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The problem under consideration attempts to answer the question: Will an original comic cartoon story used in classroom study of sixth grade arithmetic influence the amount of learning as much as the use of the ordinary text book?

Qu’est-ce qu’un héros de bande dessinée ? Comment fonctionne-t-il ? Pourquoi est-il ainsi ? Ce sont là les trois questions principales que nous entendons traiter dans les pages de cette thèse. C’est principalement l’étude de la relation entre le lecteur et le héros qui va nous permettre de répondre. Cette relation, nous la nommons identification, elle est à la fois reconnaissance et projection. C’est dans ce double mouvement – du héros vers le lecteur, du lecteur vers le héros – que nous trouverons notre objet. Notre cheminement nous amènera à définir le héros tant de façon diachronique, en nous attardant sur son origine et son évolution historique (avec une attention particulière pour les productions et les réflexions de Rodolphe Töpffer), que de façon synchronique en le comparant aux héros d’autres médiums. Définissant le héros par son fonctionnement identificatoire, nous étudierons celui-ci en analysant les stratégies graphiques mises en œuvre par les auteurs de bandes dessinées pour que celui-ci se produise. Cela nous permettra enfin de tirer des conclusions esthétiques et éthiques de ce fonctionnement, et de préciser la nature de l’expérience de la bande dessinée. Ce travail de recherche fera donc appel, pour être mené à bien, à des outils provenant des domaines variés que sont l’analyse plastique, la sémiologie, l’esthétique, la philosophie, les études littéraires, etc. / What is a comic book hero? How does it work? Why is it so? These are the three main issues that we intend to cover in the pages of this thesis. This is mainly the study of the relationship between the reader and the hero that will allow us to respond. This relationship, we call identification, it is both recognition and projection. It is in this double movement - the hero to the reader, the reader to the hero - that we find our purpose. Our journey will take us to define the hero so diachronically, but to focus on its origin and historical development (with particular attention to the production and reflections Rodolphe Töpffer) as synchronically by comparing the heroes of other mediums. Defining the hero by identificatory function, we will study it by analyzing the graphic strategies implemented by the authors of comics for it to happen. This will allow us finally to draw aesthetic and ethical conclusions of this operation, and to specify the nature of the experience of the comic. This research will therefore appeal to be completed, tools from various fields such as plastic analysis, semiotics, aesthetics, philosophy, literary studies, etc.

近年來漫畫改編偶像劇蔚為風尚,然而過去迷群研究主要關注迷群外在過度 的生產文本,關於漫畫迷的研究也僅關注於外在過度性明顯的強勢族群。然而, 導致外在行為過度性的原因,即內在的認同與區辨機制卻顯少討論。因此,本研 究將焦點放在迷群的內在過度性,希冀透過少女漫畫迷互文解讀漫畫改編偶像劇 的過程,了解少女漫畫迷內在的認同及區辨機制。 本研究透過媒介形式轉換之跨媒體互文性,依據John Fiske的互文性概念及 迷群內在認同及區辨之循環機制作為理論架構。透過質化取徑的深度訪談法,訪 談十二位少女漫畫迷,本研究發現少女漫畫迷在接觸漫畫改編偶像劇時,水平式 互文漫畫文本作為參考架構,其中以角色的關係連結最緊密。而垂直性互文的發 生基於區辨而非認同。由於少女漫畫迷對漫畫文本特別在乎而投入對此認同的區 辨與維護,與漫畫改編偶像劇之文本、角色、媒介與他人產生區辨,並藉由區辨 的過程建立自我認同。 / Previously, the researches focused on the external behaviors of fans but neglected the main cause of them: the internal excessiveness. Therefore, this research focuses on the internal process of identification and distinction of girl comic fans intertexting trendy drama adapted from original girl comics. Based on John Fiske’s intertextuality and fan theory, this research finds out the relationship between girl comic fans and comics was built by imagination, which gave the original text ‘aura’. While the horizontal intertexality linked two texts by genre, content, and character, the adapted drama bursted the imagination of girl comic fans. In order to protect their imagination, they became anti trendy drama fan and produced vertical intertextuality by distinguishing the text, character, and media between the two. Thus, the aura of the original comics was preserved and the identity of girl comic fans was constructed.

