scholarly journals El campo y la historieta mexicana de fin de siglo / The field and the end of the century Mexican comic strip

2020 ◽  
Vol 5 (25) ◽  
pp. 42-56
Author(s):  
Sarahi Isuki Castelli Olvera

En este artículo se examinó la dinámica cultural y de historietas en México en las décadas de los ochenta y noventa retomando la categoría de campo, de la teoría de la dominación de Pierre Bourdieu. Se realizó una analogía del campo de las historietas con el del fútbol, con la finalidad de describir y analizar la complejidad de los movimientos socioculturales involucrados en las luchas por capital simbólico y económico. En este trabajo cualitativo-interpretativo, basado en el análisis de documentación primaria y secundaria, se partió del argumento de que en México, mientras la historieta industrial estaba en decadencia, las historietas de autor se encontraban en eclosión. Este argumento se fundamenta en que, mientras empresas como Editorial Vid, Novaro y Novedades, se regían por estrategias empresariales que incluían reedición de material nacional, importación de cómics extranjeros; el cómic de autor eclosionaba, alimentado por el cómic europeo y norteamericano. Se encontró que en las décadas de estudio, el panorama cultural se vio modificado por la implantación del modelo neoliberal, que introdujo múltiples productos culturales, los cuales transformaron el consumo cultural mexicano y dieron a la historieta industrial una competencia ante la cual no pudo ganar. Como conclusión, se propone que pese a que la historieta industrial cayó en decadencia, por falta de estrategias de adaptación, las condiciones que llevaron a su caída permitieron que los creadores de la historieta de autor se enriquecieran con nuevas influencias, que los llevaron a generar obras adultas, críticas, vinculadas con su entorno. In this article, the cultural and comic book dynamics in Mexico in the eighties and nineties were examined, taking up the category of field, from Pierre Bourdieu’s theory of domination. An analogy of the field of comics with that of soccer was made, in order to describe and analyze the complexity of the sociocultural movements involved in the struggles for symbolic and economic capital. This qualitative-interpretative work, based on the analysis of primary and secondary documentation, arouses from the argument that in Mexico, while the industrial comics were in decline, the author comics were flourishing. This argument is based on the fact that, while companies such as Editorial Vid, Novaro and Novedades were governed by business strategies such as reissuing national material and importation of foreign comics; the author’s comic was emerging, inspired by the European and North American comic. It was found that, in the decades of study, the cultural panorama was modified by the implantation of the neoliberal model, which introduced multiple cultural products, that, therefore, transformed Mexican cultural consumption and gave industrial comics a competition which it could not win. As a conclusion, it is proposed that, despite the fact that the industrial comics fell into decline due to lack of adaptation strategies, the same factors allowed the creators of the author’s comic to enrich themselves with new influences, that led them to generate adult, critical works linked to their environment.

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Christina D. Owens

AbstractThis article employs palimpsestuous reading practices to query the transpacific reach and imperial pedigree of the comic strip “Charisma Man.” Turning to Max Weber’s theory of “charismatic authority” to understand the comic’s humorous portrayals of white male heterosexual privilege in Asia, the article proposes that the comic strip illuminates the patterns of raced and gendered “hereditary charisma” that continue to haunt transpacific relations. “Charisma Man,” penned by a team of North American men living in Japan, links contemporary white migrants across Asia – especially native English teachers – with a longue durée of Euro-American imperial actors abroad and builds meaning through intertextual engagement with the iconic cultural texts Superman and Madame Butterfly. The article concludes that “Charisma Man” makes light of white male hereditary charisma in Asia through a layering of temporally-disjointed transpacific discourses and, in turn, adds one more layer to a palimpsestuous sedimentation of sexist and racist hierarchies, normalizing their continuation within contemporary globalization.


2003 ◽  
Vol 66 (10) ◽  
pp. 1932-1934 ◽  
Author(s):  
PETER VADAS ◽  
BORIS PERELMAN

Peanut allergens are both stable and potent and are capable of inducing anaphylactic reactions at low concentrations. Consequently, the consumption of peanuts remains the most common cause of food-induced anaphylactic death. Since accidental exposure to peanuts is a common cause of potentially fatal anaphylaxis in peanut-allergic individuals, we tested for the presence of peanut protein in chocolate bars produced in Europe and North America that did not list peanuts as an ingredient. Ninety-two chocolate bars, of which 32 were manufactured in North America and 60 were imported from Europe, were tested by the Veratox assay. None of the 32 North American chocolate products, including 19 with precautionary labeling, contained detectable peanut protein. In contrast, 30.8% of products from western Europe without precautionary labeling contained detectable levels of peanut protein. Sixty-two percent of products from eastern Europe without precautionary labeling contained detectable peanut protein at levels of up to 245 ppm. The absence of precautionary labeling and the absence of the declaration of “peanut” as an ingredient in chocolate bars made in eastern and central Europe were not found to guarantee that these products were actually free of contaminating peanut protein. In contrast, North American manufacturers have attained a consistent level of safety and reliability for peanut-allergic consumers.


2021 ◽  

The history of European videogames has been so far overshadowed by the global impact of the Japanese and North American industries. However, European game development studios have played a major role in videogame history, and prominent videogames in popular culture, such as <i>Grand Theft Auto</i>, <i>Tomb Raider</i> and <i>Alone in the Dark</i> were made in Europe. This book proposes an exploration of European videogames, including both analyses of transnational aspects of European production and close readings of national specificities. It offers a kaleidoscope of European videogame culture, focusing on the analysis of European works and creators but also addressing contextual aspects and placing videogames within a wider sociocultural and philosophical ground. The aim of this collective work is to contribute to the creation of a, so far, almost non-existent yet necessary academic endeavour: a story of the works, authors, styles and cultures of the European videogame.


