc3ec87acc (MD5) Previous issue date: 2016-12-16 / Nenhuma / O objetivo dessa pesquisa é compreender como a produção de histórias em quadrinhos (HQs) se modifica na passagem do impresso para o digital e como acontece a sua apropriação pelos leitores e a produção por parte dos desenhistas. Em especial, gerou cenários ou futuros possíveis utilizando recursos como o Design Estratégico (DE), Metaprojeto, Redes de Projeto e dados bibliográficos e documentais sobre HQ. No século XX, HQs foram feitas apenas no formato impresso. Na era digital, há novos meios em que a HQ é reproduzida e apropriada. Há a introdução do desenho digital e novas formas de colaboração e divulgação via internet. Com apoio de teóricos como Negri, Morin, Deleuze e Guattari e outros se criou um arcabouço para interpretar essas mudanças e propor uma fusão entre analógico e digital como cenário transitório para um futuro próximo. / The purpose of this research is to understand how the production of comics (HQs) changes in the transition from print to digital and how it happens its appropriation by the readers and the production by the designers. In particular, it generated possible scenarios or futures using resources such as Strategic Design (DE), Meta Project, Project Networks and bibliographic and documentary data about HQ. In the twentieth century, comics were made only in print. In the digital age, there are new ways in which HR is reproduced and appropriated. There is the introduction of digital design and new forms of collaboration and dissemination via the internet. With the support of theorists like Negri, Morin, Deleuze and Guattari and others, a framework was created to interpret these changes and propose a fusion between analog and digital as a transitional scenario for the near future.

O presente trabalho visa buscar maior compreensão acerca do papel das gibitecas como espaços que servem a um propósito mais amplo que apenas armazenar revistas de histórias em quadrinhos. Como apontam Bari (2008), Nogueira (2017) e Vergueiro (1994), o aumento no número de espaços dedicados exclusivamente à leitura de histórias em quadrinhos no Brasil tem sido observado desde o início dos anos 1990, da mesma forma que observou Vergueiro (2017) em relação ao aumento no número de publicações em quadrinhos no país. Diversos fatores podem ter contribuído para o aquecimento do mercado nacional de quadrinhos, entre eles, o advento da internet, que possibilita que os autores possam divulgar seus trabalhos a uma quantidade cada vez maior de leitores; a indicação dos Parâmetros Curriculares Nacionais para que os quadrinhos sejam usados em sala de aula; a possibilidade de publicação de histórias em quadrinhos por meio de editais estaduais; e o processo de legitimação das histórias em quadrinhos como bens culturais de mesmo valor que outras expressões artísticas, como previsto em Carvalho (2017). A hipótese na qual se baseia a pesquisa é de que as gibitecas podem constituir polos de fomento à cultura e de exercício da cidadania ao promoverem eventos para divulgação dos quadrinhos e disponibilizam seus acervos gratuitamente aos cidadãos das comunidades onde estão inseridas. A partir da perspectiva de teóricos da Comunicação como Jesus Martin-Barbero (1997, 2000) e Nestór Canclini (1999) sobre a importância dos eventos sociais para a compreensão dos fenômenos de comunicação, principalmente no que tange à América Latina; e as considerações de teóricos da cultura como Raymond Williams (1961, 2008) e dos Estudos Culturais de Matellart e Neveu (2002) sobre os aspectos sociais do acesso à cultura, o objeto a ser analisado é composto pelos eventos ocorridos na Gibiteca Municipal de Santos entre os anos de 2013 e 2016, período em que o local presenciou o aumento de mais de 100% de atividades oferecidas aos seus frequentadores em comparação aos anos anteriores. Para a análise destes eventos são utilizados estudo de caso, etnografia, entrevistas e pesquisa bibliográfica