DOCSLIB.ORG

De Maria a Madalena Representações Femininas Nas Histórias Em Quadrinhos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
De Maria a Madalena Representações Femininas Nas Histórias Em Quadrinhos UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES EDILIANE DE OLIVEIRA BOFF De Maria a Madalena representações femininas nas histórias em quadrinhos São Paulo 2014 EDILIANE DE OLIVEIRA BOFF De Maria a Madalena: representações femininas nas histórias em quadrinhos Tese apresentada ao Programa de Pós-Graduação em Ciências da Comunicação da Escola de Comunicações e Artes da Universidade de São Paulo como requisito parcial para obtenção do título de Doutora em Ciências da Comunicação Área de Concentração: Interfaces Sociais da Comunicação Orientador: Prof. Dr. Waldomiro de Castro Santos Vergueiro São Paulo 2014 2 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. BOFF, E.O. De Maria a Madalena: representações femininas nas histórias em quadrinhos Tese apresentada à Faculdade de Comunicações e Artes da Universidade de São Paulo para obtenção do título de Doutora em Comunicação. Aprovado em: Banca Examinadora Prof. Dr. ________________________ Instituição: _________________________ Julgamento: ______________________ Assinatura: ________________________ Prof. Dr. ________________________ Instituição: _________________________ Julgamento: ______________________ Assinatura: ________________________ Prof. Dr. ________________________ Instituição: _________________________ Julgamento: ______________________ Assinatura: ________________________ Prof. Dr. ________________________ Instituição: _________________________ Julgamento: ______________________ Assinatura: ________________________ Prof. Dr. ________________________ Instituição: _________________________ Julgamento: ______________________ Assinatura: ________________________ 4 AGRADECIMENTOS À CAPES, pelo financiamento desta pesquisa em todos os momentos de seu desenvolvimento; Ao professor Waldomiro, pela generosidade, pelo exemplo de força e dedicação, pela paciência, pelas horas, pelos tempos de Conan, Xavier e Shmoo; A Luiz Maurício, meu amor, por tudo; A Eva, Luiz Carlos e Celine, pelo aconchego incondicional e pelo amor; Às professoras Sandra e Regina, pelas significativas contribuições durante a qualificação do projeto desta tese e pela grande possibilidade de aprendizado; Ao meu querido professor e amigo Ramón, pelas conversas e pelas bem humoradas aulas de espanhol; Ao professor Jesús Jiménez Varea, pela ótima acolhida na Universidad de Sevilla e pela valiosa coorientação; Ao professor e amigo Antonio Pineda, pelas furiosas e divertidas discussões teóricas; e pelas importantes indicações de melhoria; A todos os meus velhos e novos amigos, pela companhia, pela paciência e pelo estímulo; Aos meus colegas de curso, especialmente ao Nobu, sempre dedicado a fornecer material de pesquisa; À secretaria do PPGCOM, especialmente para Rosely, por compreender as ansiedades geradas em função de problemas burocráticos e pela enorme dedicação ao seu trabalho; Às quadrinhistas, aos editores, especialistas e professores que forneceram entrevistas sugestões e inúmeras contribuições para esse trabalho. Nancy, de Ernie Bushmiller 6 RESUMO Trata das representações de protagonistas femininas nas histórias em quadrinhos, enfatizando exemplos de histórias que abordam concepções identitárias distintas. Com o intuito de compreender como o feminino aparece em determinadas criações, esta tese se apoia nos pressupostos metodológicos da Hermenêutica de Profundidade, de John B. Thompson (2011). Assim, a pesquisa apresenta dois momentos dorsais, sendo que o primeiro aborda as construções femininas, a partir da perspectiva de autores masculinos; e o segundo aborda tais construções a partir da perspectiva de autoras-mulheres e do autor transgênero Laerte. Em princípio, foram enfatizadas as personagens das obras Rê Bordosa, Mara-Tara, As skotinhas, Radical Chic e Aline. Posteriormente, tratou-se de destacar também as criações Mulher de 30, Amely: uma mulher de verdade, Uma Patada com carinho e Muriel. Dessa forma, constatou- se que grande parte dessas narrativas oscilam entre criticar, debochar e apoiar uma ideia de feminino fundamentada na mística feminina, desenvolvida pela pensadora Betty Friedan (1971). Palavras-chave: Feminino. Quadrinhos. Identidade. Mística feminina. Abstract The feminine issue within today’s society is an essential part of the communication field. In comics, the female representations are even more intricate. Based on that, and emphasizing cases that present differents conceptions of identity, this research is constituted by two dorsal moments: the first of which covers the female constructs from the perspective of male- authors; and the second discusses such constructions from the perspective of the female- author and Laerte, who is, by the way, a transgender author. In order to understand how the female shows up in several creations, this thesis is based on the methodological assumptions of John B. Thompson (2011). First of all, were objects of this work the characters Rê Bordosa, Mara-Tara, As skotinhas, Radical Chic and Aline. Later, were added the works Mulher de 30, Amely: uma mulher de verdade, Uma patada com carinho; and Muriel. Thus, there is a large evidence that the most part of these narratives swings between scoffing and supporting the idea of female, based on the feminine mystic, by Betty Friedan (1971). Key-word: Feminine. Comics. Identity. Feminine mystique. LISTA DE FIGURAS Figura 1 Jornal online O Bairrista (O BAIRRISTA. Disponível em: < www.obairrista.com>. Acesso em 2 Set.2013)........................................................................................................................................ 31 Figura 2 Quadrinhos de Pagu (CAMPOS, Augusto. Pagu, vida e obra. São Paulo: Brasiliense, 1987).... 38 Figura 3 Marcha das vadias, de Laerte (COUTINHO, Laerte. Disponível em: <http://murieltotal.zip.net/arch2012-07-29_2012-08-04.html>. Acesso em: 16. Ago. 2012).......... 43 Figura 4 Grupo FEMEN, Ucrânia (GRUPO FEMEN. Disponível em: <http://femen.org/about>. Acesso em 4 Jan. 2014)................................................................................................................................. 46 Figura 5 Campanha Chega de Fiu-fiu (CHEGA DE FIU-FIU. Disponível em: <http://thinkolga.com/chega-de-fiu-fiu>. Acesso em Dez. 2013)..................................................... 48 Figura 6 Propaganda Hope Gisele Bündchen (HOPE GISELE BÜNDCHEN. Diponível em: <http://exame.abril.com.br/marketing/noticias/gisele-bundchen-ilustra-campanha-da-hope>. Acesso em 4 Abr. 2012).................................................................................................................... 55 Figura 7 Anúncio Impresso Skol, 2003 (FNAZCA. Disponível em: <www.fnazca.com.br/index.php/2006/02/06/skol-pilsen>. Acesso em 4 Abr. 2012)....................... 56 Figura 8 Dove e a exibição do corpo comum (DOVE. Disponível em: < http://www.dove.com.br/pt/>. Acesso em 12 Dez. 2011).................................................................................................................. 58 Figura 9 Whoa, Nellie! (HERNANDEZ, Jaime. Whoa, Nellie!. Campinas: Zarabatana, 2007, p.77).......... 62 Figura 10 Dale Arden (Disponível em <http://femformidable.blogspot.com.br/2013_06_01_archive.html>. Acesso em 4 Jan 2014.)................................................................................................................................................ 65 Figura 11 Miss Lace (HISTORIA DE LOS COMICS, nº 8, 1982, p. 221)...................................................... 65 Figura 12 Daisy Mae (GOULART, R. El Estilo Dogpatch. In.: HISTORIA DE LOS CÓMICS, nº 10, 1982, p.256)...................................................................................................................................... 66 Figura 13 Xulipa Buscapé (GOULART, R. El Estilo Dogpatch. In.: HISTORIA DE LOS CÓMICS, nº 10, 1982, p.256)...................................................................................................................................... 67 Figura 14 Parte de história de Pafúncio e Marocas,1920 (HISTORIA DE LOS CÓMICS,- nº2, 1982, p. 46)..................................................................................................................................................... 72 Figura 15 Blondie, de Chic Young (1) (HISTORIA DE LOS CÓMICS, nº 27, 1982, p. 737)......................... 74 Figura 16 Blondie, Chic Young (2) (HISTORIA DE LOS CÓMICS, nº 27, 1982, p. 737)............................. 