Portal de Revistas Científicas de la Universidad de Alcalá
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Re-presentación de la Guerra civil y del franquismo en Montserrat, Jeunesse bafouée y Paris Liberté de Julio Ribéra
No full textThis article analyzes the historical memoir offered by the Catalan author Julio Ribéra (1927-2018) in his trilogy of memory, published between 2004 and 2006 in France. Exiled in Paris in the 1950s, Ribéra became famous for his fantasy and science fiction comics. In the 2000s, coinciding with the beginning of the debate on historical memory in Spain, he created an autobiographical work composed of three albums: Montserrat. Souvenirs de la guerre civile (2004), Jeunesse bafouée. Une dictature au fil des jours (2005) and Paris Liberté. Le parfum de l'espoir (2006). The singularity of this work leads us to ask the following questions: does the trilogy represent a rupture with respect to Ribéra's previous works of science fiction? How does it connect with historical reality? How is individual and collective memoir documentes and shaped in it? Based on the theoretical contributions of Thierry Groensteen on sequential art, and Isabelle Delorme and Bart Beaty on the autobiographical or historical memoir in comics, we will present the genesis of the work, its particular partisan vision of the Spanish civil war, the use of realism and subjectivity, and its contribution to a better understanding of Ribéra's work.Este artículo analiza el relato memorial histórico que ofrece el autor catalán Julio Ribéra (1927-2018) en su trilogía de la memoria, publicada entre 2004 y 2006 en Francia. Exiliado en París en la década de los 50, Ribéra alcanzó fama por sus obras de ciencia ficción o de corte fantástico. En los años 2000, coincidiendo con el inicio del debate sobre la memoria histórica en España, realiza una obra autobiográfica compuesta de tres álbumes: Montserrat. Souvenirs de la guerre civile (2004), Jeunesse bafouée. Une dictature au fil des jours (2005) y Paris Liberté. Le parfum de l'espoir (2006). La singularidad de esta obra nos lleva a plantear las siguientes cuestiones: ¿en qué medida supone la trilogía una ruptura respecto a las obras de ciencia ficción que Ribéra realizó antes? ¿Qué relación mantiene con la realidad histórica? ¿Cómo se documenta y se plasma la memoria individual y colectiva en ella? Basándonos en los aportes teóricos de Thierry Groensteen sobre arte secuencial, y de Isabelle Delorme y Bart Beaty sobre el relato autobiográfico o memorial histórico en el cómic, presentaremos la génesis de la obra, su particular visión partidista de la guerra civil, el recurso en ella del realismo y de la subjetividad, así como su aportación a la mejor comprensión de la obra de Ribéra
Entrevista con Ana Miralles y Emilio Ruíz
No full textAfter her debut in 1982 in the magazine Rambla, the Madrid-born Ana Miralles (1959) published in the already legendary Madriz and drew the series Marruecos, mon amour, with a script by Antonio Segura for the magazine Cairo. With the same author she made the Eva Medusa trilogy, which opened the doors to the French market, and also En busca del unicornio, an adaptation by Emilio Ruíz (Santander, 1960) of the novel of the same name by Juan Eslava Galán. That is, the same scriptwriter with whom she had signed her first monograph, El brillo de una mirada. But her European consecration came with Djinn, written by the veteran Jean Dufaux, a best-seller of which 13 albums were published between 2001 and 2016. In 2009 she received the Gran Premio del Salón de Barcelona for her entire career. Back with Ruíz (photographer, documentary filmmaker and designer) he drew De mano en mano and the unfinished Muraqqa and in 2011 he started the children's series Wáluk, from which three albums have appeared. His most recent production is Ava, focused on a 47-hour stay of the actress Ava Gardner in Rio de Janeiro.Tras su debut en 1982 en la revista Rambla, la madrileña Ana Miralles (1959) publica en la ya mítica Madriz y dibuja la serie Marruecos, mon amour, con guion de Antonio Segura para la revista Cairo. Con el mismo autor realiza la trilogía Eva Medusa, que le abre las puertas del mercado francés, y también En busca del unicornio, una adaptación de Emilio Ruíz (Santander, 1960) de la novela homónima de Juan Eslava Galán. Es decir, el mismo guionista con quien había firmado su primer monográfico, El brillo de una mirada. Pero su consagración europea llega con Djinn, escrita por el veterano Jean Dufaux, un best-seller del que se publican 13 álbumes entre 2001 y 2016. En 2009 recibió el Gran Premio del Salón de Barcelona a toda su trayectoria. De nuevo con Ruíz (fotógrafo, documentalista y diseñador) dibuja De mano en mano y la inconclusa Muraqqa e inicia en 2011 la serie infantil Wáluk, de la que han aparecido tres álbumes. Su más reciente producción es Ava, centrada en una estancia de 47 horas de la actriz Ava Gardner en Río de Janeiro
We Create Our Own Demons: The MCU’s Illusion of Progressivism
