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Published By Universitat De Valencia, Proyecto Parnaseo

2660-9169

Author(s):  
Celia Delgado Mastral

RESUMEN: Las dos sagas clásicas de videojuegos de Nintendo, Super Mario Bros., (1985-) y The Legend of Zelda (1986-) tienen entre sus elementos comunes el conocido personaje de una princesa: Peach, en el primer caso; y Zelda, en el segundo. Del estudio de las re-presentaciones formales de estas dos figuras tipificadas se desprende la pertenencia a una tradición literaria y pictórica popular que asienta unos rasgos genéricos determi-nados y las ajusta a un canon literario y pictórico. El análisis diacrónico de la prosopo-grafía femenina con hincapié en los orígenes clásicos y medievales y su posterior desarrollo durante el Renacimiento y el Barroco europeos ayuda a crear un puente de conexión con la estética pictórica novecentista y moderna de corte medievalista y su influencia en el arte del cómic y la animación japonesas, lugar de origen de sendas princesas. ABSTRACT: Nintendo’s classic franchises Super Mario Bros. (1985-) and The Legend of Zelda (1986-) both have as a common element the known character of a Princess: Peach, in the first videogame; and Zelda, in the second one. From the analysis of the formal rep-resentations of these two typified figures, it can be seen how they belong to a popular literary and pictorial tradition that establishes certain generic features and adjusts them to a literary and pictorial canon. The diachronic analysis of female prosopogra-phy -with emphasis on the classical and medieval origins and its subsequent develop-ment during the European Renaissance and Baroque periods- creates a connection with the Victorian and modern pictorial aesthetics of medievalist style and its influence on Japanese comics and animation, origin of both princesses.


Author(s):  
Sandra Gorgievski

In both medieval and contemporary culture, defamiliarization in space frames the imagined relationship with the other in fantasized views of the East. This paper addresses ways the creative imagination functions in the contemporary four-volume Belgian comics series Croisade by Dufaux and Xavier (vol I-IV). They foster a self-reflexive vision of competing universes, from the Celtic to the ancient Roman, from the Moorish to the Gothic. The cultural relativism of our contemporary era seems more relevant than any attempt to historicize faithfully the fictional plot. These comic books exploit the visual evidence of space as emblematic natural sites of heterotopias like the desert, and architectural space like Jerusalem, some burial sites, the sultan’s oriental palace and the Crusaders’ fortress, while assessing the changing representation of space from the medieval era to the present.


Author(s):  
Joana Gomes ◽  
Vitor Guerreiro

RESUMO: No século XX, fenómenos como a arte de massas - em particular o cinema - surgem concomitantemente a novas formas de relação entre poder político, ideologia, arte e estética. Com a Revolução Russa de 1917, e, mais tarde, os regimes fascistas que se espalham pela Europa, a alternância entre a experimentação estética arrojada e o arregimentar da arte à propaganda tornam-se realidades que, de um ou outro modo, impõem aos artistas alguma forma de posicionamento. Neste processo, é frequente as representações do passado servirem para possibilitar um certo discurso acerca do presente, sobretudo quando as representações directas deste se tornam «politicamente problemáticas» (i.e. perigosas). Tal é o que sucede com o próprio conceito de Idade Média, desde a sua origem. Este artigo pretende justamente explorar o modo como as representações cinematográficas da Idade Média servem diferentemente de veículo à de expressão de concepções estéticas, artísticas e políticas em dois filmes produzidos em países do ex-bloco socialista, onde as tensões e alternâncias de que falamos se tornam, mais do que uma questão meramente teórica, uma questão de sobrevivência: Alexander Nevsky de Serguei Eisenstein (1938) e Márketa Lazarová de František Vláčil (1967). ABSTRACT: In the 20th century, phenomena like that of mass art – particularly cinema – emerge in tandem with new forms of relationship between political power, ideology, art and aesthetics. With the Russian Revolution of 1917, and, later, with the spread of fascist regimes across Europe, alternating between bold aesthetic experimentation and the use of art as propaganda become factors that compel artists, in one way or another, to take some sort of stand. In this process, representations of the past are often employed so as to make it possible to speak about the present, especially when direct portrayal of the latter becomes ‘politically problematic’ (i.e. dangerous). Such is also the case with the concept of ‘middle ages’ itself, from its inception. Our aim in this paper is precisely to explore how representations of the middle ages serve, in different ways, as a vehicle for the expression of aesthetic and political views, in two films made in countries of the former socialist bloc, where the tensions and shifting pressures we mentioned become, more than a purely theoretical issue, a matter of survival: Sergei Einsenstein’s Alexander Nevsky (1938) and František Vláčil’s Márketa Lazarová (1967).


