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Truth, Justice, and the American Way in Franco's Spain
Truth, Justice, and the American Way in Franco’s Spain LOUIE DEAN VALENCIA-GARCÍA When Superman first arrived to fascist Spain from the planet “Crypton” in 1940, a year after the end of the Spanish Civil War, he was clad in yellow tights and a red and blue cape—the colors of the recently fallen Spanish Republic—and was known as “Ciclón, el Superhombre,” or “Cyclone, the Superman.” Initially failing to find a fan base in Spain, Ciclón disappeared after three years of sporadic publication. Early attempts by Spanish publishers to print Superman comics were censored for having either attacked Catholic dogma, morality, the church, the regime (or its institutions), or those whom had collaborated with the regime,1 thus leaving publication of such superhero genre comic books primarily to foreign printers. Despite his appearance throughout the 1940s in the less popular Argentine children’s magazines Bil- liken and La Pandilla, it was not until the regular publication of Superman’s 1950’s reincarnation, translated and published by the Mexican press Editorial Novaro,2 that the American icon was broadly popularized in Spain.3 While the Spanish importation of the American superhero certainly reflected American cultural imperialism of the post-war era, the fascist regime in Spain was especially aware of the capacity for Superman comics’ pluralistic tropes to subvert Francoist constructions of society, sexuality, and gender roles. Spain’s heroes were supposed to be José Antonio de Rivera, the founder and martyr of the fascist party in Spain, and the authoritarian dictator Fran- cisco Franco, who ruled Spain from 1939 until his death in 19754; there was no room in that mythology for an American superhero. -
Biblioteca Publica Francisco Ibañez
BIBLIOTECA PÚBLICA FRANCISCO IBÁÑEZ DIRECCIÓN GENERAL DE BIBLIOTECAS, ARCHIVOS Y MUSEOS 1 BIBLIOTECA PÚBLICA FRANCISCO IBÁÑEZ La Biblioteca Pública Gabriel Francisco Ibáñez se encuentra ubicada dentro del Centro Cultural Nicolás Salmerón, en el distrito de Chamartín. Este nuevo espacio bibliotecario es el resultado de las obras de ampliación, acondicionamiento y mejora de las instalaciones de la antigua Biblioteca Pública Chamartín. La biblioteca forma parte de un edificio histórico del distrito. En 1933 el primer presidente de la II República Española, Alcalá Zamora, inaugura el colegio público Nicolás Salmerón. Este centro se convirtió durante años en uno de los colegios más importantes de la ciudad. En la época de la transición se construyen nuevos centros educativos en la zona y el espacio ocupado por el colegio resulta excesivamente grande para la demanda existente. Es por ello que la Junta de Distrito de Chamartín decide ocupar parte del espacio del colegio para crear un centro cultural. Es en ese centro donde años después se ubicará la biblioteca. La historia de la biblioteca comienza en los años 80 del pasado siglo. Es entonces cuando se dedican dos pequeñas salas del Centro Cultural Nicolás Salmerón para crear una biblioteca de la red municipal. Durante más de 30 años la biblioteca ha ofrecido sus servicios a los vecinos y visitantes de la zona en un espacio de 237 metros cuadrados. Ante la creciente demanda de más actividades, servicios y fondos así como la multiplicación exponencial del número de usuarios inscritos en la biblioteca, se pone de manifiesto que el espacio existente resulta insuficiente para dar respuesta a las necesidades de los vecinos del barrio. -
Premio Nacional De Cómic | 10 Años
The NATIONAL COMICS AWARD 2017, LAMIA [Lamia] (2016) by Rayco Pulido was published in the same year as El ala rota by Antonio Altarriba and Kim, the latter paying homage to a mother and conceived after some readers PREMIO NACIONAL DE CÓMIC | 10 AÑOS. 2007-2017 complained about her scant presence in the family story of El arte de volar. It does not seem a coincidence, but rather a cultural turn with regard to women in our society. As in El ala rota, Lamia tells us of the subordinate and “invisible” role National comics award | ten years. 