Memory, daily life and subjectivity in Sem dó by Luli Penna
Our goal is to reflect on the relationship between history and memory, set in contemporary Brazilian comics produced by women, considering the way comic book artists turn to the past, investigate the visual/material culture to give visibility to experiences lived by ordinary people, characters who w...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Portugués |
| Publicado: |
Facultad de Filosofía y Humanidades. Escuela de Historia
2021
|
| Materias: | |
| Acceso en línea: | https://revistas.unc.edu.ar/index.php/RIHALC/article/view/35849 |
| Aporte de: |
| Sumario: | Our goal is to reflect on the relationship between history and memory, set in contemporary Brazilian comics produced by women, considering the way comic book artists turn to the past, investigate the visual/material culture to give visibility to experiences lived by ordinary people, characters who were erased or marginalized, offering other narratives about the events. In this text we will analyze a fictional love story set in São Paulo in the 1920s, Sem Dó, by Luli Penna, published by Todavia, in 2017. With the changes in Brazilian politics and the resurgence of an extremely conservative and authoritarian thinking, inequality, violence, intolerance and prejudices of class, gender, race and ethnicity have increased. In contrast, concern for those excluded from history and for the recording of their memories eventually contaminated the pages of comics. Luli Penna uses references from movie posters, fashion magazines, newspaper ads and very few dialogues aligned the universe of work and household chores as a collection of memories. The characters face social conventions, normative behaviors, beauty standards, markers of class distinction. These graphic novels break away from a dichotomous and deterministic view, reinterpreting contexts, showing the contradictions of each time period, the tactics and strategies of negotiation, of resistance. |
|---|