1947 ◽  
Vol 25c (3) ◽  
pp. 105-120 ◽  
Author(s):  
D. B. O. Savile

A study of the species of Entyloma on North American composites suggests that almost every form can be assigned to one of two phyletic groups. E. polysporum contains most of the forms with densely crowded, rather large teliospores and no conidia. E. Davisii on Rudbeckia hirta and, probably, a fungus on Lepachys columnaris are segregated from it. E. Compositarum contains most of the forms with smaller, uncrowded spores and abundant conidia. E. arnicale and possibly one or two other forms may be regarded as segregates from this species.Emended descriptions of E. polysporum and E. Compositarum are given to clarify the differences between these two species. Corrections are also made in the identification of some exsiccati specimens.Comparisons are made with European forms to the extent that material has been available, but far more study of European specimens is needed to allow assessment of some species.Species concepts for these fungi are discussed, and criteria are suggested for adequate morphological studies.


Author(s):  
Александр Сергеевич ДЫБОВСКИЙ

В статье даётся краткий обзор учебной литературы по японскому языку, составленной в виде комиксов, а также описываются основные параметры учебника, построенного на материале повести выдающегося японского писателя Нацумэ Сосэки «Мальчуган», а именно: его структура, содержание, приложения, особенности введения лексики, иероглифики и грамматики, система упражнений и связанные с учебником интернет-ресурсы. Описываемый учебник представляет уникальный материал для преподавания японского языка на среднем и продвинутом уровнях, он вводит обучаемых в историю японской культуры, стимулирует интерес к изучению японской литературы. преподавание японского языка, шедевры учебной литературы, жанр комикса в преподавании иностранного языка, комикс «Мальчуган» This publication is dedicated to the Japanese language textbook for foreigners published in Tokyo in 2011 and based on the story of the outstanding Japanese writer Soseki Natsume “Botchan”, which is presented in the textbook in the form of a comic strip. The article gives a brief overview of the Japanese language textbooks compiled in the form of comics. The author describes the main parameters of the above-mentioned textbook, its structure, content and applications, as well as vocabulary, hieroglyphics and grammar, the exercise system, and the Internet-related textbook resources. The creation of an educational comic strip on the basis of an outstanding work of Japanese literature seems to us extremely fruitful, since the educational process is enriched with aesthetic elements. Drawings provide important keys for understanding the text, and the content of a literary masterpiece gives us rich topics for various types of communication in the classroom. The described textbook contains wonderful material for teaching Japanese at intermediate and advanced levels. It introduces students to the history of Japanese culture and stimulates interest in the study of Japanese literature. teaching Japanese language, masterpieces of educational literature, comic book genre in teaching a foreign language, comic book “Botchan”


Author(s):  
Andrei Molotiu

Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, explores the formal characteristics of comic art and the fragmentation caused by showing framed pages that were originally created for publication and separated from their indigenous context, wondering if this separation is ultimately an act of creativity or an act of violence. This chapter explains white-out, margin notations, and how the eye is drawn to different things in an image when it’s isolated on the wall. In this 2006 essay, he focuses on the art of Jack Kirby, Ivan Brunetti’s Schizo 4, Metamorpho, Joe Palooka, Archie, Josie, Tom and Jerry, and "Sooper Hippie.” In this 2018 update to his 2006 essay, Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, returns to his analysis of the formal characteristics of original comic art as seen in exhibitions, exhibit catalogs, and high-end artist’s editions that faithfully reproduce full size comics originals, such as the IDW Artist’s edition of David Mazzucchelli’s and Frank Miller’s Daredevil: Born Again (images). Molotiu briefly discusses the proliferation of comic art exhibits and contrasts the experience of reading a full issue of Jack Kirby’s Kamandi on the wall at the Comic Book Apocalypse show at CSU Northridge and in print in an artist’s edition.


2019 ◽  
Vol 4 (1) ◽  
pp. 125-137 ◽  
Author(s):  
Anthony Fung ◽  
Boris Pun ◽  
Yoshitaka Mori

Differences in cultural consumption are well recognized as potential forces for changing the cultural identity of consumers. Based on this logic, our hypothesis posits that Chinese readers, who comprise the largest fan community of Japanese comics/anime, are culturally influenced by this foreign product. To examine this hypothesis, we question whether the global values and worldviews of freedom, peaceful coexistence, justice, companionship, and humanity, which are embedded in Japanese comics/anime, influence the values and ideology of Chinese readers. This study was aimed to examine the reading strategies and patterns in legally or illegally imported border-crossing cultural products to assess the potential cultural impact of their consumption on young Chinese readers. Their differences in passion could affect their devotion, their identity, and their worldviews. In this study, focus groups in Japan and China, in-depth interviews, and textual analyses of Japanese comic/amine were conducted to examine the reading, fandom, and cultural impact of comics/anime on Chinese urban youth. The significance of this study is that it explores new models of active reading that affect the long-term shape of and changes in the values and identities of Chinese youth. The findings of this study shed light on whether imported cultural products could transform, change, and dilute the ideologies of the state and nationalism, thereby allowing new and alternative imaginings of values and global citizenship, which are emerging areas of interest in global communication studies.


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