Fundação de Amparo a Pesquisa do Estado de Minas Gerais / This dissertation is the result of a research applied in two Brazilian public schools, at two classes of the 9th grade, elementary school. The proposal aims to contribute to multiliteracies practices in school, through reading activities and production of comic books. The need for the research came from the student\'s exposure scenario to technologies, contributing to the constant access to multimodal genres. Rojo (2014) says that the multiple requirements of the technological world will multiply greatly the practices and texts that circulate and are addressed. Studies of discourse genres (BAKHTIN, 2003[1979]), Multiliteracies (ROJO,2012;2013) and Multimodality (KRESS; VAN LEEUWEN, (2006 [1996]) represent the main theoretical basis on which our proposal is centered. We elaborated a proposal for reading and production of comic books in paper and digital. For it, we used suggestions classes of the Teacher´s Portal (Portal do Professor/MEC). We explored some meanings of the grammar of Visual Design, theory of the Reading Images: the grammar of visual design, authored by Kress and van Leeuwen (2006 [1996]) that follows the functionalist thinking of Systemic functional Linguistics of the Halliday (1985[1978]). The students developed the reading practice and production practice of Digital Comics and printed; we used the available technological resources, exploring the theme \"social inclusion\" and other themes that emerged from this. And, for the production of Digital Comics, we used the program Pixton for schools, because we have the license and we offered for our students. All productions of the students have been published in the program, available to be getting and shared and can be as support material for students and teachers of the two schools as well as from other institutions. We created, two Photobooks (one for each school) with the productions of the students, too, and that final product became part of the collection of the libraries of the two schools, staying available for other classes and teachers may have access. We point out that the lack of technological resources still represents a barrier that discourages students and causes them to be inserted into a digital divide that affects a lot of public institutions in the country. Despite the obstacles, we believe that students enjoy reading and producing comics, both in printed version as digital and that work with Comics and other multimodal genres can contribute, for training of students, in addition to improving its practices of reading and writing. / Esta dissertação é resultado de uma pesquisa aplicada em duas turmas de 9° ano do Ensino Fundamental II, em duas escolas públicas do Distrito Federal. A proposta tem como objetivo principal contribuir para práticas de multiletramentos na escola, por meio de atividades de leitura e produção de histórias em quadrinhos (HQs). A necessidade da pesquisa surgiu do cenário de exposição do estudante às tecnologias, contribuindo para o acesso constante dos alunos a gêneros multimodais. Rojo (2014) ressalta que as múltiplas exigências do mundo tecnológico vão multiplicar grandemente as práticas e textos que nela circulam e que são abordados. Os estudos dos gêneros do discurso (BAKHTIN, 2003[1979]), multiletramentos (ROJO, 2012;2013) e da multimodalidade (KRESS; VAN LEEUWEN, (2006[1996]) representam a principal base teórica na qual nossa proposta está ancorada. Elaboramos uma proposta de leitura e produção de HQs impressas e digitais. Para isso, utilizamos recortes de sugestões de aulas do Portal do Professor e exploramos alguns significados da Gramática do Design Visual, teoria da obra Reading Images: the grammar of visual design, de autoria de Kress e van Leeuwen (2006[1996]) que segue o pensamento funcionalista da Linguística Sistêmico - Funcional de Halliday (1985[1978]). Os alunos desenvolveram a prática de leitura e a prática de produção de HQs digitais e impressas, utilizando os recursos tecnológicos disponíveis, explorando o tema transversal inclusão social e outros temas que surgiram a partir deste. Para a produção das HQs digitais, utilizamos o programa Pixton para escolas. Todas as produções dos alunos foram publicadas, no programa Pixton, para serem compartilhadas. Esse material pode servir de apoio para discentes e docentes das escolas participantes e de outras instituições. Elaboramos, também, dois Photobooks (uma para cada escola) com as produções dos alunos que passaram a fazer parte do acervo das bibliotecas das duas escolas participantes, ficando disponíveis para que colegas de outras turmas e professores possam ter acesso. Apontamos que a falta de recursos tecnológicos continua representando um entrave que desmotiva os alunos e faz com que eles sejam inseridos em um cenário de exclusão digital que acomete as várias instituições públicas do país. Apesar dos obstáculos, destacamos que os alunos apreciam ler e produzir HQs, tanto na versão impressa quanto digital e que o trabalho com HQs e com outros gêneros multimodais pode contribuir, de forma relevante, para formação de alunos críticos, além de melhorar suas práticas de leitura e escrita. / Mestre em Letras

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