No full text“We Create Our Own Demons” explores examples of early films and characterizations in the Marvel Cinematic Universe that claim to present progressive depictions of minority cultures and races, yet fall short, as well as later installments that endeavor to provide more effective minority representations. Films such as Iron Man and Iron Man 3 are examined for their problematic representations of Arabs, while Black Panther and Black Panther: Wakanda Forever develop their African, Black, and Latinx characters with a much more genuinely progressive push. Utilizing race and cultural theory from the likes of Fredrick Aldama, Penelope Ingram, Evelyn Alsultany, and Ramzi Fawaz, this essay analyzes Iron Man’s repackaging of Arab stereotypes under the guise of progressivism, Black Panther’s Afrofuturist calls for Black solidarity in the face of a purportedly post-race society, and Wakanda Forever’s exploration of the racial and generational trauma caused by the colonization of the Americas. Each of these works is also analyzed for how they reflect their contemporary cultural moment. From Iron Man’s proximity to the 9/11 terrorist attacks, to Black Panther’s development within an increasingly vocal anti-Black, anti-Latinx America, it is important to understand how the illusory progressivism with which we develop fictional minority characters can actually serve to further entrench racial and ethnic stereotypes and hurt the communities it intends to protect
Losing Your Identity: The Repression of Liberties in 21st Century America in Marvel’s Civil War series
No full textABSTRACT:
The early 21st century witnessed the beginning of a turbulent period in the United States as the terrorist attacks of September 11th, 2001 resulted in the passing of a series of restrictive legislative measures as the only way to guarantee Americans’ protection from possible future attacks. These new policies, however, allowed authorities to violate people’s rights and liberties in the name of national security. Soon after the attacks, these matters reached the pages of literary works—including comic books—as spaces in which to actively engage in a critique of the new U.S. Prominent among these works is Marvel’s Civil War (2006–2007) by Mark Millar and Steve McNiven, in which an event mirroring the 9/11 attacks prompts the government to pass an act that cuts the superheroes’ liberties to guarantee the nation’s security. The series presents a world mirroring the present American reality by way of portraying U.S. superheroes as an oppressed minority in order to call Americans to question the course their country is taking after 9/11
DEUS EX ASTRA: A Re-Examination of Superman Through Jesus and the Archangel Michael
No full textJesus of Nazereth, Saint/Archangel Michael and Superman all share a common feature: an uncommon physical resemblance to human beings. Through these anthropic bodies, numerous issues and debates concerning identity, power, leadership, judgement, and service are constantly renegotiated. By performing a close comparative reading of symbolism and iconography used in the depiction of these three figures. This chapter seeks to study the paradoxical depiction of Superman in several comics as a type of triune character/concept in practice: Servant, Saviour, and Sovereign. To achieve this, this chapter will conduct a close comparative analysis reading and comparison of the symbolism and iconography used in the depictions of various classical paintings of Christ and Michael with depictions of Superman from various key moments in both the narrative lives of Christ and Superman.
 
Dark Knight at Fifteen: An Intersectional Retrospective
No full textCharacters within The Dark Knight access intersectional, systemic privileges linked to the performance of masculinity, whiteness, neoliberal class consciousness, and heteronormativity. Using cultural studies as the framework and intersectionality as the point of departure, this paper interrogates how kyriarchy—a way to understand intersecting layers of privilege—buttresses neoliberal ideologies, especially in the first decade of the 21st century. Hegemonic masculinity is both reinforced and reinvented in a homosocial erotic triangle between Batman, Harvey Dent, and Bruce Wayne, which is subsequently shattered by the Joker, a queer failed masculine subject who fosters intimacy through excessive violence. Even this powerful disruption, however, emerges from the intersecting privileges of a cis white man and contrasts sharply with both the situations of Black characters in the film and lived encounters between Black Americans and the State. Batman’s appropriation of Blackness in his suit, juxtaposed with the undeniable whiteness read on his bared chin, signals a privilege that allows him to act outside the law, reinventing kyriarchal and neoliberal sovereign exceptionalism. Examining The Dark Knight through the lenses of cultural studies and intersectionality allows a better understanding of systemic inequality as conveyed through media, which is crucial to undoing conferred dominance and the exploitative hegemony of our world
Reconstructing Social Space in the Duchy of the Archipelago. Patronage and spatial relations in the 13th century
