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Caderno De Resumos CADERNO DE RESUMOS ESCOLA DE COMUNICAÇÕES E ARTES UNIVERSIDADE DE SÃO PAULO 21 A 23 DE AGOSTO DE 2019 1 CADERNO DE RESUMOS ESCOLA DE COMUNICAÇÕES E ARTES UNIVERSIDADE DE SÃO PAULO 21 A 23 DE AGOSTO DE 2019 Realização Observatório de Histórias em Quadrinhos da Escola de Comunicações e Artes da Universidade de São Paulo 2 6as Jornadas Internacionais de Histórias em Quadrinhos – Caderno de Resumos Realização Observatório de Histórias em Quadrinhos da ECA-USP Comissão Organizadora Nobu Chinen (UFRJ) Paulo Ramos (UNIFESP) Roberto Elísio dos Santos (Observatório de Histórias em Quadrinhos / ECA-USP) Waldomiro Vergueiro (ECA-USP) Comissão Executiva Beatriz Sequeira (ECA-USP) Celbi Pegoraro (ECA-USP) Ediliane Boff (FIAM) Nobu Chinen (UFRJ) Edição Celbi Pegoraro Ediliane de Oliveira Boff Nobu Chinen Paulo Ramos Roberto Elísio dos Santos Waldomiro Vergueiro Ilustração da capa Will Apoio Comix Departamento de Informação e Cultura da ECA-USP Departamento de Letras da Universidade Federal de São Paulo Editora Peirópolis Escola de Comunicações e Artes da Universidade de São Paulo Programa de Pós-Graduação em Comunicação da ECA-USP 6as Jornadas Internacionais de Histórias em Quadrinhos – Caderno de Resumos. 21 a 23 de agosto de 2019, São Paulo. Organizado por Nobu Chinen, Paulo Ramos, Roberto Elísio dos Santos e Waldomiro Vergueiro. São Paulo: Observatório de Histórias em Quadrinhos da Escola de Comunicações e Artes da Universidade de São Paulo, 2019. ISSN 2237-0323 1 . Histórias em Quadrinhos. 2. Jornadas Internacionais de Histórias em Quadrinhos. 3 SUMÁRIO Apresentação 5 Programação Geral 6 Resumos / Eixos Temáticos Quadrinhos, Educação e Cultura 11 Quadrinhos, História e Sociedade 93 Quadrinhos, Linguagem e Gêneros Textuais/Discursivos 163 Quadrinhos, Literatura e Arte 210 Quadrinhos, Comunicação e Mercado 245 Quadrinhos, Novas Mídias e Tecnologias 255 4 APRESENTAÇÃO Temos a satisfação de apresentar os resumos aprovados para apresentação nas 5as Jornadas Internacionais de Histórias em Quadrinhos. Esta é a primeira edição anual do evento, até então bienal, que vem crescendo a cada realização e se configura como o maior congresso sobre Histórias em Quadrinhos da América Latina e um dos maiores do mundo em número de inscrições. O número de resumos desta vez, 264, é um novo recorde, o que demonstra que o campo de pesquisa sobre quadrinhos no Brasil já está consolidado e vem ganhando espaço no meio acadêmico de forma irreversível e, ousamos dizer, irresistível. Somados os da presente edição, o número das Jornadas bate a marca simbólica de 1.000 resumos aprovados, o que, sob qualquer parâmetro, é um valor bastante expressivo. E não é só na quantidade que os trabalhos apresentados são superlativos: transformados em artigos, eles revelam uma alta qualidade que passou a ser devidamente reconhecida com a instituição do Prêmio Álvaro de Moya, que terá sua primeira cerimônia de entrega nesta edição, referente ao melhor artigo submetido às 4as Jornadas. No entanto, muito mais importante do que comemorar números e recordes, o maior mérito das Jornadas é servir como um fórum que promove o encontro entre pessoas realmente interessadas em compartilhar conhecimento. Em todas as edições, pudemos contar com a presença de conceituados convidados nacionais e internacionais com os quais os participantes tiveram a oportunidade de aprender e de dialogar, em um ambiente de debates aprofundados, porém de descontração e amizade. As Jornadas são, enfim, um momento de reunião e congraçamento e assim pretendemos que continue sendo: uma grande celebração à Nona Arte. Nobu Chinen Paulo Ramos Roberto Elísio dos Santos Waldomiro Vergueiro Organização das Jornadas Internacionais de Histórias em Quadrinhos 5 PROGRAMAÇÃO GERAL 6 21/08 QUARTA-FEIRA 12h30 Credenciamento e distribuição de material 13h45 ~ 15h15 Mesas temáticas 15h15 – 15h45 Intervalo 15h45 – 17h15 Mesas temáticas 17h15 – 18h Coffee Break 18h Abertura oficial do congresso 18h15 Anúncio do vencedor do Prêmio Álvaro de Moya 18h20 Conferência de abertura: Dra. Carol Tilley University of Illinois Urbana-Champaign / EUA Auditório Lupe Cotrim 7 22/08 QUINTA-FEIRA 12h30 Credenciamento e distribuição de material 13h45 ~ 15h15 Mesas temáticas 15h15 – 15h45 Intervalo 15h45 – 17h15 Mesas temáticas 17h15 – 18h Coffee Break 18h Conferência: Nobu Chinen Universidade Federal do Rio de Janeiro / Observatório de Histórias em Quadrinhos ECA/USP Marcelo D´Salete Quadrinista, mestre em História da Arte e professor da Escola de Aplicação da USP Auditório Lupe Cotrim 19H~20H Lançamentos de livros 8 23/08 SEXTA-FEIRA 12h30 Credenciamento e distribuição de material 13h45 ~ 15h15 Mesas temáticas 15h15 – 15h45 Intervalo 15h45 – 17h15 Mesas temáticas 17h15 – 18h Coffee Break 18h Conferência de encerramento: Dr. José