2007-2017 that a traditional society, let alone an autocratic one, allots to women —in both works about Francoist Spain. Unlike El Max | Paco Roca | Felipe Hernández Cava & Bartolomé Seguí ala rota, a family memoir presented realistically, Lamia broaches the subject from a fiction genre ―a sort of Spanish Antonio Altarriba & Kim | Santiago Valenzuela | Alfonso Zapico | Miguelanxo Prado hard-boiled in Jim Thompson’s manner― and the assertion of formal artifice. Juan Díaz Canales & Juanjo Guarnido | Santiago García & Javier Olivares Laia is a 32 year-old orphan, struggling to get ahead in the Barcelona of 1943 where “a killer remains at large”. Conventionally, as expected of her, she has managed to find a “husband” and “get pregnant” while the radio plays a Pablo Auladell | Rayco Pulido replica of the famous Spanish radio show El consultorio de Elena Francis [Elena Francis, Agony Aunt]. The portrayal of post-war Spain is both symbolic and theatrical, in farcical mode precisely because this summarises how the country was 2017 marks the 10th anniversary of the National Comics Award. -
— Historieta O Cómic Biografía De La Narración Gráfica En España
HISTORIETA O CÓMIC HISTORIETA Biblioteca di Rassegna iberistica 4 — Historieta o Cómic Biografía de la narración SCARSELLA, FAVARO DARICI, gráfica en España editado por Alessandro Scarsella Katiuscia Darici Alice Favaro Edizioni Ca’Foscari 4 Historieta o Cómic Biblioteca di Rassegna iberistica Serie diretta da Enric Bou 4 Biblioteca di Rassegna iberistica Direzione scientifica Enric Bou (Università Ca’ Foscari Venezia, Italia) Comitato scientifico Raul Antelo (Universidade Federal de Santa Catarina, Brasil) Luisa Cam- puzano (Universidad de La Habana; Casa de las Américas, Cuba) Ivo Castro (Universidade de Lisboa, Portugal) Pedro Cátedra (Universidad de Salamanca, España) Luz Elena Gutiérrez (El Colegio de México) Hans Lauge Hansen (Aarhus University, Danmark) Noé Jitrik (Universidad de Buenos Aires, Argentina) Alfons Knauth (Ruhr-Universität Bochum, Deutschland) Dante Liano (Università Cattolica del Sacro Cuore Milano, Italia) Antonio Monegal (Universitat Pompeu Fabra, Barcelona, España) José Portolés Lázaro (Universidad Autónoma de Madrid, España) Marco Presotto (Università di Bologna, Italia) Joan Ramon Resina (Stanford University, United States) Pedro Ruiz (Universidad de Córdoba, España) Silvana Serafin (Università degli Studi di Udine, Italia) Roberto Vecchi (Università di Bologna, Italia) Marc Vitse (Université Toulouse-Le Mirail, France) Comitato di redazione Ignacio Arroyo Hernández (Università Ca’ Foscari Venezia, Italia) Vincenzo Arsillo (Università Ca’ Foscari Venezia, Italia) Florencio del Barrio (Università Ca’ Foscari Venezia, -
Gener Cast.Qxp 27/2/02 13:10 Página 34
gener cast.qxp 27/2/02 13:10 Página 34 La prensa ha publicado Dentro de las más de quinientas actividades que se están Piglia son algunos de los participantes en este ciclo orga- presentación de la campaña, un editor –de una de las edi- fraguando en esta ciudad para celebrar durante todo el nizado por la Fundació ”la Caixa”. toriales más importantes del país– observó un instante el 2005 el Año del Libro y la Lectura, la figura del Quijote cen- anuncio y concluyó: María Asunción Guardia. La Vanguardia 21/01/05 tra uno de los seis ejes que sustentarán tan caudaloso - Si trabajase en mi editorial y leyese en horas de trabajo, programa de actividades. ya estaría en la calle. “El deber me obliga a ser protocolario, gracias señor alcal- Samuel Picot. Revista Qué Leer 01/01/05 de. Pero el corazón me hace decir: gracias amigos por Quim Monzó. Magazine. La Vanguardia 23/01/05 encontrarnos en un recuerdo y una esperanza.” Así comen- El año 2005 será, es, el Año del Libro y la Lectura. Así zó su discurso Francisco González Ledesma, uno de los El Año del Libro y la Lectura levantará oficialmente el telón pues, nada tenía de extraño y sorprendente ver desfilar al tres autores que acompañaron a las autoridades y a la mañana en el Auditori con un concierto del ciclo “Visions”, ingenioso hidalgo don Quijote de la Mancha en la cabalga- familia en el acto de homenaje institucional que se rindió velada que la consejera de Cultura, Caterina Mieras, ta de los Reyes Magos del pasado miércoles, tanto en ayer por la tarde a Manuel Vázquez Montalbán. -
– Cultural History Records & Cultural Heritage?
