{"id":163,"date":"2022-09-19T13:45:41","date_gmt":"2022-09-19T13:45:41","guid":{"rendered":"http:\/\/dnmrul.es\/tebeotecario\/?p=163"},"modified":"2022-09-20T08:31:12","modified_gmt":"2022-09-20T08:31:12","slug":"nuevo-numero-cuco-cuadernos-de-comic-n-o-18-2022","status":"publish","type":"post","link":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/2022\/09\/19\/nuevo-numero-cuco-cuadernos-de-comic-n-o-18-2022\/","title":{"rendered":"Nuevo n\u00famero: Cuco, Cuadernos de c\u00f3mic n.\u00ba 18 (2022)"},"content":{"rendered":"<p>Las referencias de los art\u00edculos publicados en la secci\u00f3n CuCoEstudio ya se encuentran disponibles en <a href=\"http:\/\/dnmrul.es\/tebeotecario\/index.php\/tbotkbd\/\">tbotkBD<\/a>.<\/p>\n<ul class=\"report combineChildItems\">\n<li id=\"item_T2MQ6VTB\" class=\"item journalArticle\">\n<h2>De los pinceles de Tiziano a las acuarelas de Hern\u00e1ndez Palacios: la representaci\u00f3n del reinado de Carlos V en la obra de Antonio Hern\u00e1ndez Palacios<\/h2>\n<table>\n<tbody>\n<tr>\n<th style=\"width: 25%;\">Tipo<\/th>\n<td>Art\u00edculo de revista acad\u00e9mica<\/td>\n<\/tr>\n<tr>\n<th class=\"author\">Autor<\/th>\n<td>Pedro Reig Ruiz<\/td>\n<\/tr>\n<tr>\n<th>Resumen<\/th>\n<td>En 1999 se public\u00f3 el c\u00f3mic Carlos V de Antonio Hern\u00e1ndez Palacios con motivo de la conmemoraci\u00f3n del quinto centenario del nacimiento de Carlos V. Este autor, versado en c\u00f3mics de tem\u00e1tica hist\u00f3rica y b\u00e9lica, hace un repaso al reinado del emperador, marcando los hitos m\u00e1s relevantes y mostrando a los grandes protagonistas de la historia de Espa\u00f1a de la primera mitad del siglo xvi como lo fueron, adem\u00e1s del propio emperador y sus colaboradores, el rey de Francia Francisco I, el papa Clemente VII o el almirante Andrea Doria. En este ensayo se analiza la representaci\u00f3n que hace Palacios sobre el reinado Carlos V, gui\u00e1ndonos por las pautas marcadas por el propio Palacios en su obra y sus particularidades gr\u00e1ficas, y se enlazar\u00e1 con una serie de reflexiones sobre el c\u00f3mic y su contexto, la historiograf\u00eda y las conmemoraciones p\u00fablicas. In 1999, the comic Carlos V by Antonio Hern\u00e1ndez Palacios was published on the occasion of the commemoration of the fifth centenary of the birth of Carlos V. This author, versed in comics on historical and war themes, reviews the reign of the em-peror, marking the most relevant and showing the great protagonists of the history of Spain in the first half of the 16th century, such as, in addition to the emperor himself and his collaborators, the King of France Francis I, Pope Clement VII or Admiral Andrea Doria. This essay analyzes the representation that Palacios makes of the reign of Carlos V, guiding us by the guidelines set by Palacios himself in his work and its graphic particularities, and it will be linked to a series of reflections on the comic and its context, the historiography and public commemorations.<\/td>\n<\/tr>\n<tr>\n<th>URL<\/th>\n<td><a href=\"https:\/\/doi.org\/10.37536\/cuco.2022.18.1681\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1681<\/a><\/td>\n<\/tr>\n<tr>\n<th>P\u00e1ginas<\/th>\n<td>7-29<\/td>\n<\/tr>\n<tr>\n<th>Publicaci\u00f3n<\/th>\n<td>CuCo: cuadernos de c\u00f3mic<\/td>\n<\/tr>\n<tr>\n<th>DOI<\/th>\n<td><a href=\"http:\/\/doi.org\/https:\/\/doi.org\/10.37536\/cuco.2022.18.1681\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1681<\/a><\/td>\n<\/tr>\n<tr>\n<th>N\u00famero<\/th>\n<td>18<\/td>\n<\/tr>\n<tr>\n<th>ISSN<\/th>\n<td>2340-7867<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3 class=\"tags\">Etiquetas:<\/h3>\n<ul class=\"tags\">\n<li>Ense\u00f1anza<\/li>\n<li>Historia<\/li>\n<li>Carlos V<\/li>\n<\/ul>\n<\/li>\n<li