75 Figura 17 Mr. and Mrs. (WEPMAN, D. La serie familiar: relaciones y papeles familiares em los cómics. In.: HISTORIA DE LOS CÓMICS, nº 3, 1982, p. 82)..................................................................... 77 Figura 18 Winnie Winkle, de Martín Branner (JAVIER, C. Mitos y generos de testimonio cotidiano:La forma americana de vida en el joven sistema de los cómics. In.: HISTORIA DE LOS CÓMICS, nº3, 1982, p. 64)................................................................................................................................ 79 Figura 19 Nancy (Disponível em: <http://ladyscomics.com.br/a-travessa-nancy>. Acesso em 20 Dez. 2013)................................................................................................................................................. 80 Figura 20 Little Orphan Annie (HISTORIA DE LOS CÓMICS, nº 5, 1982, p.140)..................................... 80 Figura 21 Little Annie Fanny (THOMPSON, D., Alfred E. Neuman da origen a Little Annie Funny. In.: HISTORIA
Load more

Recommended publications
  • ANNUALS-EXIT Total of 576 Less Doctor Who Except for 1975
    ANNUALS-EXIT Total of 576 less Doctor Who except for 1975 Annual aa TITLE, EXCLUDING “THE”, c=circa where no © displayed, some dates internal only Annual 2000AD Annual 1978 b3 Annual 2000AD Annual 1984 b3 Annual-type Abba Gift Book © 1977 LR4 Annual ABC Children’s Hour Annual no.1 dj LR7w Annual Action Annual 1979 b3 Annual Action Annual 1981 b3 Annual TVT Adventures of Robin Hood 1 LR5 Annual TVT Adventures of Robin Hood 1 2, (1 for repair of other) b3 Annual TVT Adventures of Sir Lancelot circa 1958, probably no.1 b3 Annual TVT A-Team Annual 1986 LR4 Annual Australasian Boy’s Annual 1914 LR Annual Australian Boy’s Annual 1912 LR Annual Australian Boy’s Annual c/1930 plane over ship dj not matching? LR Annual Australian Girl’s Annual 16? Hockey stick cvr LR Annual-type Australian Wonder Book ©1935 b3 Annual TVT B.J. and the Bear © 1981 b3 Annual Battle Action Force Annual 1985 b3 Annual Battle Action Force Annual 1986 b3 Annual Battle Picture Weekly Annual 1981 LR5 Annual Battle Picture Weekly Annual 1982 b3 Annual Battle Picture Weekly Annual 1982 LR5 Annual Beano Book 1964 LR5 Annual Beano Book 1971 LR4 Annual Beano Book 1981 b3 Annual Beano Book 1983 LR4 Annual Beano Book 1985 LR4 Annual Beano Book 1987 LR4 Annual Beezer Book 1976 LR4 Annual Beezer Book 1977 LR4 Annual Beezer Book 1982 LR4 Annual Beezer Book 1987 LR4 Annual TVT Ben Casey Annual © 1963 yellow Sp LR4 Annual Beryl the Peril 1977 (Beano spin-off) b3 Annual Beryl the Peril 1988 (Beano spin-off) b3 Annual TVT Beverly Hills 90210 Official Annual 1993 LR4 Annual TVT Bionic
    [Show full text]
  • Schoolgirls' Own Library
    The Schoolgirl’s Own Library 1922-1940 The School Friend, School Girl and Schoolgirls’ Own featured a range of self-contained stories, serials and articles each week, in addition to the main attraction. A large number of these additional stories were also reprinted in the SOL. The Schoolgirls Own Library Index 2 - 1922 - No. Title Author School Source 1 The Schoolgirl Outcast Anon (J G Jones) 2 The Rockcliffe Rebels Anon - 1923 - 3 Adopted by the School Louise Essex [LI] 4 The Mystery Girl of Morcove Marjorie Stanton [ELR] Morcove 5 Castaway Jess Julia Storm [GGF] Schoolgirls’ Own 1921 6 The Schemers in the School Hilda Richards [JWW] Cliff House 7 The Minstrel Girl Anon (ELR) School Friend 1921 8 Delia of the Circus Marjorie Stanton [HP] Morcove 9 The Girl Who Chose Riches Joy Phillips School Friend 1921 10 Joan Havilland’s Silence Joy Phillips School Friend 1922 11 The Guides of the Poppy Patrol Mildred Gordon Schoolgirls’ Own 1921 12 Their Princess Chum Hilda Richards [JWW] Cliff House 13 In Search of Her Father Joan Vincent [RSK] School Friend 1921 14 The Signalman’s Daughter Gertrude Nelson [JWB] School Friend 1922 15 The Little Mother Mildred Gordon Schoolgirls’ Own 1922 16 The Girl Who Was Spoilt Mildred Gordon Schoolgirls’ Own 1921 17 Friendship Forbidden Ida Melbourne [ELR] School Friend 1922 18 The Schoolgirl Queen Ida Melbourne [ELR] School Friend 1922 19 From Circus to Mansion Adrian Home Schoolgirls’ Own 1921 20 The Fisherman’s Daughter Mildred Gordon Schoolgirls’ Own 1921 21 The Island Feud Gertrude Nelson [JWB] Schoolgirls’
    [Show full text]
  • An Annual Treat!