– Cultural History Records & Cultural Heritage? Conference 1–2 October 2015 at Uppsala University – Campus Gotland, Visby Welcome address by Olle Jansson, Adviser to the Vice-Chancellor, Uppsala University, Michel F. Scholz, Uppsala University and Marinette Fogde, Museum of Work I: Cultural History Records & Cultural Heritage Key Note: Comics as a Cultural Record between Humorous and Serious Representation Jane Chapman, Lincoln University Comics themselves are a ‘democratic’ art form – both as popular culture and in their use by social movements. As a cultural record they should be included in the palette of primary sources that academics use for the study of the past – especially unknown or neglected contemporary strips. Using a range of examples, this keynote presentation demonstrates how both humorous and serious comics can be analysed according to four different categories of cultural record. Similarly, humour theory helps our understanding of light-hearted comics, which were sometimes created as a diversion from violence and death in war time. Between humorous and serious representation a liminal space exists that is sometimes populated by comics as an important form of collective identity. Jane Chapman is professor of communications at the University of Lincoln (UK), research associate at Wolfson College, Cambridge, and visiting professor at Macquarie University, Sydney, Australia. Her current research is on soldiers’ own cartoons and comics produced during 1914-18 and the aftermaths. Jane is the author of more than thirty articles and book chapters and ten books on media history, documentary, broadcast journalism. She specialises in illustrative and comparative 20th century newspaper communications in France and in the British dominions of India, Australia Canada. -
Introduction
Introduction Anne Magnussen Abstract Spanish comics represent an exciting and diverse field, but with few excep- tions they are unknown to most comics scholars outside of Spain. This is one important reason behind choosing the subject for not only one but two special issues of European Comic Art. Another reason is the opportunity to draw attention to the extensive comics research in Spanish, and a third is that a national comics focus such as this one contributes to two perspectives within comics research that are very much in vogue, namely transnational studies and memory studies. The six articles included in this issue contrib- ute in different ways to one or all three of these concerns and, despite their necessarily limited number, represent a surprisingly broad spectrum of historical periods, genres and themes. Keywords: children’s comics, Galician comics, historical comics, new memory comics, social criticism, Spanish comics scholarship This is the first of two special issues of European Comic Art dedicated to Spanish comics. Such a national focus may seem irrelevant, as all comics move beyond national borders and relate to comics from dif- ferent places and countries in style, trends and traditions.1 Moreover, the comics industry and comics audiences have been international or transnational phenomena for a considerable part of comics history, including those of Spain. In the case of Spanish comics, a common language unites the Spanish and Latin American comics and markets, but interactions with European (mostly Italian and Franco-Belgian) comics, US comics and, more recently, Asian comics and manga are also at work. These features invite studies that move beyond the nation state and focus on comics and readers as part of ‘multidirectional flows of peoples, 1 ‘Comic’ is used here as a general term (including comic strips, series, books, and graphic novels). -
On the Edge of Comics Criticism | 22/11/17 20 04