Author(s):  
Karolina Zygmunt

RESUMEN: Este estudio se centra en el análisis de la novela gráfica de Nieves Rosendo Embajada de Rui, texto inspirado en el viaje de los embajadores castellanos a la corte del gran caudillo mongol, un suceso histórico importante de principios del XV cuyo testimonio quedó plasmado en el relato de viajes medieval Embajada a Tamorlán. El objetivo de este trabajo es examinar en qué medida y por qué esta obra contemporánea se aleja de la fuente medieval, así como analizar cuáles son los rasgos que comparte con el testimonio original y qué visión del viaje medieval pretende mostrar a sus lectores. El análisis llevado a cabo nos permitirá ver cómo el Medievo sigue siendo una época idealizada por la mirada nostálgica de los contemporáneos, quienes lo ven como un periodo lejano y fascinante que hacía posibles verdaderos viajes y descubrimientos. ABSTRACT: This study is focused on the analysis of the graphic novel Embajada de Rui by Nieves Rosendo, a text inspired by the travel of the Castilian ambassadors to the court of the great Mongolian leader, an important historical event in the early 15th century whose testimony was reflected in the medieval travelogue Embajada a Tamorlán. The goal of this work is to examine why this contemporary novel differs from the medieval source, as well as to analyze what are the features that it shares with the original testimony and what is the vision of medieval travel that intends to convey to the readers. The analysis carried out allows us to see how the Middle Ages continues to be an idealized period to the nostalgic gaze of contemporaries who see in it a distant and fascinating era that enabled true travels and discoveries.


Author(s):  
Jacobo Hernando

RESUMEN: En 1991 vio la fecha de venta al público el inicio de una de las más importantes sagas de la historieta histórica española. Marcada por una palpable consulta de estudios y fuentes históricas, convirtió en su autor, Gaspar Meana, en uno de los mejores y más prolíficos autores de tebeos del género en España. Originalmente, una serie de desatinos a la hora de su comercialización le hizo difícil su difusión en la mayoría del público lector de historieta español que ahora ve una segunda oportunidad gracias a la reedición por una universidad española, garante de la soberbia calidad del título. Pese a que los amantes del género conocen o saben de su existencia, los estudios sobre cómic no han podido sino hacer aproximaciones ligeras a la obra precisamente por su gran extensión. Nuestro estudio pretende recopilar comentarios de la crítica de cómic acerca La Crónica de Leodegundo en el 30.º aniversario de su publicación y profundizar en ella mediante una aproximación al estudio de sus páginas como un documento desde la óptica de la corriente de la Historia de la Cultura Escrita. ABSTRACT: In 1991 the release date to the public saw the beginning of one of the most important sagas of the Spanish historical comic strip. Distinguished by an obvious consultation of studies and historical sources, its author, Gaspar Meana, became one of the best and the most prolific author of comics of the genre in Spain. Originally, a series of mistakes at the time of its commercialization made it difficult for it to be known among the majority of the Spanish comic reading public. Nowadays it sees a second chance thanks to the reprinting by a Spanish university, guarantor of the superb quality of the title. Despite the fact that lovers of the genre know or they are aware of its existence, studies on comics have only been able to make light approaches to the work precisely because of its great extension. Our study aims to compile commentary from comic book critics about La Crónica de Leodegundo on the 30th anniversary of its publication and to deepen it through an approach to the study of its pages as a document from the perspective of the current of the History of Written Culture


Author(s):  
Álvaro Llosa Sanz

RESUMEN: Este ensayo explora cómo en el cómic episdódico Drako de Gades (Antonio Hernández Palacios, 1984-1991) se nos presenta un mundo extraído de los libros de caballería medievales con origen en la tradición artúrica de los caballeros andantes, al que se añade las fuentes mitológicas de las sagas nórdicas y otros seres típicos de las culturas mediterráneas y orientales para recrear numerosas bestias y algunos personajes fantásticos. Se pretende mostrar cómo Drako de Gades aspira a ser un cómic de fantasía caballeresca medieval, por la manera en que reúne, acumula y superpone toda una serie de personajes asociados al género, a modo de pastiche o remezcla. Un pastiche que, mediante el uso del humor, convierte alguno de los episodios en parodia posmoderna, con una intención lúdica de recrear el universo literario de la caballería medieval. ABSTRACT: This essay explores how in the comic series Drako de Gades (by Antonio Hernández Palacios, 1984-1991) the reader enjoys a world extracted from medieval chivalric books originated in the Arthurian tradition, to which mythological sources related to the Nordic sagas and other typical beings of the Mediterranean and Eastern cultures are added to recreate numerous beasts and some fantastic characters. This paper shows how Drako de Gades aspires to be a medieval chivalric fantasy comic, and is able to do it because it gathers, accumulates and superimposes a whole series of characters associated with the genre, as a pastiche or remix. A pastiche that, through the use of humor, turns some of the episodes into a postmodern parody with a playful intention of recreating the literary universe of medieval chivalry.


