Historias de superhéroes : imaginarios, sociedad y política en el cómic moderno (1938-1945/1962-1972)

Colaborador

Vazquez, Laura Vanesa

Spatial Coverage

Temporal Coverage

1938-1945
1962-1972

Idioma

spa

Extent

107 p.

Derechos

info:eu-repo/semantics/openAccess
Atribución-NoComercial-SinDerivadas 2.0 Genérica (CC BY-NC-ND 2.0)

Formato

application/pdf

Cobertura

USA
1938-1945
1962-1972

Abstract

Since the emergence of Superman (1938) and its overcrowding through the magazine Detective Comics, most of the iconic characters emerged in the North American graphic cartoon followed the logic of heroism, the pursuit of justice, the common good, and the persecution of the crime. A possible foundation is that after the crisis of the 30s' the American economic recovery should be embodied by the idea of the "American dream", an imaginary of individual prosperity that needed the construction of a super heroic account of the possibilities of the citizen American on the one hand, and the ability of a State to guarantee and articulate this possibility by another. It is in this context that the superhero comics appear, with characters interpreting a quasi-ontological morality, with a knowledge of good and evil without fissures. The valorization of work, good manners and the construction of an order whose articulating axis is the State and citizenship, gives rise to superheroes whose focus of action is not only the fight against interplanetary villains, monsters or mad scientists, but also they constituted as defenders of democracy and the capitalist lifestyle, and who claim the benefits of an order imposed from above. This can be seen in the relationship of the superhero with the law, since although he himself calls for dramatic intervention to restore community order, the relationship he maintains with the law is one of respect for the norms of society, and generally the The goal sought is not death, but the imprisonment and punishment of the villains within the traditional system of justice. During the Second World War, the role of the North American cartoon mutated the logic of the "American savior" (Captain America, Wonder Woman) that later led to the "construction of the other, the threat of the different. Therefore, through fiction, imaginary was constructed and supposedly "universalizable" values were dictated and any message conveyed by the comic strip, is a strong impact due to its aesthetic intensity and its associated images, which we can trace in its mythical character as the emerge from an unconscious tradition of the past, giving an account of the anthropological and psychological aspects of its foundation: superheroes, in aesthetics and functionality appear as a "novelty" that arises cyclically in all human communities, the unconscious recovery of memory heroic of the past, that through all societies, and prefiguring its aesthetic in classical Greece, derived in the configuration of this modern myth. Adding these two aspects: the fascination and adhesion that the superhero produces in the reader, namely the psychological one, understood as the unconscious need of "gods", and the sociological one, we are ready to reflect on the positions of these characters in the different political-social conjunctures.

Table Of Contents

RESUMEN

ÍNDICE

DEDICATORIA

PRÓLOGO

INTRODUCCIÓN
I- PRESENTACIÓN DEL PROBLEMA
II- FUNDAMENTACIÓN DEL PROBLEMA
III-OBJETIVOS
a) GENERALES
b) ESPECÍFICOS
IV- METODOLOGÍA

CAPÍTULO 1
BREVE INTRODUCCIÓN AL MUNDO DE LOS SUPERHÉROES
1.1 El superhéroe como invención moderna
1.2 Hacia una tipología súper heroica
1.3 Conociendo brevemente a los personajes
1.4 La paradoja del superhéroe
1.5 Superhéroe súper villano
1.6 El anti héroe

CAPÍTULO 2
NO SE PUEDE MATAR A UN DIOS
2.1 No se puede matar a un dios
2.2 El poder de las imágenes
2.3 Noción de imagen síntoma e imagen superviviente
2.4 Estética de la Grecia clásica
2.5 Un refuerzo institucional
2.6 La danza de las máscaras

CAPÍTULO 3
EL HOMBRE DE ACERO Y EL SUEÑO AMERICANO
3.1 El Hombre de Acero
3.2 Un proyecto paternalista
3.3 Un superhéroe nada heroico
3.4 De héroe social a defensor de la democracia

CAPÍTULO 4
LA LEYENDA DE BATMAN
4.1 Un fin de semana, un principio de leyenda
4.2 Un superhéroe súper humano
4.3 Análisis de cómics: temas puntuales y utilización política del personaje

CAPÍTULO 5
CUANDO EL ANTIHÉROE ES EL HÉROE
5.1 ¿Héroe o anti héroe?
5.2 Diabolik: hechos destacados de su creación
5.3 El Rey del terror
5.4 Boom económico, explotación y crimen organizado
5.5 Cuando el anti héroe es el héroe

CAPÍTULO 6
EL INCREÍBLE HOMBRE ARAÑA
6.1 De lo fantástico a lo posible
6.2 En busca de la animalidad perdida
6.3 La amenaza radioactiva
6.4 El nacimiento de Spiderman
6.5 La trilogía de las drogas

CONCLUSIONES
BIBLIOGRAFÍA

Título obtenido

Magister de la Universidad de Buenos Aires en Comunicación y Cultura

Institución otorgante

Universidad de Buenos Aires. Facultad de Ciencias Sociales

Social Bookmarking