    Scottish Memories An annual treat! Young people might be more interested in the virtual worlds of their video games these days, and many toys and comics have been long forgotten, but there’s one stocking-filler stalwart that remains a popular present for young and old – the annual oday millions of annuals are has passed, whereas an annual with purchased each Christmas, a non-Xmas themed cover is likely covering subjects as varied to sell into January and February. as Dr Who, Blue Peter Some of the covers extended from the T and the Brownies, with front to the rear cover and are very youngsters thrilled to receive a fun, appealing to the eye – Beano from the hardback book that is intended to be mid 1950s spring to mind.’ enjoyed throughout the coming year. Inside the annuals, readers were, Take a look at most kids’ bookshelves and still are, treated to a mix of longer and you’ll no doubt see the uniform stories, jokes, puzzles, and, perhaps spines of a favourite annual… if only most importantly to today’s annual we older, supposedly wiser folk had kept collectors, wonderful, bright artwork, our Broons, Beano and Buster annuals bringing together the readers’ favourite from all those years ago, we could be sat characters and subjects in one title. on a goldmine. According to collector- Perhaps you remember receiving turned-comic-and-annual-auctioneer Phil copies of the Rupert Bear annual each Shrimpton, many old annuals are now year, with the beautifully drawn strips worth hundreds of pounds. ‘The first giving the reader the choice of enjoying Broons and Oor Wullie annuals from a quick version or a more in-depth story.
    [Show full text]
  • Reading Production and Culture UK Teen Girl Comics from 1955 to 1960
    Ormrod, J (2018) Reading production and culture UK teen Girl comics from 1955 to 1960. Girlhood Studies, 11 (3). pp. 8-33. ISSN 1938-8209 Downloaded from: https://e-space.mmu.ac.uk/622860/ Version: Accepted Version Publisher: Berghahn DOI: https://doi.org/10.3167/ghs.2018.110304 Please cite the published version https://e-space.mmu.ac.uk Reading Production and Culture in UK Teen Girl Comics 1955 to 1960 Joan Ormrod Abstract In this article I explore the production of teen girl comics such as Marilyn, Mirabelle, Roxy and Valentine in the promotion of pop music and pop stars from 1955 to 1960. These comics developed alongside early pop music and consisted of serial and self-contained picture stories, beauty and pop music articles, advice columns, and horoscopes. Materiality is a key component of the importance of comics in the promotional culture in a media landscape in which pop music was difficult to access for teenage girls. I analyze the comics within their historical and cultural framework and show how early British pop stars were constructed through paradoxical discourses such as religion, consumerism, and national identity to make them safe for teen girl consumption. The promotion of these star images formed the foundation for later pop music promotion and girl fan practices. Keywords consumerism, fandom, fantasy, materiality, pop music, promotion, stardom, teen magazines Introduction Teen girl comics appeared in the mid-1950s, a pivotal moment in popular culture when the teenage girl was identified as a member of a potentially lucrative market, and American culture began to pervade British teenage music, fashion, and attitudes.
