Search

Copyright of Immaterial is the property of BAU, Centro Universitario de Diseno de Barcelona 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.)

¿Pueden las portadas de revistas y publicaciones explicar un mundo? ¿Una época? ¿Una cultura? ¿Un país? Recorriendo bibliotecas, archivos y hemerotecas podemos averiguar muchas cosas de nuestro pasado, reconstruir la historia, nuestra historia. En unos tiempos, los nuestros, en los que estamos sometidos al dominio de la imagen en pantallas y dispositivos de todo tipo, este ensayo visual trata de contar una historia a partir de las portadas, cabeceras, ilustraciones y fotografías de algunas de las revistas y publicaciones que definieron un periodo concreto de la historia de España, que ha venido a llamarse «de transición». Para mí, una historia de la (contra)cultura, con dos ejemplos destacados, Star y Ajoblanco. Star (1974-1980) fue un proyecto personal de Juan José Fernández que inició su an- dadura como una revista de comix –el 85 % del contenido estaba dedicado a ellos– y terminó siendo una revista contracultural que, en su último número, el 57, dedicaba solo el 20 % de su contenido a los cómics. De espíritu punk y apolítico, la auténtica revista Underground de la contracultura, con incidencia en las principales ciudades del país. Ajoblanco (1974-1980 / 1987-1999) fue un proyecto colectivo iniciado por Pepe Ribas, Toni Puig y Fernando Mir. La publicación aglutinó a filósofos, poetas, arqui- tectos y artistas con contenidos políticos y sociales de ideología libertaria y ácrata. La revista contracultural por excelencia, que influyó en el desarrollo de los jóvenes españoles tanto de grandes ciudades como de pueblos y aldeas de todo el país. Sin olvidar a otras propuestas alternativas de distribución escasa, vida breve, intere- ses, como Ozono, Nueva Lente, La Luna de Madrid, Barcelona, Underguía, las publica- ciones del colectivo Aiguadevidre, Alfalfa, Bang , Nosotros Somos Los Muertos (NSLM), Disco Expres, El Víbora, Madrid Me Mata, Sal Común o el underboletín EINA.

Abstract Background Schools were closed in England on 4 January 2021 as part of increased national restrictions to curb transmission of SARS-CoV-2. The UK government reopened schools on 8 March. Although there was evidence of lower individual-level transmission risk amongst children compared to adults, the combined effects of this with increased contact rates in school settings and the resulting impact on the overall transmission rate in the population were not clear. Methods We measured social contacts of > 5000 participants weekly from March 2020, including periods when schools were both open and closed, amongst other restrictions. We combined these data with estimates of the susceptibility and infectiousness of children compared with adults to estimate the impact of reopening schools on the reproduction number. Results Our analysis indicates that reopening all schools under the same measures as previous periods that combined lockdown with face-to-face schooling would be likely to increase the reproduction number substantially. Assuming a baseline of 0.8, we estimated a likely increase to between 1.0 and 1.5 with the reopening of all schools or to between 0.9 and 1.2 reopening primary or secondary schools alone. Conclusion Our results suggest that reopening schools would likely halt the fall in cases observed between January and March 2021 and would risk a return to rising infections, but these estimates relied heavily on the latest estimates or reproduction number and the validity of the susceptibility and infectiousness profiles we used at the time of reopening.

Background: Schools were closed in England on 4 January 2021 as part of increased national restrictions to curb transmission of SARS-CoV-2. The UK government reopened schools on 8 March. Although there was evidence of lower individual-level transmission risk amongst children compared to adults, the combined effects of this with increased contact rates in school settings and the resulting impact on the overall transmission rate in the population were not clear.Methods: We measured social contacts of > 5000 participants weekly from March 2020, including periods when schools were both open and closed, amongst other restrictions. We combined these data with estimates of the susceptibility and infectiousness of children compared with adults to estimate the impact of reopening schools on the reproduction number.Results: Our analysis indicates that reopening all schools under the same measures as previous periods that combined lockdown with face-to-face schooling would be likely to increase the reproduction number substantially. Assuming a baseline of 0.8, we estimated a likely increase to between 1.0 and 1.5 with the reopening of all schools or to between 0.9 and 1.2 reopening primary or secondary schools alone.Conclusion: Our results suggest that reopening schools would likely halt the fall in cases observed between January and March 2021 and would risk a return to rising infections, but these estimates relied heavily on the latest estimates or reproduction number and the validity of the susceptibility and infectiousness profiles we used at the time of reopening. [ABSTRACT FROM AUTHOR]

Este artículo analiza la publicación y censura de la colección Especial Star-Books (1975-1982), centrándonos en los comix traducidos del inglés. Para ello, a) estudiamos su procedencia, su auge en la España tardo y postfranquista, la línea editorial de Producciones Editoriales y la censura de este tipo de publicaciones, además de los datos de publicación y censura de la colección, y b) comparamos los comix de Infinitum Ciencia Ficción 1 y Las famosas aventuras de los Freak Brothers con sus respectivos originales. Los resultados demuestran que el espíritu de la colección contrastaba con el modelo cultural favorecido por el franquismo y que los editores evitaban traspasar ciertos límites, anticipándose así a posibles sanciones.

