Marco conceptual La narrativa gráfica. Desde sus inicios, la narrativa gráfica ha estado en la mira frente la crítica literaria, y esto debido al tipo de lectura que estas obras exigen. Los recursos que están presentes en ellas exigen al lector una lectura más profunda, analítica y rigurosa, además, pueden llegar a generar otro tipo discursos. Carolina Gonzáles (2004) afirma: Tanto por su origen como por su desarrollo, la narrativa gráfica, en especial la novela gráfica, está atravesando por un proceso de recepción complicado debido a las exigencias que le demanda a su lector pues no se trata de un tipo de obra que funcione como un sustituto o una respuesta a la creciente demanda de fuentes de entretenimiento visual por el contrario, posee cualidades estilísticas que la conforman de manera compleja e integral. La narrativa gráfica se ha convertido en el sinfín de historias adaptadas que muestran de manera general la visión del mundo o crítica, tanto para quienes la leen como para quienes la escriben, así puede afirmarlo Eisner 1990: Podría decirse que la novela gráfica proviene del refinamiento estético y discursivo de la propuesta editorial del cómic pero que se ha refinado de tal manera que ha llegado a un alto grado de complejidad estructural y discursiva lo cual ha desarrollado un tipo de …show more content…
Al tratar cada aspecto, introduce conceptos claramente definidos que le sirven para crear tipologías mediante las cuales hace clasificaciones que cubren la totalidad del universo de los cómics: organizando tanto aquellos que se han dado en la historia (en los distintos países y tiempos) como los que podrían surgir en los dominios por explorar. Y en cada caso sus clasificaciones analizan con el mismo cuidado los cómics más sofisticados y los más
Satirical writing allows the author to express his or her opinion about a problem in society. A writing must follow three rules in order for it to be classified as satirical. First, a continuous focus on one’s subject’s faults. Secondly, instead of telling the reader directly, information must be given indirectly. Thirdly, the writing must have a variety of satirical techniques in general (Festa). With these simple guidelines, an author can demonstrate his beliefs of what he thinks needs to be changed in society.
The novel is nurtured with a very soft but sophisticated diction. The essay itself portrays the author’s style of sarcasm and explains his points in a very clear manner. In addition, the author has used vocabulary that is very easy to understand and manages to relate the readers with his simplistic words. The author is able to convey a strong and provoc...
This paper will discuss and compare A Faun Teased by Children sculpture, of the Italian Baroque style, and the Little Fourteen Year Old Dancer of the French impressionist style. These two sculptures give us a clear insight and allows us to peer in on the moment that is taking place. The active movement, strong diagonals and dramatic facial expressions of the figures in A Faun Teased by Children tells the on looker a vivid detailed story of the actions that are taking place and what role each figure is taking on, in a mythical scene, while the stagnant and serene pose of the Fourteen Year Old Girl resonates calmness and a moment that has not taken place just yet.
Junot Diaz’s “Otravida, Otravez” depicts a perspective of life where one’s present and future always reflects their past in some way. Diaz’s representation of symbolic figures, convey how a person’s past can be carried into the future. Diaz’s use of symbolic figures includes the dirty sheets washed by Yasmin, the letters sent by Virta to Ramon, and the young girl who begins working with Yasmin at the hospital. These symbolic figures and situations remind the readers that the past will always play a major role in one’s present. Additionally, Diaz’s word choice, where Spanish words appear in many different parts of the reading, suggests that indirectly, one’s past habits are not easily broken.
In this work, the colors and shapes come together to form the depiction of a woman in a chair gazing out at the landscape beyond a window. This subject matter relates to Picasso’s infamous relationship with women and may serve as a depiction of one of the many women he was linked with. The painting depicts the woman with a dual omniscient and introspective vision. Picasso develops this dichotomy through the depiction of a wayward eye gazing out the window and a larger ubiquitous eye glaring directly at the viewers. In constructing such a contrast, the painter is able to convey the personality...
En sus inicios, la palabra caricatura surgió para designar el arte de resaltar los rasgos físicos (principalmente del rostro) de ciertos personajes, en ese sentido, se caracterizaba por su estilo recurrente de representar a los actores con cabezas enormes y dejar de lado (en un segundo plano) el resto del cuerpo. Posteriormente, se le da importancia a las extremidades, puesto que se comprendió que lo kinésico y proxémico aportan significado a la imagen; así, por ejemplo, la ropa es un factor importante para representar aspectos relacionados con la cultura. Acto seguido, la caricatura comenzó a incursionar en el ámbito de la política, dejando en un segundo plano el interés por mostrar las desfiguraciones faciales, para impregnarse de un tinte político y mordaz con miras a criticar aspectos socio-políticos.