CLOSURE #4 - Crucifix - On the Edge of Comics Criticism | www.closure.uni-kiel.de 22/11/17 2004 START AUSGABEN VERANSTALTUNGEN MITMACHEN KONZEPT TEAM Suche ComicKontext On the Edge of Comics Criticism CLOSURE #4 On the Edge of the Panel: Essays on Comics Criticism reviewed by Benoît Crucifix Über diese Ausgabe About this Issue Building on a 2011 international conference held at the Universidad de Alcalá in Spain, On the Aufsätze Edge of the Panel brings together a rich and diverse set of English- and Spanish-language Rezensionen comics scholarship. It opens up a productive dialogue between various traditions of comics studies, both in terms of objects and theories, exploring the kind of international and CLOSURE #3 transnational work that comics scholars have been calling for. Über diese Ausgabe CLOSURE #2.5 Aufsätze One of the strengths of On the Edge of the Panel is to offer a global audience a glimpse into RezensionenÜber diese Ausgabe the vibrant field of Spanish-language comics studies, with original contributions in English. CLOSUREComicKontext #2 Also important in this regard is the inclusion of texts in Spanish, affirming the vitality of comics scholarship in other languages, even though one of the inevitable downsides of such a RezensionenÜber diese Ausgabe bilingual publication is perhaps the imbalance between the majority of Anglophone essays CLOSUREAufsätze #1 and the occasional chapters written in Spanish. RezensionenÜber diese Ausgabe Aufsätze On the Edge is divided into three parts, roughly organized according to methodology and Rezensionen moving from historical approaches through formal analyzes of specific techniques, to conclude with close-readings of particular works and authors. -
Presentació-Rompetechos1.Pdf
-Francisco Ibañez Biografia Altres personatges Inspiració -Rompetechos -1a publicació -Premis -Fitxes tècniques Firma Va néixer el 15 de març a l'any 1936 a Barcelona. En Francisco Ibáñez va treballar en un banc mentre publicava els seus primers dibuixos, fins que, al 1957, va decidir dedicar-se per complet al còmic i va entrar a formar part de la plantilla de l'editorial Bruguera, de la que se'n convertiria en un dels autors clau. La familia Trapisonda Mortadelo y Filemon Pepe Gotera y Otilio Botones Sacarino 13, Rue del percebe Manuel Vázquez André Franquin Joaquín Cera Barrios Rompetechos (en català Trencasostres) és un personatge fictici de còmic del dibuixant barceloní Francisco Ibáñez. Rompetechos és un personatge cabut, baixet, miop i despistat.Apareix per primera vegada en 1964 en la revista Tío Vivo. La primera aparició va ser en 1964 en la revista Tío Vivo de l'Editorial Bruguera. En 1968 es pot dir que era la figura visible de la revista Din Dan, ja que apareixia tant en la portada com en el títol. També va tenir les seues pròpies revistes cridades Súper Rompetechos i Rompetechos extra a la fi dels 70. Recopilacions de les seves historietes es poden trobar en diversos còmics de la Col·lecció Olé, tant en Editorial Bruguera com en Edicions B. En 2004, amb motiu del seu 40 aniversari es va fer un recopilatori en format Super Humor, un volum que contenia la seva primera aventura i molt material del personatge.. Gran Premi del Saló del Còmic de Barcelona (1994) Medalla d'Or al Mèrit en les Belles Arts (2001) Premi Haxtur al Autor -
The Sequential Art of Memory: the Testimonial Struggle of Comics in Spain
© 11 The Sequential Art of Memory: The Testimonial Struggle of Comics in Spain Ana Merino Brittany Tullis In a 2010 article about the Holocaust in Spanish memory, philosopher Reyes Mate affirms that “[m]emory always quotes a higher price” (15) and that memories concerning the Spanish Civil War have flourished in contemporary Spain with an intensity never seen before. He argues that along with the memory of a brutally divided past, there also came criticism of the Spanish Transition and accusations of political amnesia. Mate alludes to the tension surrounding the ways in which both literature and politics relate to the past, and how historical memory has come to have a growing resonance. At the same time, he is cognizant of the fact that “memory opens wounds and makes living together more complicated” (16). While the predominant role of memory has been