    [Show full text]
  • Look and Learn a History of the Classic Children's Magazine By
    Look and Learn A History of the Classic Children's Magazine By Steve Holland Text © Look and Learn Magazine Ltd 2006 First published 2006 in PDF form on www.lookandlearn.com by Look and Learn Magazine Ltd 54 Upper Montagu Street, London W1H 1SL 1 Acknowledgments Compiling the history of Look and Learn would have be an impossible task had it not been for the considerable help and assistance of many people, some directly involved in the magazine itself, some lifetime fans of the magazine and its creators. I am extremely grateful to them all for allowing me to draw on their memories to piece together the complex and entertaining story of the various papers covered in this book. First and foremost I must thank the former staff members of Look and Learn and Fleetway Publications (later IPC Magazines) for making themselves available for long and often rambling interviews, including Bob Bartholomew, Keith Chapman, Doug Church, Philip Gorton, Sue Lamb, Stan Macdonald, Leonard Matthews, Roy MacAdorey, Maggie Meade-King, John Melhuish, Mike Moorcock, Gil Page, Colin Parker, Jack Parker, Frank S. Pepper, Noreen Pleavin, John Sanders and Jim Storrie. My thanks also to Oliver Frey, Wilf Hardy, Wendy Meadway, Roger Payne and Clive Uptton, for detailing their artistic exploits on the magazine. Jenny Marlowe, Ronan Morgan, June Vincent and Beryl Vuolo also deserve thanks for their help filling in details that would otherwise have escaped me. David Abbott and Paul Philips, both of IPC Media, Susan Gardner of the Guild of Aviation Artists and Morva White of The Bible Society were all helpful in locating information and contacts.
    [Show full text]
  • Good Start, Grow Smart Early Learning Standards for Pre- School Children and the People Who Teach and Care for Them
    Updated August 1, 2009 Updated August 1, 2009 Table Of Contents Introduction 3 The Purpose 5 Guiding Principles 6 How To Use The South Carolina Early Learning Standards 7 Frequently Asked Questions 8 Approaches To Learning 12 Introduction To Approaches To Learning 13 Approaches To Learning - Special Needs and Abilities 14 Approaches To Learning Standards 16 Social and Emotional Development 26 Introduction To Social and Emotional Development 27 Social and Emotional Development - Special Needs and Abilities 28 Social and Emotional Development Standards 29 English Language Arts and Literacy 41 Introduction to English Language Arts and Literacy 42 English Language Arts and Literacy - Special Needs and Abilities 43 English Language Arts and Literacy Standards 45 1 Updated August 1, 2009 Mathematics 84 Introduction To Mathematics 85 Highlights of the new mathematical standards for kindergarteners 86 Mathematics - Special Needs and Abilities 87 Mathematics Standards 89 Physical Education and Health 113 Introduction to Physical Education and Health 114 Physical Education and Health - Special Needs and Abilities 115 Physical Education and Health Standards 118 Acknowledgements 124 2 Updated August 1, 2009 Good Start, Grow Smart Task Force South Carolina Early Learning Standards It is with pleasure that we announce the completion of the Good Start, Grow Smart Early Learning Standards for pre- school children and the people who teach and care for them. South Carolina is committed to quality early childhood education whether it is in child care, Head Start, or public school programs. We believe these programs provide the foundation for successful education, employment, and life experiences for the youngest citizens of South Carolina.
    [Show full text]
  • School Associated Violent Deaths
    The National School Safety Center's Report on School Associated Violent Deaths Internet: www.schoolsafety.us E-mail: [email protected] In-House Report of the National School Safety Center 141 Duesenberg Drive, Suite 11 • Westlake Village, CA 91362 • Ph: 805/373-9977 • Fax: 805/373-9277 Dr. Ronald D. Stephens, Executive Director DEFINITION: A school-associated violent death is any homicide, suicide, or weapons-related violent death in the United States in which the fatal injury occurred: 1) on the property of a functioning public, private or parochial elementary or secondary school, Kindergarten through grade 12, (including alternative schools); 2) on the way to or from regular sessions at such a school; 3) while person was attending or was on the way to or from an official school-sponsored event; 4) as an obvious direct result of school incident/s, function/s or activities, whether on or off school bus/vehicle or school property. * Note: Not a scientific survey. Since information is taken from newspaper clipping services, it is possible that not all such clippings have reached the NSSC. SCOPE: Newspaper accounts, on which NSSC bases this report, frequently do not list names and ages of those who are charged with the deaths of others. Such omissions were in some cases because the person charged was a minor. In some instances, persons were killed in drive-by shootings, gang encounters or during melees in which the killer was not identified, and the killers were either never apprehended or were caught days or months after the crime was first reported.