In writing this evolving story 3 major points served as a preamble. This cultural production is not the actual results of the new awareness, rather, is imposed by the European imaginaries during the time of Spanish exploration and colonization in the sixteenth century. Moreover, this presented art was a heterogeneous mixture of many communities that invade in the region and have never been monumental. Another important aspect is that the Latino Art and the related culture are dynamic and mutable. The art has expressed from of the immigrants and intersect across various styles and susceptibilities. In short, this art is not depicting the actual form of Chicano cultural values
Lefevre, Pascal. “Incompatible Visual Ontologies? – The Problematic Adaptation of Drawn Images. In Film and Comic Books, edited by Mark Jancovich, Matthew P McAllister and Ian Gordan, Jackson: University Press of Mississippi, 2007, 1 – 13.
The cultural product that I will be focusing on is Japanese cartoons. A more colloquial term “Manga” is used when referring to such comic books. I hereby focus on Manga because of its popularity and ubiquitous nature in Japan. About 35 per cent (Allen & Sakamoto, 2006) of all publications are in serial and paperback formats and they are read by people of all age groups and class (Craig. J, 2000). The prevalence and popularity of such manga suggest that it may be an accurate indicator of social norms and values in the Japanese society. This realm of the fantastic, albeit not to be taken literally in many instances, serve as metaphors for culture itself and speak about the world we live in today (Craig. J, 2000). Hence, this sophistication has allowed manga to spread beyond Japan to places like the other parts of Asia and the western world. As such, I find it imperative for an acute analysis of this cultural product and the crucial actors involved in its production and consumption.
Leer la poesía de Julia de Burgos es abrirse paso a un mundo de emociones, luchas y temas múltiples. En sus tres poemarios, la poeta inaugura un estilo y unas temáticas que en ocasiones coinciden y en otras se apartan de los poetas entre los que convivió (López Jiménez, "Julia de Burgos” 141). Julia buscó abrirse paso hacia nuevas formas de escritura y trazar rutas alternas a los cánones establecidos, tanto por sus contemporáneos como por la tradición literaria. Poema en veinte surcos, su primer libro publicado en 1938, representa ese anhelo de trazar múltiples rutas mediante las cuales pueda realizar una búsqueda de nuevas voces, perspectivas y temáticas. Precisamente, en la poesía de Julia, sobre todo la de su primer poemario, se advierte un deseo de definirse y afirmar sus principios poéticos y políticos. Según Ivette López Jiménez, muchos poemas de su primer libro se destacan porque “se alejan de las fórmulas de la poesía criollista” y porque en ellos “la voz se afirma como una ‘rama desprendida’ o como ‘brote de todos los suelos de la tierra... de todos los hombres y de todas las épocas” (“Julia de Burgos” 143). Hay pues, un intento por alejarse de los discursos autorizados, lo que la lleva a identificarse con los espacios y los sujetos marginados. Desde esta perspectiva, Julia de Burgos pasa a ocupar el rol de “poeta cívico” y su discurso a ser uno de denuncia y protesta. Por ello, propone una reconsideración de los espacios marginales, del “otro” con el objetivo de traerlos a primer plano. Con esto, establece una “actitud a la avanzada del pensamiento y de las costumbres, sobre todo lo relacionado con los cambios necesarios en la sociedad”, en palabras de Manuel de la Puebla (16).
This breaks all of our tradition in sculpture. On the one hand the simplification and distortion of body and limb seem extremely daring departures from the tradition which few do; on the other hand, this is reminiscent of the earliest sculpture ever produced, which is far from a perfect balance. Thus he has created a new form; that of pure laziness.
Apart from reading from the right to the left, manga series differ from western comic books mostly in their pictorial representation. The characters have a different design and the feelings and happenings are mainly expressed visually with full of symbols and effects, rather than by textual references. It demands active reading from the reader in order to understand all the signs. The readers can have a feeling that they are learning something new concerning the representation, the theme and the reading style. (Brenner, 75)
Simon, Joe; Jim Simon (1990). The Comic Book Makers. Crestwood/II. p. 50. ISBN 1-887591-35-4. Reissued by Vanguard Productions in 2003.
Manga is a major part of Japan’s publishing industry, accounting for over 25 percent of all printed materials in the country. They offer something for everyone and can be purchased from a wide range of retail and online stores. Manga has a wide range of fans, from small children to senior citizens, because its storylines are clear and the characters are rich in humanity. This is why they are often used for not only for entertainment but also to provide simple explanations about difficult matters like history, natural science and social issues.