O processo inferencial nos quadrinhos: um estudo dos diferentes tipos de hiato em narrativas gráficas

• Autor(a) principal: Marques, Amanda Ribeiro [UNIFESP]
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UNIFESP
• Texto Completo: https://sucupira.capes.gov.br/sucupira/public/consultas/coleta/trabalhoConclusao/viewTrabalhoConclusao.jsf?popup=true&id_trabalho=8466032; https://repositorio.unifesp.br/handle/11600/59387
• topic: Hiatus; Inference; Comics; Hiato; Inferência; Quadrinhos

Gap that separates the frames of a comic book story, the hiatus — according to the terminology adopted by Eco (2015 [1964]), Fresnault-Deruelle (1972) and Ramos (2016) — is an important structural element. More than a blank space to where the readers’ eyes run, however, the feature is considered by Tornes (2013) as a transport platform, a bridge that creates relations between the moments of a seemingly frozen narrative. This process of uniting the fragments of a story, carried out in the reader's mind, is called by authors like Ramos (2016) inference. The concept, coming from Textual Linguistics, is defined by Marcuschi (2011) as the cohesive hypotheses used to process a text, that is, the rules and strategies embedded in the comprehension process. Starting from theorizations on the subject conducted by names such as Dell'Isola (2001), Marcuschi (2008; 2011) and Koch (2015), and relating them to the studies of comic book researchers such as Eco (2015 [1964]), McCloud (2005), Tornes (2013), Groensteen (2015) and Ramos (2016), this research aims to demonstrate how the inferential process in comics’ gaps occurs and propose a systematization — based in the axes of time and space — that encompasses some of the main types of possible inferences in comic books’ hiatus. Although these gaps have already been explored and described by a number of scholars in the field, we understand that current approaches on the subject do not exhaust it, since they merely observe that transitions in comics predict spatial, temporal and space-temporal changes. As our intention is to cover as many categories as possible, this study does not have a closed corpus: instead of analyzing a single work, we will use examples of diverse comics, both national and foreign. From the analysis of the chosen examples, we can observe the existence of nine different categories of gaps, divided into two subgroups: the essential gaps — needed in order to achieve narrative progression — ant the accessories, that bring additional information. In addition to proving our hypothesis that a systematization is possible, we can note the diversity of narrative possibilities in the gaps between the frames of comic book stories.