Author(s):  
Gabriela Cipponeri ◽  
Juan Manuel Lacalle ◽  
Kaila Yankelevich

RESUMEN: La historieta contemporánea latinoamericana que toma el imaginario medieval como base de su construcción ficcional no ha sido suficientemente estudiada por la crítica. En este artículo nos proponemos llevar a cabo un análisis de la serie Almer, del argentino Manuel Loza, publicada durante la segunda década del siglo XXI. Nos centramos, por un lado, en las continuidades que esta ficción presenta con la materia medieval y, por otro lado, en las particularidades que adquieren los personajes y las aventuras acaecidas en un contexto diverso. Entre estos aspectos se destaca la reelaboración de un elemento particular del mito artúrico, la igualdad entre pares, para la creación de un caballero novedoso cuya tarea es, fundamentalmente, la de proteger a los trabajadores y los oprimidos de la sociedad. Al final se incluye como apéndice una entrevista realizada al autor en 2021 con motivo del presente número de Storyca. ABSTRACT: Contemporary Latin-American comics that adopt the medieval world as the basis of their fictional creation have not been sufficiently studied by scholars. In this article we propose to carry out an analysis of the series Almer, by the Argentinian author Manuel Loza, published during the second decade of the 21st century. We focus, on the one hand, on the extensions of the medieval matter found in this fiction and, on the other hand, on the peculiarities that the characters have and the adventures that take place in a diverse context. Among these aspects we highlight the redefinition of one of the elements of the Arthurian myth, that of equality among peers, in order to create a novel knight whose task is, above all, to protect laborers and the oppressed in society. At the end we include, as an appendix, an interview conducted to the author in 2021 on the occasion of the current volume of Storyca.


Author(s):  
Antonio Doñas

RESUMEN: El objetivo del presente trabajo es analizar la imagen del cristianismo en el manga de Ishikawa Ken Makai tenshō (1987), adaptación libre de la novela de ficción histórica de mismo nombre compuesta en 1967 por Yamada Fūtarō. Ambientado a finales del Japón medieval, tiene como punto de partida un famoso acontecimiento en la historia del archipiélago, la Rebelión de Shimabara, que puso punto final al llamado "siglo cristiano" de Japón. Uno de los protagonistas de la obra es el líder de esa rebelión, el joven cristiano Amakusa Shirō, convertido en los últimos decenios en un personaje frecuente en la cultura de consumo popular japonesa. La representación del cristianismo en Makai Tenshō, publicado en un periodo de fuerte presencia de nacionalismo japonés en el manga seinen, recoge algunos elementos de la imagen de los misioneros cristianos desarrollada en el Periodo Edo como legitimación del shogunato Tokugawa; entre otros, la naturaleza demoniaca de los misioneros, similares a los tengu, demonios del folclore japonés, su asociación con la magia y la medicina y su objetivo, frustrado por Tokugawa Ieyasu, de invadir y someter Japón. ABSTRACT: The aim of this paper is to analyze the image of Christianity in Ishikawa Ken's manga Makai Tenshō (1987), adapted freely from Yamada Fūtarō's historic fiction novel of the same name published in 1967. The manga is set at the end of Japan's medieval period, beginning with a famous event in Japanese history, the Shimabara Rebellion, which is considered the end of the "Christian century" of Japan. One of the main characters of the work is the leader of that rebellion, Amakusa Shirō, a very frequent character in recent Japanese pop culture. The representation of Christianity in Makai Tenshō, published in a period of strong presence of Japanese nationalism in seinen manga, derives partly from some characteristics of the image of the Christian missionaries developed in Edo Period as legitimation of Tokugawa shogunate; among others, their demonic nature, close to the tengu, demons in Japanese folklore, their association with magic and medicine and their intention, frustrated by Tokugawa Ieyasu, of invading and subduing Japan.


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