id=\"item_K49FNNGF\" class=\"item journalArticle\">\n<h2>Dime qu\u00e9 lees y te dir\u00e9 qui\u00e9n eres: ethosc\u00f3mico y constituci\u00f3n de la subjetividad humor\u00edstica en &#8220;T\u00eda Vicenta&#8221;<\/h2>\n<table>\n<tbody>\n<tr>\n<th style=\"width: 25%;\">Tipo<\/th>\n<td>Art\u00edculo de revista acad\u00e9mica<\/td>\n<\/tr>\n<tr>\n<th class=\"author\">Autor<\/th>\n<td>Cristian Palacios<\/td>\n<\/tr>\n<tr>\n<th>Resumen<\/th>\n<td>Tomando como punto de partida la distinci\u00f3n entre dos modalidades de la risa a las que denominamos c\u00f3mica y humor\u00edstica, este trabajo se propone revelar las estrategias discursivas a partir de las cuales la revista humor\u00edstica T\u00eda Vicenta, creaci\u00f3n de Juan Carlos Colombres, m\u00e1s conocido como Landr\u00fa, fue constituyendo una imagen autoral predominantemente c\u00f3mica que abraz\u00f3 en \u00faltima instancia la defensa del statu quo, pese a la novedad que lleg\u00f3 a representar para los lectores de la \u00e9poca en un contexto cultural y pol\u00edtico de extrema inestabilidad. Nos proponemos investigar cu\u00e1les son los mecanismos a trav\u00e9s de los que una publicaci\u00f3n de esta \u00edndole puede constituir una imagen de s\u00ed misma determinando no solo aquello que los lectores pueden esperar encontrar en ella, sino tambi\u00e9n quienes son aquellos lectores que la leen. Taking as starting point the distinction between the two modalities of the laughable that we call humour and the comic, this work intends to reveal the discursive strategies from which the humoristic magazine T\u00eda Vicenta, creation of Juan Carlos Colombres, best known as Landr\u00fa, was building a predominantly comic author\u2019s image that embrace the defence of the statu quo in a political and cultural context of extreme instability, even if was seen as a novelty by the readers of the time. We will try to understand the means from which this kind of publications manage to constitute an image of themselves determining not only what the reader could expect to find in their pages but also who are those readers that read them.<\/td>\n<\/tr>\n<tr>\n<th>URL<\/th>\n<td><a href=\"https:\/\/doi.org\/10.37536\/cuco.2022.18.1689\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1689<\/a><\/td>\n<\/tr>\n<tr>\n<th>P\u00e1ginas<\/th>\n<td>95-116<\/td>\n<\/tr>\n<tr>\n<th>Publicaci\u00f3n<\/th>\n<td>CuCo: cuadernos de c\u00f3mic<\/td>\n<\/tr>\n<tr>\n<th>DOI<\/th>\n<td><a href=\"http:\/\/doi.org\/https:\/\/doi.org\/10.37536\/cuco.2022.18.1689\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1689<\/a><\/td>\n<\/tr>\n<tr>\n<th>N\u00famero<\/th>\n<td>18<\/td>\n<\/tr>\n<tr>\n<th>ISSN<\/th>\n<td>2340-7867<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3 class=\"tags\">Etiquetas:<\/h3>\n<ul class=\"tags\">\n<li>C\u00f3mic espa\u00f1ol<\/li>\n<li>T\u00eda Vicenta<\/li>\n<\/ul>\n<\/li>\n<li id=\"item_RFHQCTLZ\" class=\"item journalArticle\">\n<h2>Hamlet en la versi\u00f3n de Gianni de Luca<\/h2>\n<table>\n<tbody>\n<tr>\n<th style=\"width: 25%;\">Tipo<\/th>\n<td>Art\u00edculo de revista acad\u00e9mica<\/td>\n<\/tr>\n<tr>\n<th class=\"author\">Autor<\/th>\n<td>Carmen Vitaliana Vidaurre Arenas<\/td>\n<\/tr>\n<tr>\n<th>Resumen<\/th>\n<td>We study Hamlet (1976) by Gianni de Luca, a comic version of Shakespeare\u2019s work, based on the proposals made by Genette (1989), with the purpose of specifying the transformations that occur in the adaptation and their semantic implications.Although some changes in the derived version come from the intersemiotic transposition of verbal to figurative signs and from the interlinguistic translation, others derive from the type of receiver for which the adaptation was intended, from its rhetoric and expressive modalities, but also from the innovative graphic solutions. The study allows us to identify the specificity of these modalities, specify the innovations, as well as intertextual materials and cultural elements incorporated into the graphic-narrative hypertext.