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This article analyzes how the poetry collection Susy, secretos del corazón (1989) by the Argentinian poet, playwright and cultural manager Susana Villalba (Buenos Aires, 1956) establishes a critical dialogue with the comic strip of the same name, published in the sixties and seventies in Latin America. The collection of poems also engages in dialogue with other cultural references through an enunciative process that reveals the social constructs aiming to define and establish femininity. The critical stance of the text becomes evident as it illuminates how the experience of romantic love in women is codified. At the discursive level, from the use of textual mechanisms related to collage and pastiche, an open, mobile, multiple, playful poetic voice is generated-it unfolds to reveal the role of social factors in the construction of subjectivity. [ABSTRACT FROM AUTHOR]

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In this article titled "Acting Funny on the Catalan Stage. El teatre còmic en català (1900-2016)", professors John London and Gabriel Sansano present a collection of contributions about humor in Catalan theater. The book examines the influence and reception of humor, the humorous strategies used in writing, and the interpretation techniques used in Catalan theater. The inheritance of the codes of Commedia dell'Arte and the militant and contestatory projection of humor in Catalan theater are highlighted. The editors argue for the relevance of this publication in the context of the pandemic and war, where humor becomes a balm to face uncertain times. The article discusses the law of comedy that explains how the more opposed the elements in conflict are and the more dislocated the situation is, the more comedic the result will be. The laughability of Commedia dell'Arte is mentioned, and how the masks in this form of theater arise from the comic opposition of the characters. The historical journey of comic theater in Catalonia is also discussed, from jesters and fools to political theater. Some notable actors and companies are mentioned, such as Joaquim Moreno i Delgado, Els Joglars, and Xavi Castillo. [Extracted from the article]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on Latin American comics and graphic humor. It examines the evolution of comic studies in Latin America, tracing its origins back to the mid twentieth century when it emerged under the influence of American and European counterparts. It highlights how Latin American comics have addressed themes such as postcolonial subjugation, political and social violence, and the struggle to develop a competitive cultural industry.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article "Valor y al toro!: a cultural contrastive study of Spanish-German comics" analyzes the translation of comics and its importance in the dissemination and internationalization of this cultural genre. It focuses on the German translation of the comic Aius. El destino de Numancia and on a contrastive analysis of Spanish-German comics, using a Mortadelo y Filemón comic strip as an example. It highlights that both comics, aimed at young people, have different characteristics that influence translation. The translation of Spanish comics into German is mentioned, as well as changes in character names and plot, and the adaptation of idioms and onomatopoeias. The importance of images in comics and the relationship between Spain and Germany in the comic market are also emphasized. [Extracted from the article]

The permanent museography project for the Cuatro Caminos metro station in Madrid features two historical synthesis murals whose main methodological instrument is architectural drawing. In addition, they offer narrative proposals that use resources of the avant-garde comic, together with simultaneous representations of space and time in which the chronological sense of the narrative is even manipulated. This paper analyses the two murals from the conceptual framework of the comic book in terms of the combination of the simultaneous vision of the graphic medium and the partial visions of its contents. Moreover, it ponders on the use of these resources when transmitting complex realities in heritage dissemination works. [ABSTRACT FROM AUTHOR]

The purpose of this work is to observe and analyze the way in which in the mid-20th century a part of Latin American Catholic religiosity was represented in the comics format. Through the indentification, Reading and analysis of the issues of the comic strips Vidas Ejemplares y Patronos y Santuarios, carried out jointly by the Buena Prensa publishing houses and the Editores-Impresores Novaro workshops around various personalities --religious and secular--, to virgins and holy places of Latin America, we want to explain the reasons for the production of a Project with these religious characteristics and that was distributed in several Latin American countries. In this sense, we want to show that more tan meaning a comercial bet behind the product, which undoubtedly existed, there was also an ideological reason for the reaffirmation of Latin catholicity between members of the Society of Jesus in Mexico and the director of the publishing house most successful in the production of comics or historietas in Latin America: the Editores-Impresores Novaro workshops. [ABSTRACT FROM AUTHOR]

We propose in the following pages to approach the study of the dynamics of the press with political cartoons generated in the context of the liberal regimes that ruled Mexico between 1867 and 1911. That is, we will focus our attention on the behavior of indicators such as start, circulation and closure of newspapers with the purpose of analyzing the phenomenon in a political key. Indeed, it is about putting into perspective the prevailing governmental lines and their relationship with the world of satirical-visual publications, to understand the ways in which they had repercussions and influenced each other, and vice versa, and the way in which that this interaction allows us to understand certain characteristics of the development of public space, in particular the balances between actors and political forces. [ABSTRACT FROM AUTHOR]