que buscam relacionar as considerações dos autores elencados à observação participativa da autora ao longo dos anos mencionados. O acesso à cultura como uma forma de exercer a cidadania é defendido por Marshall (1967) e complementado por teóricos da Geografia Cultural (CUCHE, 2002; COSGROVE; 2007; CORRÊA, ROSENDAHL, 2007) quando se referem à relevância de certos espaços para a construção e aquisição de conhecimento para determinados grupos. Em relação a esses grupos, que no caso da Gibiteca são seus frequentadores, suas interações remetem ao que Pustz (2000) atesta sobre a existência de uma cultura específica de histórias em quadrinhos, cujos elementos constitutivos são específicos e compartilhados pelas pessoas que consomem seus produtos. Assim, por meio da exposição dos dados coletados e da bibliografia pertinente à pesquisa, foi possível concluir se a hipótese inicial se confirma, possibilitando então, que o debate acerca da relevância das gibitecas seja expandido. / This study aims to seek deeper comprehension about the role of the comics libraries (gibitecas) as places that serve to a greater purpose than only store comic books. As Bari (2008), Nogueira (2017) and Vergueiro (1994) indicate, the increase in the number of places dedicated exclusively to comic books reading in Brasil has been noticed since the 1990\'s, as well as the number of comic books releases, as observed by Vergueiro (2017). Many factors may have contributed to the warming of the national comics market, among them, the internet, that enables artists to broadcast their works to a larger number of comic readers; the indication of the National Curricular Parameters (Parâmetros Curriculares Nacionais) so that the comics are used in the classroom; the possibility of publishing comic books by public edicts; and the legitimizing comics process as cultural products with the same value as other artistic expressions, as in Carvalho (2017). The hypothesis on which the research is based is that the gibitecas can constitute means to promote culture and exercising the citizenship by promoting events to divulge comics and making their collections available to the citizens of the communities where they are inserted. From the perspective of Communication theorists such as Jesus Martin-Barbero (1997, 2000) and Nestór Canclini (1999) on the importance of social events for understanding communication phenomena, especially in Latin America; and the considerations of cultural theorists such as Raymond Williams (1961, 2008) and Matellart and Neveu (2002) Cultural Studies on the social aspects of access to culture, the object to be analyzed is composed of the events that took place in the Gibiteca Municipal de Santos between the years of 2013 and 2016, during which time the place witnessed an increase of more than 100% of activities offered to its visitors, compared to previous years. For the analysis of these events we use a case study, ethnography, interviews and bibliographical research that seek to relate the considerations of the authors listed to the participant observation of the author over the mentioned years. Access to culture as a way of exercising citizenship is defended by Marshall (1967) and complemented by cultural geography theorists (CUCHE, 2002; COSGROVE; 2007; CORRÊA, ROSENDAHL 2007) when they refer to the relevance of certain spaces for the construction and acquisition of knowledge for certain groups. In relation to these groups, which in the case of Gibiteca are their regulars, their interactions refer to what Pustz (2000) attests about the existence of a specific culture of comic books, which constitutive elements are specific and shared by the people who consume their products. Thus, through the exposition of the collected data and the bibliography pertinent to the research, it was possible to conclude if the initial hypothesis is confirmed, allowing then, that the debate about the relevance of the gibitecas is expanded.