    [Show full text]
  • "Girlhood Modified in "Susan of St. Brides" in Girl Magazine (1954-1961)
    Dong Hwa Journal of Humanistic Studies, No. 2 July 2000, pp.259－272 College of Humanities and Social Sciences National Dong Hwa University Girlhood Modified in "Susan of St. Brides" in Girl magazine (1954-61) Shu-fen Tsai∗ Abstract This paper is to study the earliest movement of reforming children's comics in Britain in the 1950s and the pioneering gender-role reconstruction done in Ruth Adam's comic strip series, "Susan at St. Brides". Intending to correct the gender stereotypes in the comic strips of aggressive males and victimised heroines, Ruth Adam originated a modern type of girl heroine, who is witty, brave, career-wise, a little rebellious, but meanwhile a practical model for all juveniles. Ruth Adam was so far the first women writer who had proved it possible to market feminism to the non-feminist reading public, especially, children and growing up girls. Keywords: children's comics, juvenile literature, femininity, girlhood ∗ Assistant Professor, Department of English, National Dong Hwa University. 259 Dong Hwa Journal of Humanistic Studies, No.2 Girlhood Modified in "Susan of St. Brides" in Girl magazine (1954-61) In the late 1940s British children's comics were badly printed, told stupid stories and were written in feeble and hybrid language.1 Still worse, some were actually sadistic. In 1948 the better printed Canadian and Americans "shockers" rushed into the market and quickly outnumbered the native comics. A great difference between even the most bloodthirsty English magazines and the imported ones was that now "you get real blood-lust, really gory description of the all-in, jump-on-his stomach style of fighting, which has been perfected by people who brood on violence." 2 Their popularity alarmed thoughtful parents.
    [Show full text]
  • Edited by PETER NORMANTON Cover by the Gurch a Word from the Tomb
    Edited by PETER NORMANTON Cover by The Gurch A Word From the Tomb ................................................................................................. 4 The Comic Book Dreams of the Cold War Kid, by Peter Normanton ............................... 6 Pieces of Silver, by Pete Crowther ................................................................................ 20 Bad American Comics: Bullet in the Head, by Frank Motler (FTT #6) ............................ 26 The Exotic Art of Lou Morales, by Frank Motler FTT( #7) .............................................. 27 One-Hit Wonders, by Peter Normanton ....................................................................... 34 Opening the Crypt: EC Horror Hits Britain, by Barry Forshaw ....................................... 37 Leathern Wings in the Night: Comic Book Vampires, by Peter Normanton ................... 44 The Scary Art of Tom Sutton, by Peter Normanton FTT( #18) ........................................ 52 Somewhere On the Edge of Time: Grady Lyda, by Peter Normanton ............................ 63 Those Objectionable Horror Comics!, by Peter Normanton .......................................... 67 The Forgotten Terrors of Al Eadeh, by Peter Normanton .............................................. 73 Richard Corben: The Early Days, by Peter Normanton ................................................ .. 76 Bruce Jones’ Alien Worlds Is Coming Back Into Orbit, by Paul H Birch .......................... 86 The Essential Good Girl, by Frank Motler ....................................................................