of critical interest to many historians, Mate’s concern, in line with that of historian Santos Juliá, is its political implementation. In terms of concrete examples relating specifically to Spain, Mate invokes the theoretical perspectives of thinkers such as Walter Benjamin and Maurice Halbwachs. Moreover, in the search for a definition of memory, he was confronted by several answers. Memory can be said to be connected to the hermeneutic activity of making the invisible visible, and it can also be defined as justice. At the same time, this relationship between memory and justice makes uncomfortable those historians who believe that it is not a question of judging events, but of understanding their internal logic. On his part, Mate highlights the importance of memory for recognizing injustice, for, as he claims, “[w]ithout the memory of injustice there can be no justice” (27). -
Specifics of Comics Translation Master’S Diploma Thesis
Masaryk University Faculty of Arts Department of English and American Studies English-language Translation Michaela Macková Specifics of Comics Translation Master’s Diploma Thesis Supervisor: Ing. Mgr. Jiří Rambousek 2012 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 Acknowledgement I would like to thank to my supervisor Ing. Mgr. Jiří Rambousek for his valuable advice and kind support and to Martin Buchal and Jiří Pavlovský for their insights into the processes of comics publication and translation. 3 Table of Contents Table of Contents .......................................................................................................... 1 1. Introduction ........................................................................................................... 6 2. Comics ................................................................................................................... 9 2.1 Defining Comics ........................................................................................ 9 2.2 Types of Comics ...................................................................................... 11 2.3 Short History of Comics .......................................................................... 15 2.4 Comics and Comics Translation in the Czech Republic .......................... 18 3. Comics Translation ............................................................................................. -
USP042-Los-Tebeos-En-Espana-1.Pdf
www.unlimitedspanish.com EL PODCAST DE UNLIMITED SPANISH USP 042: Los tebeos en España Ah, los tebeos…¡qué recuerdos! Horas y horas de lectura con las aventuras más disparatadas. ¡Hola a todos! Soy Òscar, fundador de unlimitedspanish.com. Quiero ayudarte a hablar español fluidamente. ¡Hablar español es más fácil de lo que parece! Solo tienes que usar el material y las técnicas adecuadas. Hoy, en este episodio: Hablaré sobre los tebeos (cómics) en España. A continuación, una mini-historia sobre uno de los tebeos más famosos de España: Mortadelo y Filemon. Muy bien, ¡Empecemos! Los tebeos en España Bien, hoy voy a hablar de un tema que me apasionó cuando era pequeño: Los tebeos. Si no sabes que quiere decir “tebeo”, entenderás mejor la palabra “comic”. Los tebeos, o comics, fueron un elemento importante en mi vida de niñez y en la de muchos otros niños. ¡Simplemente me encantaban! La palabra tebeo viene originariamente de una publicación que se llamaba TBO. Los tebeos disfrutaron de sus mejores años en los años cuarenta y cincuenta, pero hubo un boom a mediados de los 80. Piensa que antes no había internet, y la televisión ofrecía pocos canales, por tanto, los niños buscaban maneras de estar entretenidos. Los libros eran una buena opción, pero si eras niño, quizás era mejor los tebeos, ya que incorporan un poco de texto y muchos dibujos. All rights reserved 2016 www.unlimitedspanish.com 1 www.unlimitedspanish.com Cuando era pequeño tenía muchos tebeos y los leía muchas veces. Tenía como 50 o más. En verano, los martes por la mañana iba con mi madre al mercadillo.