This dissertation examines constructions of femininity in three male-authored Latin/o American comics: Gabriel Vargas' La Familia Burrón (Mexico, 1948-2009), Quino's Mafalda (Argentina, 1964-1973), and Love and Rockets (Los Bros. Hernandez, 1981-1996; 2000-present). After first establishing an analytical context from which to explore these works, discussing contemporary trends in national comics production as well as the ways in which femininity has been prescriptively constructed in each particular time and place, I then analyze the ways in which each author questions, challenges, and/or completely reconstructs their own version of "graphic femininity." As the following chapters will show, each articulation of femininity as constructed within the three serial comics under examination here takes different forms in each comic under analysis; while female characters in one title might embody a socially idealized model of femininity such as the "angel in the house," or the cult of "true womanhood", characters in other comics (or even within the same title) might play inverse roles, defying the mandates of the role assigned to them by contemporary society and ideological institutions such as compulsory heterosexuality or patriarchal power. A variety of models of feminine behavior and subjectivity are present in the panels of these comics, but in contrast with other contemporary constructions of femininity in cultural texts, products and sociopolitical discourse, they are presented critically rather than prescriptively, depicted in ways that disrupt the limits of femininity as it has traditionally been construed and, in some cases, offer visions of alternative, liberating paths.

A presente dissertação tem como objetivo aproximar conceitos teóricos da comunicação e narrativa à área das histórias em quadrinhos para, assim, aumentar o conhecimento relativo às dinâmicas de sua linguagem própria. Para isso, de acordo com Thierry Groensteen, entende-se as histórias em quadrinhos como um sistema produtor de sentido e que, por meio de suas imagens, desperta uma experiência narrativa causadora de afetos ao explorar o agir comunicacional. O caminho para esse objetivo, desenvolve-se pela compreensão da comunicação pelo seu aspecto originário de vincular e organizar as dimensões simbólicas humanas, entendido assim a partir dos estudos de Muniz Sodré. O vínculo por meio dos símbolos demanda uma subjetividade, o que constitui o caminho metodológico para a apreensão de uma linguagem narrativa, pois o objeto se desdobra diante do pesquisador e do leitor por meio de uma relação vinculativa. Portanto, o objeto se constitui em posição central na construção desta pesquisa e é por meio dele que o texto se faz presente, tanto como análise objetiva como pela sua dimensão simbólica e subjetiva. Por conseguinte, é pela descrição da obra Sandman Overture e seus códigos visuais que se reestrutura a experiência narrativa e a expressão imagética da história. O arcabouço da importância das histórias e a relevância para a comunicação se forma a partir de Joseph Campbell, como meio de transformação pertencente ao inconsciente; porque ressoam com a experiência de se fazer parte do mundo, e isso pode ser estendido às histórias em quadrinhos. / This dissertation aims to bring theoretical concepts of communication and narrative closer to the area of comics, thus increasing the knowledge regarding the dynamics of their own language. For this, according to Thierry Groensteen, comic books are understood as a system that produces meaning and that, through its images, awakens a narrative experience that causes affection when exploring communicational acting. The path to this goal is developed by understanding communication through its original aspect of linking and organizing human symbolic dimensions, understood from the studies by Muniz Sodré. The bond through symbols demands a subjectivity, which constitutes the methodological path for the apprehension of a narrative language, because the object unfolds before the researcher and the reader through a binding relationship. Therefore, the object constitutes a central position in the construction of this research and it is through it that the text is present, both as objective analysis and for its symbolic and subjective dimension. Consequently, it is through the description of Sandman Overture and its visual codes that the narrative experience and the imagetic expression of history is restructured. The framework of the importance of the stories and the relevance to communication is formed from Joseph Campbell, as a means of transformation belonging to the unconscious; because they resonate with the experience of being part of the world, and this can be extended to comics.

Comics and graphic texts require complex engagement from readers, engagement that relies on a developed understanding of text and image, and how they interact to create meaning. There are several theories about how readers engage with comics, many from comic creators themselves, and some from scholars in literature and composition. This project introduces an approach to comics utilizing visual rhetoric, which reconsiders the stricter text/image dynamics often conceptualized in Comics Studies, includes the reader as creator, and explores comics as collaboratively created texts. This approach is applied to Superman: Red Son, a popular text that focuses in on Superman, and Cold War politics, producing a critical conversation about American and Russian relations and their influences in a global context. This project has several goals: to legitimize the superhero comic as a place of important cultural power, to show the collaborative nature of comics, placing writers and artists in equal standing to the work they produce, and to introduce the reader as creator.

Graphic Intimacies: Identity, Humor, and Trauma in Autobiographical Comics by Women of Color examines works of comics art about the lived experience of the comics’ creator. These graphic narratives address racialized difference and the construction of identity while also using humor to negotiate their narrations of traumatic events. I argue that these creators employ the structure of comics to replicate the fragmentary nature of memory. Comics allow for the representation of trauma as being intimately linked to corporeality. The comics medium allows creators to make visible and present fractured versions of the self, a product of traumatic fragmentation. Drawing traumatic memories becomes a symbolic enactment of transformation. Comics become a way of coping with the fragmentary nature of traumatic memory, permitting a consolidation of memory even when a totality is impossible. Graphic Intimacies examines representative texts by four autobiographical cartoonists: Lynda Barry, Belle Yang, MariNaomi, and Whit Taylor. Each of these cartoonists engages in critiques of social issues through the negotiation of a multilayered identity. For instance, Barry’s One Hundred Demons (2002) explores her identity as a white-passing Filipino American growing up in a low-income neighborhood. In Forget Sorrow: An Ancestral Tale (2011), Yang a Taiwanese born Chinese American artist, tells the story of her father’s family in order to heal from the trauma of intimate partner abuse. Biracial Japanese American artist MariNaomi explores her disconnection from her Japanese heritage while chronicling her experiences working in Japanese-style hostess bars in Turning Japanese (2016).