<\/td>\n<\/tr>\n<tr>\n<th>URL<\/th>\n<td><a href=\"https:\/\/doi.org\/10.37536\/cuco.2022.18.1709\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1709<\/a><\/td>\n<\/tr>\n<tr>\n<th>P\u00e1ginas<\/th>\n<td>50-72<\/td>\n<\/tr>\n<tr>\n<th>Publicaci\u00f3n<\/th>\n<td>CuCo: cuadernos de c\u00f3mic<\/td>\n<\/tr>\n<tr>\n<th>DOI<\/th>\n<td><a href=\"http:\/\/doi.org\/https:\/\/doi.org\/10.37536\/cuco.2022.18.1709\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1709<\/a><\/td>\n<\/tr>\n<tr>\n<th>N\u00famero<\/th>\n<td>18<\/td>\n<\/tr>\n<tr>\n<th>ISSN<\/th>\n<td>2340-7867<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3 class=\"tags\">Etiquetas:<\/h3>\n<ul class=\"tags\">\n<li>Semi\u00f3tica<\/li>\n<li>Hamlet<\/li>\n<li>Gianni de Luca<\/li>\n<\/ul>\n<\/li>\n<li id=\"item_W6EXEUEL\" class=\"item journalArticle\">\n<h2>Literatura de resistencia: negacionismo migratorio y contradiscurso en &#8220;Leaving Spain&#8221; (2015), de \u00d3scar Ib\u00e1\u00f1ez<\/h2>\n<table>\n<tbody>\n<tr>\n<th style=\"width: 25%;\">Tipo<\/th>\n<td>Art\u00edculo de revista acad\u00e9mica<\/td>\n<\/tr>\n<tr>\n<th class=\"author\">Autor<\/th>\n<td>Alfonso Bartolom\u00e9<\/td>\n<\/tr>\n<tr>\n<th>Resumen<\/th>\n<td>La novela gr\u00e1fica Leaving Spain manifiesta una cr\u00edtica de la pol\u00edtica migratoria del gobierno espa\u00f1ol y la incapacidad de este para frenar los desplazamientos al extranjero por parte de la juventud. Adem\u00e1s, la obra censura la representaci\u00f3n del fen\u00f3meno migratorio y de qu\u00e9 manera se retratan estos desplazamientos de forma edulcorada que poco o nada tienen que ver con la realidad. Ante este negacionismo migratorio, se produce una literatura de resistencia y, por tanto, un contradiscurso, que tienen como objetivo la solidaridad y la uni\u00f3n entre los grupos afectados a trav\u00e9s de una dial\u00e9ctica de resistencia. The graphic novel Leaving Spain exhibits a critique of the migratory policies from the Spanish government and its inability to control the constant departure from Spain by its young citizens. Besides, the text rejects the migration portrait made by politicians and media by showing an often misrepresentation version of the reality. Against this type of display, a resistance literature arises, and therefore, a counterdis-course with the goal of solidarity among the migrants themselves.<\/td>\n<\/tr>\n<tr>\n<th>URL<\/th>\n<td><a href=\"https:\/\/doi.org\/10.37536\/cuco.2022.18.1579\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1579<\/a><\/td>\n<\/tr>\n<tr>\n<th>P\u00e1ginas<\/th>\n<td>30-49<\/td>\n<\/tr>\n<tr>\n<th>Publicaci\u00f3n<\/th>\n<td>CuCo: cuadernos de c\u00f3mic<\/td>\n<\/tr>\n<tr>\n<th>DOI<\/th>\n<td><a href=\"http:\/\/doi.org\/https:\/\/doi.org\/10.37536\/cuco.2022.18.1579\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1579<\/a><\/td>\n<\/tr>\n<tr>\n<th>N\u00famero<\/th>\n<td>18<\/td>\n<\/tr>\n<tr>\n<th>ISSN<\/th>\n<td>2340-7867<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3 class=\"tags\">Etiquetas:<\/h3>\n<ul class=\"tags\">\n<li>Pol\u00edtica<\/li>\n<li>Leaving Spain<\/li>\n<\/ul>\n<\/li>\n<li id=\"item_XN32W9PP\" class=\"item journalArticle\">\n<h2>Una heterotop\u00eda del odio: el antisemitismo nazi en un libro denunciado por Borges<\/h2>\n<table>\n<tbody>\n<tr>\n<th style=\"width: 25%;\">Tipo<\/th>\n<td>Art\u00edculo de revista acad\u00e9mica<\/td>\n<\/tr>\n<tr>\n<th class=\"author\">Autor<\/th>\n<td>Gustavo Faver\u00f3n Patriau<\/td>\n<\/tr>\n<tr>\n<th>Resumen<\/th>\n<td>This