    [Show full text]
  • UNIVERZITA KARLOVA V PRAZE Obraz Novináře Napříč
    UNIVERZITA KARLOVA V PRAZE FAKULTA SOCIÁLNÍCH V ĚD Institut komunika čních studií a žurnalistiky Katedra mediálních studií Helena Suchá Obraz noviná ře nap říč komiksovou tvorbou Diplomová práce Praha 2015 Autor práce: Helena Suchá Vedoucí práce: PhDr. Milan Kruml Rok obhajoby: 2015 Bibliografický záznam SUCHÁ, Helena. Obraz noviná ře nap říč komiksovou tvorbou. Praha, 2015. 103 s. Diplomová práce (Mgr.) Univerzita Karlova, Fakulta sociálních v ěd, Institut komunika čních studií a žurnalistiky. Katedra mediálních studií. Vedoucí diplomové práce PhDr. Milan Kruml. Abstrakt Diplomová práce Obraz noviná ře nap říč komiksovou tvorbou se v ěnuje problematice komiksu jako média s potenciálem vytvá řet ur čité p ředstavy o spole čnosti. Cílem práce je vymezení typologie postav noviná řů zobrazovaných v komiksových dílech a následné zodpov ězení otázky, zdali tyto komiksové obrazy formují ustálené p ředstavy o noviná řské profesi. Práce je rozd ělena do t ří částí: teoretické, historické a analytické. V první části se autor v ěnuje teoretickému vymezení pojm ů z oblasti komiksových a mediálních studií, které úzce souvisí s problematikou této práce (komiks, noviná ř, stereotypy, interpretace). Druhá kapitola shrnuje historický vývoj komiksové tvorby na jednotlivých kontinentech, zvláštní pozornost pak v ěnuje svébytnému formování kresleného seriálu v českém prost ředí. V hlavní části autor na základ ě p ředchozí rešerše analyzuje komiksové postavy noviná řů , jež jsou rozd ěleny do kategorií podle charakteru postav, genderových rozdíl ů i žánr ů konkrétních d ěl. Výstupem práce je shrnutí poznatk ů provedené analýzy a z toho vyplývající záv ěry. Abstract The thesis A Portrait of a Journalist throughout the Comic Book Production deals with comics as a medium with a potential to create certain ideas about society.
    [Show full text]
  • 'Who's the Girl with the Kissin'lips?'Constructions of Class
    Northumbria Research Link Citation: Gibson, Mel (2018) ‘Who’s the girl with the kissin’ lips?’ Constructions of class, popular culture and agentic girlhood in Girl, Princess, Jackie and Bunty in the 1960s. Film, Fashion & Consumption, 7 (2). pp. 131-146. ISSN 2044-2823 Published by: Intellect URL: http://doi.org/10.1386/ffc.7.2.131_1 <http://doi.org/10.1386/ffc.7.2.131_1> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/34622/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) ‘Who’s the girl with the kissin’ lips? ’ Constructions of class, popular culture and agentic girlhood in Girl, Princess, Jackie and Bunty in the 1960s.
    [Show full text]
  • Collectors' Digest Vol
    STORY PAPER COLLECTORS' DIGEST VOL. 56 No. 653 MARCH2002 GEMS OF BAMILTONIA from PETE HANGER Of course. it had to be kept dark. Bunter was too busy in envisaging his coming wealth to think much about the shady side of the proceedings. He was willing to admit. as a mauer of argument, that gambling was wrong , or. at least disrep1,1table;but there were e11ceptiuns to every rule - in favour ot" Bunter. Besides. an absolu te certajnty Like this could hardly be called gambling: it was more like a sober and seda te business transaction. Anyhow . if Bunter's fat conscience had a twinge or two on the subject. the twinges were not severe. Bunter was the happy possessor of a very accommodating conscience, and it could always stretch a little when required. Still, the thing had to be kept dark . Beoigbt.ed Headmasters and foolish Fom, masters did not understand such thitigs - even the Remove men, instead or admiring Bunter' s geni us. would simply look on him as a disreputable young rasca l - they might even kick him; Peter Todd , in fact , was sure to kick hirn , if he knew . Bunte r realised that his racing transactions cou ld not be kept too dark . MAGNET 1068 "AU right!'' said Billy Bunte r. Bllnter 's tone, which was fearfully sarcas tic and sardonic, implied. that in point of fact. ii was far from all right! Ttwas, indeed, all wrong . Billy Bunt er was wrathy. He was indignant. He was deeply irritated. He had not been treated with the distinction due to such a guest ever since be had arrived at Wharton Lodge.
    [Show full text]