By Héctor Fernández L’Hoeste, Juan Poblete (eds.)
This quantity discusses the function of comics within the formation of a latest experience of nationhood in Latin the USA and the increase of a collective Latino identification within the united states. it truly is one of many first makes an attempt - in English and from a cultural experiences standpoint - to hide Latin/o American comics with a completely continental scope. particular circumstances contain 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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Additional info for Redrawing The Nation: National Identity in Latin/o American Comics
Furthermore, since “limoeiro” is the lemon tree, and this, in turn, evokes the ever-popular summer drink, “limonada,” what we have is a name for the idyllic space of childhood itself. 2 Just as Mafalda’s neighborhood reflects Argentinian concerns at the time the cartoon was published, the space of Limoeiro reflects Brazilian concerns and situations. 3 But wherever he goes, all the trees have been cut. He is visibly frustrated and sad. Instead of getting angry, he goes back home, returns to the place where the forest once was, and plants little trees.
But Manolito works out of a bourgeois need to “grow” professionally, to inhabit his father’s business as fully as possible. His goals for the future are grandiose, because he believes he has a future in which his ability to sell and to save makes sense. That is, he has a system, and so the humor that attends his project makes satiric fun of it. What we note in the Brazilian instance is precisely a lack of satire. Cascão, in such contrast, is more markedly a child, whose immediate need to get some money is its own end result.
More important, appropriation of the outside in all its many guises could take place according to a theoretical formula. In the 1920s, with the explosion in the literary scene of the “Cannibalist Manifesto,” the nature of the inevitable appropriation—or cannibalization—of outside models was clearly not only admitted, but also advocated by the Brazilian intelligentsia of the time. This process, according to the members of the group “Pau Brasil”—“Brazilwood,” which included most of those behind the “Cannibalist Manifesto”—was in fact nothing new to Brazilian culture, which had been at once constituted and recreated as such since the beginning of European colonization.