This research examines the application of Scott McCloud's theory of the Infinite canvas, specifically the horizontal example outlined in Reinventing Comics (McCloud, 2000). It focuses on the useability and effectiveness of the Infinite canvas theory when applied as a practical example of a comic outcome for the Internet. This practical application of McCloud's horizontal Infinite canvas model has been achieved by creating a digital comic entitled Sad Reflections; a continuous horizontal narrative that is 20cm in height and 828cm in length and was designed to be viewed in a digital environment. This comic incorporates traditional comic techniques of gutters, time frames, line, with combining words and pictures, as outlined by McCloud (1993) in his first theoretical text Understanding Comics. These techniques are used to ensure that the project fulfilled the technical criteria used by the comic book industry to create comics. The project also incorporates McCloud's personally devised Infinite canvas techniques of trails, distance pacing, narrative subdivision, sustained rhythm and gradualism as outlined on his website. These new techniques are applied to assess their effectiveness in the creation of the horizontal Infinite canvas and ability to be integrated with traditional comic techniques. The focus of this project is to examine the strengths and weaknesses of McCloud's Infinite canvas theory when applied to the practical comic outcome of the Sad Reflections. Three key questions are used to guide this research. These questions are: 1. Does the application of traditional comic techniques affect the effectiveness of the Infinite canvas when implemented to a horizontal format? 2. Are the new Infinite canvas techniques as outlined by McCloud able to be applied to a horizontal format and what impact do these techniques have on the process? 3. Is the application of a horizontal Infinite canvas of benefit to future developers of web comics? Based on the outcomes of the above questions, this paper nominates strategies, considerations and suitable production processes for future developers of web comics.

<p>Our main purpose in this study was to identify the gender representations in comics and how these are presented to their readers. We focused on how comics, with six to ten year old children as their implied readers, represent male and female roles for identification. We also aimed to investigate differences and similarities in comics addressing boys or girls as implied readers.</p><p>The study was based on theories on gender, media and children in order to give some explanations to socialization and gendered identity processes in comics implied for young readers. We used qualitative methods, as discourse and semiotics, to analyze the chosen comics. According to these, in society media content also supports the male role as an unaware norm, and that media use during childhood have some effects on our identities as grown ups.</p><p>The result of our study shows that comics present young readers with stereotypical gender roles of male and female identities in society. The stories main characters are generally represented by men, while women often play the supporting parts to these male leading characters.</p>

<h2>Sammanfattning</h2><p>Syfte och frågeställningar</p><p>Syftet med uppsatsen var att studera och analysera de budskap som förmedlas i samband med idrott i serietidningen <em>Bamse</em>. Frågeställningarna i arbetet var på vilket sätt förmedlingen sker respektive vilka budskap det är som förmedlas.</p><p> </p><p>Metod</p><p>Datainsamlingen skedde genom textundersökning och bildanalys. Antalet årgångar av tidningen som studerades var sju (mellan år 2001 och 2007). Utöver detta studerades två nummer av <em>Bamse-extra</em>. Samtliga episoder i de angivna utgåvorna lästes igenom, men endast de delar analyserades där något idrottsinslag på ett eller annat sätt var bärande av budskap. En analysmodell användes för att lättare kunna uttolka seriernas fulla innebörder. Modellen har reviderats något men är ursprungligen utformad av Lars Peterson.</p><p> </p><p>Resultat</p><p>Förmedlingen av budskap sker ibland genom att de tydligt uttalas i episodernas slutskeden. Den kan också ske genom att det görs en klar tudelning mellan goda karaktärer som handlar gott och onda dito som handlar skurkaktigt. På så vis förmedlas vad som är ett handlingsmönster att eftersträva och vad som inte är det. Ett ytterligare sätt som förmedlingen sker på är genom att låta läsaren förstå huruvida olika sätt att handla får önskvärda eller icke önskvärda konsekvenser.</p><p> </p><p>De budskap som förmedlas är att det goda övervinner det onda, att alla ska få vara med, att det (i normalfall) är fel att fuska, att en handling måste alltid ses i ljuset av omständigheterna och de bakomliggande motiven, att tankeförmåga och teknik bringar idrottslig framgång, att personer av kvinnligt kön mycket väl kan vara dugliga idrottare (liksom män kan), att man skall ställa upp för varandra, vara hjälpsam och generös, att den som försöker utsätta någon annan för något elakt eller obehagligt ofta faller offer för gärningen själv, att man skall våga stå för vad man har gjort, att allt inte bör handla om att vinna, att man skall våga delta och inte ge upp, att det oväntade kan vinna samt att man inte skall döma någon på förhand.</p><p> </p><p>Slutsats</p><p>Budskapen följer en tydlig linje om att man skall handla gott. För att kunna göra det bör man vara öppensinnad, rättrogen, ödmjuk, fördomsfri, eftertänksam, solidarisk, hjälpsam, vänlig, generös, ärlig, trägen och framåt samt ha en känsla för alla individers lika värde. Ett gott handlande leder enligt <em>Bamse</em> till en mer trivsam tillvaro för samtliga. Idrottslig framgång bringas av tankeförmåga och teknik.</p>