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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]

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Lectura, directed by Jesús Guisa y Azevedo, was a magazine where writers opposed to the national-revolutionary governments that were gathered with the purpose of laying the intellectual foundations that would make possible a reaction according to restorative principles. The articulating element of his speech was a fervent Hispanism, closely associated with the defense of Catholic religion. In the name of Hispanidad, denunciation of modernity and secularization sponsored by ideologies such as liberalism and communism were structured, as well as a strong criticism of German philosophy, seen as the source of decadence. The positions of his collaborators during the Spanish Civil War were favorable to the uprising, usually expressed in binary schemes and in close connection with Mexican history. [ABSTRACT FROM AUTHOR]

Copyright of Historia 396 is the property of Pontificia Universidad Catolica de Valparaiso, Instituto de Historia 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.)

Copyright of Espacio, Tiempo y Forma: Serie V, Historia Contemporánea is the property of Editorial UNED 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.)

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Copyright of Hispania Sacra is the property of Consejo Superior de Investigaciones Cientificas 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.)

Copyright of Sociohistórica: Cuadernos del CISH is the property of Universidad Nacional de La Plata 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.)

This paper aims to analyze the technical and social dynamics of publishing the magazine El Heraldo Seráfico, which, after August 1915, was totally undertaken in a Capuchin workshop. Following the model proposed by historian Robert Darnton, this paper seeks to answer the following research questions: What motivated the foundation of this typographic workshop? What kind of technology existed therein? What were its main expenditures? What was the editorial hierarchy at the workshop? We conclude that the Capuchins reproduced in Costa Rica an editorial strategy previously and successfully developed in Catalonia. [ABSTRACT FROM AUTHOR]

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Copyright of Revista Escuela de Historia is the property of Revista Escuela de Historia 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.)