Copyright of Estudios de Traducción is the property of Universidad Complutense de Madrid 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.)

Art Spiegelman's underground comic 'Little Signs of Passion' (1974) juxtaposes romance comics against hard-core pornographic feature films. In the early 1970s pornography was defended as an expression of moral and artistic freedom but this comic shows that hardcore's narrative conventions were as standardised and commercially driven as anything in the romance comics. Spiegelman's text reveals that, despite the diversification of porn film audiences in the early 1970s, the viewing pleasures these films offered remained heavily gendered. And, unlike other underground parodies of the romance comics, Spiegelman does not deride that genre's conventions but admires their enduring power. [ABSTRACT FROM AUTHOR]

This paper focuses on the central story "Breaking Out" of It Ain ́t Me Babe(1970) comix, the first-known American all-women comics anthology. It is a parody of mainstream female comic book characters waking up to the Women’s Liberation Movement. “Breaking Out” deals with the collective process of self-consciousness and describes the awakening of self-awareness of women. Betty Freidan in her book The Feminine Mystique (2009) defines that process as an artificial idea of femininity. Both, story and comix are one of the counterculture icons of the second American feminist wave that reflect the most important alternative schools of thought currents in America of the 70s as the Freudian Left, Feminism of Difference and the introduction of the female language or parler-femme. “Breaking Out” and It Ain ́t Me Babe provide a new view of sex and sexuality and break out of the prevailing sexism in comixproduced by their male counterparts. Our approach involves the analysis of this story from the perspective of gender difference, following the proposal of Luce Irigaray, taking as a starting point overall, the category of the Other exposed in the existentialist essay The Second Sex by Simone De Beauvoir. Both perspectives provide an appropriate framework to combine sociological and historical approaches to theories of early feminism. We conclude that this comix is a collective claim act that marks the beginning of a new era in the American comix market in the early 1970s.

Currentlymanywomen have come to stand out as comic book authors, although still in smaller numbers than in relation to men, we can observe quite significant works and more and more authors producing. This is especially true of the support networks they have built, a long-standing strategy to forge their own publishing spaces. In this article, we will go through some of the first strategies of insertion of women authors of comics. In particular, when in the bulge of the American counterculture the first collectives of women authors of comics. In particular, when the first collectives of women authors of comics emerge in the midst of the American counterculture: It Aint 'Me Babe (1970), Wimmenscomix (1972-1992), Tits & Clits (1972-1987). We will observe how through articulation in magazines produced only by women, it was possible that there was an organization as comic artists, an opening of spaces for the future authors and a production of original works - the comix underground by the feminine perspective. [ABSTRACT FROM AUTHOR]

This article argues that comics production in India should be configured as a collaborative artistic endeavour that visualizes Delhi’s segregationist infrastructure, claiming a right to the city through the representation and facilitation of more socially inclusive urban spaces. Through a discussion of the work of three of the Pao Collective’s founding members - Orijit Sen, Sarnath Banerjee and Vishwajyoti Ghosh - it argues that the group, as for other comics collectives in cities across the world, should be understood as a networked urban social movement. Their graphic narratives and comics art counter the proliferating segregation and uneven development of neo-liberal Delhi by depicting and diagnosing urban violence. Meanwhile, their collaborative production processes and socialized consumption practices, and the radical comix traditions on which these movements draw (and which are sometimes occluded by the label “Indian Graphic Novel”) create socially networked and politically active spaces that resist the divisions marking Delhi’s contemporary urban fabric. [ABSTRACT FROM AUTHOR]

This paper follows the case study of Mike Diana – a 24-year-old Floridian artist, writer and zine creator – who in the early 1990s self-published eight issues of his comix zineBoiled Angelto a circulation of 300 people around the world. Local authorities confiscated his work and, through an elaborate legal trial, Diana became the first comic-book artist to be arrested, tried and jailed for creating offensive material. This paper uses the scapegoating process, borrowing from the work of literary critic Kenneth Burke. The discourse produced by the prosecutor’s rhetoric shifted from the creative expression of art to vilifying Diana as the ‘essence of evil’, whereby the only way the community could merge together to expunge their guilt was to purify themselves by punishing Diana to the fullest extent by making sure he received his ‘just desserts’. [ABSTRACT FROM AUTHOR]

This article addresses Alan Moore's earliest work for zines and underground papers from 1971 to 1980. It argues that the hippie counterculture was a formative influence not only on his anarchist politics but his approach to cultural production, and an awareness of its significance is therefore crucial to the critical understanding of his oeuvre as a whole. Equally Moore's experience of the underground augments historical understanding of the UK counterculture itself and the role of comics within it, and challenges dominant chronological narratives that insist on a definitive split between its political and cultural wings during this period. This article considers Moore's output in illustration, poetry and prose, but particularly focuses on his earliest comics, featured in Embryo, anon. and The Backstreet Bugle. It looks in detail at the Northampton Arts Lab and the underground press as counter-institutions, and spaces in which Moore developed highly politicized aesthetic and creative strategies that he would carry into his later professional work. These included a commitment to the realization of non-alienated and collaborative artistic production, a partisan engagement with key political issues, an insistence on formal experimentation and an emphasis on a demystified and enabling relationship with the reader. [ABSTRACT FROM AUTHOR]