CampoH Diretor da Fundação Calicomix / Colômbia Auditório Lupe Cotrim 19h Encerramento do congresso 9 RESUMOS EIXOS TEMÁTICOS 10 QUADRINHOS, EDUCAÇÃO E CULTURA 11 A REVOLUÇÃO ARTÍSTICA EM MORRINHO EM QUADRINHOS: INTERTEXTUALIDADE A/R/TOGRÁFICA ENTRE SABERES DA FAVELA E ENSINO DAS ARTES CONTEMPORÂNEAS Alexandre Henrique Monteiro Guimarães A presente proposta de comunicação, inserida no eixo temático Quadrinhos, Educação e Cultura desta jornada, visa a explorar o universo mágico e artístico da poética brincante desenvolvida pelos meninos da Comunidade do Pereirão, na Zona Sul do Rio de Janeiro, criadores da obra internacionalmente premiada Morrinho. A articulação educacional apresenta-se através da linguagem dos quadrinhos, utilizando como escopo teórico a a/r/tografia (IRWIN, 2013), somando- se às pesquisas recentes sobre a importância da linguagem dos quadrinhos no ensino das Artes Visuais. O trabalho nasceu de uma pesquisa de doutoramento realizada em 2017 (PPGARTES/ UERJ) que, intertextualizada com a arte dos quadrinhos, se desmembrou, posteriormente para fins didáticos, visando se integrar a um projeto pedagógico direcionado às escolas. Neste sentido, Morrinho passa a ser [re]conhecido e valorizado culturalmente também por meio de uma linguagem artística capaz de participar da formação de jovens e adultos, ampliando o alcance social sobre esta obra de arte motivada pelo signo da [trans]formação. A linguagem escolhida possui a vantagem de despertar o interesse educacional de diversas faixas etárias, enfatizando os saberes endógenos de seus criadores a/r/tógrafos, notadamente sobre o contexto do morro e das favelas cariocas ludicamente [re]criado, unindo-se a uma [re]articulação entre ficção e realidade. Nesta abertura de mundos, sem estar refém de uma linearidade explícita, desfronterizando entretenimento e educação, o trabalho de quadrinhos em causa, além de figurar como parte da tese defendida, propõe-se a divulgar detalhes do trabalho de campo desta investigação, aliando-se às passagens do documentário Deus sabe tudo, mas não é X9. Palavras-chave: Histórias em quadrinhos. Favela. A/r/tografia. THE ARTISTIC REVOLUTION OF MORRINHO IN COMICS: INTERTEXTUALITIESA/R/TGRAPHIC BETWEEN THE SHANTYTOWN KNOWLEDGE AND THE THE VISUAL ARTS TEACHING Alexandre Henrique Monteiro Guimarães The present communication proposal, inserted in the thematic axis “Comics, Education and Culture” of this Congress, aims to explore the magical and artistic universe of the ludic poetics developed by the children of the Community Pereirão, in the South Zone of Rio de Janeiro, creators of the internationally awarded work Morrinho. The educational articulation takes place through the language of comics, using a/r/tography (IRWIN, 2013) as methodology, as well as recent research results on the importance of the comics language in the visual arts teaching. The work was born from a doctoral research carried out in 2017 (PPARTES / UERJ), which, intertextualized with the art of comics, was spun off later for didactic teaching purposes, aiming at integrating a pedagogical project directed to the schools. In this sense, Morrinho comes to be known, recognized and valued culturally also through an artistic language capable of participating in the formation of young people and adults, increasing the social reach on this work of art motivated by the sign of formation and transformation. The chosen language has the advantage of arousing the educational interest of several age groups, emphasizing the endogenous knowledge of their a/r/tographers creators, especially on the context of the hills and shantytowns of Rio de Janeiro [re] created in a playful way, joining a relationship between fiction and reality. In this opening of worlds, without being hostage to an explicit linearity, removing the frontiers between entertainment and education, the comic work, besides being part of the thesis defended, proposes to disclose details of the field work of this investigation, allying itself with passages of the documentary God knows everything, but he is not a X9. This use of comics can provide the opening of new educational windows. This presentation also intends to examine the details of the fieldwork of this investigation, allying itself with passages of the documentary God knows everything, but he is not a X9. Key Words: A/r/tography. Comics. Shantytown. 12 O LOUCO E A FUGA: UMA REFLEXÃO PSICANALÍTICA Alice Viana Nildo Viana Márcio Araújo, irmão de Maurício de Sousa, é o criador de O Louco (1973), um dos personagens da Turma da Mônica relacionado ao personagem Cebolinha. O tema desta pesquisa analisará O Louco a partir da graphic novel A Fuga, pois permite diversas formas de interpretações, tais como um personagem real, ou seja, um louco propriamente dito ou o irreal
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