No full textThis paper sets out an initial presentation of the characteristics of the patronage activity concerning the development of spatial associations in the Duchy of the Archipelago during the 13th century. Is patronage primarily the cause or result of the changes expressed through archaeological evidence? Is it an element signifying rupture from or continuity with the previous existing set up? Through some typical examples, the course of the phenomenon is followed through the spatial correlations and changes caused, from the physical to the social space and vice versa and an attempt is made to classify patronage activity. Finally, a theoretical formulation of the respective conclusions reached will be attempted, based on the understanding of ‘space’ basically as a social field.Este artículo ofrece una primera presentación de las características de la actividad mecenazgo vinculada al desarrollo de asociaciones espaciales en el Ducado del Archipiélago durante el siglo XIII. ¿Es el mecenazgo principalmente la causa o el resultado de los cambios expresados a través de la evidencia arqueológica? ¿Es un elemento que significa ruptura o continuidad con la configuración anterior existente? A través de algunos ejemplos típicos, se sigue el curso del fenómeno a través de las correlaciones espaciales y los cambios provocados, del espacio físico al espacio social y viceversa, y se intenta clasificar la actividad de mecenazgo. Finalmente, se intentará una formulación teórica de las respectivas conclusiones, partiendo de la comprensión del ‘espacio’ esencialmente como un campo social.Cet article propose une première présentation des caractéristiques de l'activité de mécénat liée au développement des associations spatiales dans le Duché de l'Archipel au cours du XIIIe siècle. Le mécénat est-il principalement la cause ou le résultat des changements exprimés à travers les preuves archéologiques ? Est-il un élément signifiant une rupture ou une continuité avec la configuration existante précédente ? À travers quelques exemples typiques, le cours du phénomène est suivi à travers les corrélations spatiales et les changements causés, de l'espace physique à l'espace social et vice versa, et une tentative de classification de l'activité de mécénat est l’entreprise. Enfin, une formulation théorique des conclusions respectives seront tentées, basée sur la compréhension de l'espace essentiellement comme un champ social
Minerva Alganza Roldán – Álvaro Ibáñez Chacón (eds.), Mythographica Graeca. Transmisión, textos y contextos, Madrid, Dykinson 2023, 292 pp. [ISBN: 9788411707305].
No full textRecensione
Pocas palabras bastan: la variación semántica del tabú como índice de práctica estilística
No full textThe unique characteristics of taboo from a semantic and sociolinguistic point of view make it a very powerful tool for the construction of social meaning. Although studies in Hispanic variationist sociolinguistics have increased in recent years, there are few interpretations of the variation of taboo as a stylistic resource for speakers to situate themselves in the social space. However, as far as taboo as a semantic variable is concerned, few words are enough for speakers to construct social meanings: through the results of two statistical models on the same corpus of sexual concepts and the qualitative analysis of examples, the potential of these concepts for the stylistic practice of speakers will be explained. The position taken regarding taboo (naming it or not) serves as an index of local social categories related to modesty and its ideological meanings.Las características singulares del tabú desde el punto de vista semántico y sociolingüístico lo convierten en una herramienta potentísima de construcción de significado social. Aunque los estudios de la sociolingüística variacionista hispánica han aumentado en los últimos años, son escasas las interpretaciones de la variación del tabú como recurso estilístico de los hablantes para situarse en el espacio social. No obstante, en lo que se refiere al tabú como variable semántica, pocas palabras les bastan a los hablantes para construir significados sociales: a través de los resultados de dos modelos estadísticos sobre un mismo corpus de conceptos sexuales y del análisis cualitativo de ejemplos, se explicará el potencial de estos conceptos para la práctica estilística. La posición tomada con respecto al tabú sirve de índice de categorías sociales locales relacionadas con el pudor y sus significados ideológicos
La expresión del tabú y la enseñanza de Español como Lengua Extranjera. Investigación y perspectivas de futuro
No full textLinguistic taboo is not usually taught explicitly in the Spanish as a Foreign Language (SFL) classroom. This is a complex phenomenon determined by sociocultural aspects which, if it is not properly dealt with in the classroom can lead to major communication problems. Below, we present some background information on the teaching of the forbidden language in the SFL classroom. To begin with, we outline the results of some of the most relevant research in recent years and, then, share an updated review of the treatment of interdiction both in documents that serve as frameworks of reference and in didactic materials. Finally, we put forward some considerations for its incorporation into SFL curricular plans.El tabú lingüístico no suele enseñarse de forma explícita en el aula de Español como Lengua Extranjera (ELE). Nos encontramos ante un fenómeno complejo y determinado por aspectos socioculturales que, si no se trabaja de manera adecuada en la clase, puede provocar importantes problemas de comunicación. A continuación, presentamos un estado de la cuestión sobre la enseñanza de lo prohibido en el aula de ELE. Para empezar, exponemos los resultados de algunas de las investigaciones más relevantes de los últimos años y, después, compartimos una revisión actualizada sobre el tratamiento de la interdicción tanto en documentos que sirven de marcos de referencia como en materiales didácticos. Finalmente, planteamos algunas consideraciones para su incorporación en los planes curriculares de enseñanza de ELE