article studies one instance of graphic tactics of dissemination of antisemitic discourses in nazi Germany (as found in the book Trau keinem Fuchs auf gr\u00fcner Heid und keinem Jud bei seinem Eid, by Elvira Bauer, published in 1936) as well as Jorge Luis Borges\u2019s contemporary criticism of those tactics and that book. Central in this analysis will be the notion of heterotopia, advanced by Michel Foucault three decades later after his own reading of other texts by Borges. El presente art\u00edculo estudia tanto un ejemplo de las t\u00e1cticas gr\u00e1ficas de propalaci\u00f3n del discurso antisemita en la Alemania nazi (en el libro Trau keinem Fuchs auf gr\u00fcner Heid und keinem Jud bei seinem Eid, de Elvira Bauer, publicado en 1936) como la cr\u00edtica de esas t\u00e1cticas, ensayada meses m\u00e1s tardes en dos rese\u00f1as escritas por Jorge Luis Borges. Una noci\u00f3n central en este an\u00e1lisis ser\u00e1 la idea de heterotop\u00eda, que Foucault desarrollara tres d\u00e9cadas despu\u00e9s a partir de su propia lectura de otros textos borgeanos.<\/td>\n<\/tr>\n<tr>\n<th>URL<\/th>\n<td><a href=\"https:\/\/doi.org\/10.37536\/cuco.2022.18.1676\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1676<\/a><\/td>\n<\/tr>\n<tr>\n<th>P\u00e1ginas<\/th>\n<td>73-94<\/td>\n<\/tr>\n<tr>\n<th>Publicaci\u00f3n<\/th>\n<td>CuCo: cuadernos de c\u00f3mic<\/td>\n<\/tr>\n<tr>\n<th>DOI<\/th>\n<td><a href=\"http:\/\/doi.org\/https:\/\/doi.org\/10.37536\/cuco.2022.18.1676\">https:\/\/doi.org\/10.37536\/cuco.2022.18.1676<\/a><\/td>\n<\/tr>\n<tr>\n<th>N\u00famero<\/th>\n<td>18<\/td>\n<\/tr>\n<tr>\n<th>ISSN<\/th>\n<td>2340-7867<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3 class=\"tags\">Etiquetas:<\/h3>\n<ul class=\"tags\">\n<li>Holocausto<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>Puedes descargar la referencia actualizada a estos y otros art\u00edculos similares desde <a href=\"http:\/\/dnmrul.es\/spip\/spip.php?page=biblio\">tbotkBD<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Las referencias de los art\u00edculos publicados en la secci\u00f3n CuCoEstudio ya se encuentran disponibles en tbotkBD. De los pinceles de Tiziano a las acuarelas de Hern\u00e1ndez Palacios: la representaci\u00f3n del reinado de Carlos V en la obra de Antonio Hern\u00e1ndez Palacios Tipo Art\u00edculo de revista acad\u00e9mica Autor Pedro Reig Ruiz Resumen En 1999 se public\u00f3&#8230;<a class=\"read-more-link button\" href=\"https:\/\/dnmrul.es\/tebeotecario\/index.php\/2022\/09\/19\/nuevo-numero-cuco-cuadernos-de-comic-n-o-18-2022\/\">Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[9,31,32,29,36,35,30,38,37,28,18,34,12,33],"class_list":["post-163","post","type-post","status-publish","format-standard","hentry","category-nuevo-numero","tag-articulo","tag-carlos-v","tag-comic-espanol","tag-ensenanza","tag-gianni-de-luca","tag-hamlet","tag-historia","tag-holocausto","tag-leaving-spain","tag-nuevo-numero","tag-politica","tag-semiotica","tag-tbotkbd","tag-tia-vicenta"],"_links":{"self":[{"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/posts\/163","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/comments?post=163"}],"version-history":[{"count":5,"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/posts\/163\/revisions"}],"predecessor-version":[{"id":187,"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/posts\/163\/revisions\/187"}],"wp:attachment":[{"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/media?parent=163"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/categories?post=163"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dnmrul.es\/tebeotecario\/index.php\/wp-json\/wp\/v2\/tags?post=163"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}