Publication: Literatura e imagen en el cómic: Laura Pérez Vernetti-Blina
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2016-11-10
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Universidad Complutense de Madrid
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Abstract
En esta tesis, a partir del estudio de la obra de Laura Pérez Vernetti, objeto de estudio, pretendo ofrecer una reflexión metodológica y crítica sobre el cómic española de proyección internacional en Europa y en el mundo, que nos conduzca a calibrar mejor el lugar que ocupa hoy en el ámbito internacional. Contexto histórico en el que se centra la metodología de esta tesis, situando esta metodología para enmarcar a Laura. Desde esta perspectiva de proyección internacional, ha sido de mi interés, seguir, para este análisis, varios períodos en los que se insertan tres grupos generacionales que nos han conducido hasta unos autores relevantes que han alcanzado categoría mundial, entre los que se encuentra Laura. La reflexión llevada a cabo abarca tanto los fenómenos ligados a la industria del cómic, como sus vinculaciones al arte y a la experimentación a la que se adscribe la obra de la dibujante Laura. Asimismo, pretendo valorar cúal ha sido su contribución a la historieta del cómic mundial partiendo del postulado del cómic como arte. Situando a Laura Pérez Vernetti-Blina dentro de esta evolución de las mentalidades. La evolución a la que asistimos ahora, hace que se estudie el cómic como arte, por eso los estudios han pasado de la semiología a la integración en una historia de las artes: de una aproximación semiológica a una aproximación estética. Cómic como arte. Y dentro de esta tendencia Laura presentaba una obra original para la investigación. Por eso su obra es tan singular y digna de interés. Pero antes, de estos objetivos, trazamos antes el perfil de dos autoras como precursoras de un cómic, Núria Pompeia e Isa Feu, de justa introducción a Laura, y más allá de éstas, una mirada retrospectiva a los años 30, una generación de dibujantes que se vieron limitadas a un tipo de cómic dirigido. Mi contribución en este estudio, al conocimiento de la autora, una de las más importantes del cómic español y una autora esencial de la nueva historieta española de la década de los ochenta. Partiendo del concepto de graphic novel asociada a cómic adulto, a la historieta de autor, para poder hablar de la nueva historieta española en la creación contemporánea. Partiendo de que el cómic es un medio de expresión gráfica eminentemente narrativo. La misma naturaleza fundamentalmente narrativa de la imagen secuencial la capacita para representar el tiempo y por lo tanto es idónea para la narración (cómic y cine). No podemos más que aseverar, que desde fines del siglo pasado y en los primeros años del nuevo siglo, se ha producido un salto cualitativo en la dedicación a la investigación de estos estudios. Mientras tanto, la labor del investigador en el ámbito del cómic puede y debe abrir horizontes continuados, con estudios pertinentes que nos conduzcan a reflexiones nuevas sobre esta manifestación artística de carácter “complejo”, como es el cómic, mediante el estudio y análisis de los autores, que se sirven de este medio para expresar sus inquietudes artísticas. No he tenido más pretensión en esta investigación, que proporcionar una contribución al conocimiento de la autora y al cómic en general. Valorando la aportación al conocimiento de la historieta, que abra horizontes nuevos, para las futuras investigaciones.
In this thesis, based on the study of the work of Laura Perez Vernetti, the object of study, I intend to offer a methodological and critical reflection on the Spanish comic international presence in Europe and globally, that will lead to better calibrate the place that now it occupies internationally. Historical context in which the methodology of this thesis focuses, placing this methodology to frame Laura. From the perspective of international renown, has been of interest to me, go on, for this analysis, several periods in which three generational groups that have led us to some relevant authors who have achieved w orld-class, among which Laura is in. The reflection carried out covering both phenomena linked to the comics industry, as its links to art and experimentation in the work of artist Laura is attached. Also, I intend to evaluate what has been his contribution to world comic cartoon based on the postulate of comics as art. . Placing Laura Perez Vernetti-Blina within this changing attitudes. The evolution we are witnessing now, makes comics as art study, so studies have been of semiotics integration into a history of the arts: a semiotic approach to an aesthetic approach. Comics as art. And within this trend Laura had an original work for research. That is why his work is so unique and worthy of interest. But before these objectives, we draw before the two authors profile as precursors of a comic, Núria Pompeia and Isa Feu, fair introduction to Laura, and beyond them, a retrospective look at the 30s, a generation of cartoonists they were limited to one type of comic run. My contribution to this study, the knowledge of the author, one of the most important Spanish comics and a key author of the new Spanish cartoon eighties. Based on the graphic novel concept associated with adult comics, cartoon author, to talk about the new Spanish comic in contemporary creation. . From the comic is a means of graphic expression eminently narrative. The very nature of narrative basically sequential image enables it to represent time and thus is ideal for narration (comics and film). We can only assert that since late last century and the early years of the new century, there has been a qualitative leap in the dedication to research these studies. Meanwhile, the work of the researcher within the scope of comics can and must open horizons continued with relevant studies that will lead to new thinking on this "complex" character art form, such as comics, through the study and analysis authors, who use this medium to express his artistic concerns. . I had no other aim in this research, which provide a contribution to the knowledge of the author and comics in general. Assessing the contribution to the knowledge of the cartoon, which open new horizons for future research.
In this thesis, based on the study of the work of Laura Perez Vernetti, the object of study, I intend to offer a methodological and critical reflection on the Spanish comic international presence in Europe and globally, that will lead to better calibrate the place that now it occupies internationally. Historical context in which the methodology of this thesis focuses, placing this methodology to frame Laura. From the perspective of international renown, has been of interest to me, go on, for this analysis, several periods in which three generational groups that have led us to some relevant authors who have achieved w orld-class, among which Laura is in. The reflection carried out covering both phenomena linked to the comics industry, as its links to art and experimentation in the work of artist Laura is attached. Also, I intend to evaluate what has been his contribution to world comic cartoon based on the postulate of comics as art. . Placing Laura Perez Vernetti-Blina within this changing attitudes. The evolution we are witnessing now, makes comics as art study, so studies have been of semiotics integration into a history of the arts: a semiotic approach to an aesthetic approach. Comics as art. And within this trend Laura had an original work for research. That is why his work is so unique and worthy of interest. But before these objectives, we draw before the two authors profile as precursors of a comic, Núria Pompeia and Isa Feu, fair introduction to Laura, and beyond them, a retrospective look at the 30s, a generation of cartoonists they were limited to one type of comic run. My contribution to this study, the knowledge of the author, one of the most important Spanish comics and a key author of the new Spanish cartoon eighties. Based on the graphic novel concept associated with adult comics, cartoon author, to talk about the new Spanish comic in contemporary creation. . From the comic is a means of graphic expression eminently narrative. The very nature of narrative basically sequential image enables it to represent time and thus is ideal for narration (comics and film). We can only assert that since late last century and the early years of the new century, there has been a qualitative leap in the dedication to research these studies. Meanwhile, the work of the researcher within the scope of comics can and must open horizons continued with relevant studies that will lead to new thinking on this "complex" character art form, such as comics, through the study and analysis authors, who use this medium to express his artistic concerns. . I had no other aim in this research, which provide a contribution to the knowledge of the author and comics in general. Assessing the contribution to the knowledge of the cartoon, which open new horizons for future research.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española II (Literatura Española), leída el 10-02-2016