By Héctor Fernández L’Hoeste, Juan Poblete (eds.)
This quantity discusses the function of comics within the formation of a latest feel of nationhood in Latin the USA and the increase of a collective Latino id within the united states. it truly is one of many first makes an attempt - in English and from a cultural experiences viewpoint - to hide Latin/o American comics with an absolutely continental scope. particular circumstances comprise cultural powerhouses like Argentina, Brazil, and Mexico, in addition to the creation of lesser-known industries, like Chile, Cuba, and Peru.
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Extra resources for Redrawing The Nation: National Identity in Latin/o American Comics
The number of characters increases any time Maurício (as he is called even by his employees) either imagines a new character, or receives a “suggestion” from a real-life person or situation that makes its way into the set of characters in the magazine. Another factor that makes De Sousa’s work especially interesting in the Brazilian comic context is that, unlike other creators, De Sousa has managed to create and maintain the uninterrupted publication of his magazines since 1970, when the first Mônica e sua Turma was published.
He started undeniably as a ‘roto fatal’ (working-class guy with bad luck)” (number 32, 1970). The roto fatal expression alludes simultaneously to his social standing and to its quality as a likable loser. Its very first story is clearly symptomatic of such qualities and social position: after a week of hunger, the penniless Condorito steals a hen. Unable to kill the animal—he lacks the guts or is too compassionate—Condorito is caught by a policeman who, after putting him in jail, proceeds to cook and eat the bird.
One of them is that Maurício de Sousa is the creator of not just one or even of a group of characters. He has created a series of different characters living in different places (some even “live” in a cemetery—the main character is Penadinho, a little ghost) MÔNICA POWER 21 or different times (one of his most beloved characters is a dinosaur called Horácio). The number of characters increases any time Maurício (as he is called even by his employees) either imagines a new character, or receives a “suggestion” from a real-life person or situation that makes its way into the set of characters in the magazine.