Exprimíveis, sensações e expressividades nos quadrinhos do fim do mundo

• Autor(a) principal: Silva, Fabio Luiz Carneiro Mourilhe
• Data de Publicação: 2019
• Outros Autores: [e-mail]
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/17287
• topic: Comics of the end of the world; Balloon; Expressible; Sensation; Expressivity; Narrative; Event; Histórias em quadrinhos do fim do mundo; Balão; Exprimível; Sensação; Expressividade; Narrativa; Acontecimento; Histórias em quadrinhos; Expressão (Filosofia); Narrativa (Retórica); Sentidos e sensações; Filosofia; CIENCIAS SOCIAIS APLICADAS::COMUNICACAO::COMUNICACAO VISUAL

The aim of this work is to conduct a study about the comics of the end of the world from a perspective of the philosophy of the event. Taking into account the expressible that beats comics on the surface, its material establishment as a work of mass art and its expressive points, how to conceive the expression in comics, considering the balloon, the character and the narrative? Despite the apparent tranquility and innocence traditionally related to comics, there is a dark universe that tangles its components and makes it difficult for any attitude beyond outside senses, sensation, and excessive intensity, including disjunctive syntheses with the balloon and other elements, which can facilitate and be facilitated by the narrative event. Initially, using a bibliographic method, comics are investigated considering an interpretation that takes into account theoretical assumptions presented by Émile Bréhier, Gilles Deleuze and Félix Guattari about the theory of incorporals from the stoicism, plane of immanence, plane of composition, sensation and line of expression. In the view of this theoretical framework, the specificities of the elements of comics - balloon, frame, typography, onomatopoeias, figurative symbolism and color - were considered. Subsequently, a comparative historical method was used to draw a parallel between discourse and speech supports in sacred, humor and comic images (phylacteries, labels and balloons), and the evolution of knowledge. Then, through a bibliographic method, we dealt with the narrative, disnarrative, and image-time, considering the balloon and comics. We emphasize the effectuation of an event in a stream that is always cut off by a blank moment of chance, unknown, the space between the frames; and the duration and space in Henri Bergson. Finally, we analyze Worlds' End, narrative arc of Neil Gaiman's Sandman comic series, considering the theoretical assumptions presented previously, with a broadening of topics related to pure optical image and bringing new aspects related to the line of universe. The expressible pass through the surface of comics, but it does not have permanence, with a fleeting expression that comic books try to capture in their works, making them acquire vigor and participate in the becoming comics of the world. It involves passing along a road full of oblique cuts and accumulations subject to the infinite forces of the perpetual, masters of expression and inspiration. Thus the great works of the comics of the end of the world are created, filled with such intense expressiveness leading balloon, character and narrative to interpenetrate, making apparent the insensitive forces and new meanings that gain objectivity and clarity in their dissymmetry. Then, it is noticeable that disjunctive syntheses extrapolate the boundaries of the sensible, allowing the narrative event in comics to be much more alive