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Rozprawy doktorskie na temat "Slavery – Brazil – Comic books, strips, etc"
Silva, Luciano Henrique Ferreira da. "O gênero de horror nos quadrinhos brasileiros: linguagem, técnica e trabalho na consolidação de uma industria - 1950/1967". Universidade Tecnológica Federal do Paraná, 2012. http://repositorio.utfpr.edu.br/jspui/handle/1/354.
Pełny tekst źródłaThe first publications of horror comics edited by La Selva Publishing since 1950, started an publishing tradition that would last nearly 40 years in the Brazilian consume culture. The popularity of the horror genre in the Brazilian comics allowed the proliferation, survival and growth of many small publishers, mainly allocated on the suburbs of São Paulo. By the methods of importation and adaptation of editorial matter from La Selva Publishing , or because the search for emancipation and development of Brazilian artists by Outubro Publishing, the horror comics becomes an important material source to theoretical research about work practices, organization forms and methodology of Brazilian publishers from the 50’s and 60’s. Focusing the commercial exploitation of horror genre in these two decades, we will make a socio-historical approach of labor relashionship, production and consumption, in view of intermediation between different social groups involved in these processes. Correlating the interferences between language and technical codes among the media, we intend to demonstrate influences of media products and cultural industry to form new professional skills, methods and formats. Investigating the inheritance of methods, techniques and language of the legacy from the pulp fiction in pulp magazines, from which emerged new formats such as comic book and photo-romance magazines, we observe that the introduction of these new formats was caused by the need to change the choices of publishing towards massification. In this historical period of the consolidation of cultural industries and media convergence in the Brazilian cultural scene, we will compare the tradition of horror comics started by La Selva and Outubro, with the popularity of radio broadcast and motion picture film. In the filmography of José Mojica Marins and the popular character Zé do Caixão (Coffin Joe), we see a synthesis of the blend betwen technical language and the course of visual narrative, transported from comics to the movies, as the reuse of professionals related to the horror tradition in Brazilian comic. In the technical, discursive and socio-historical analysis about the selected works, we expose the vision of these social groups on technical development, and on the other hand, understand it as a result of interaction between multiple areas and social actors.
Santos, Guilherme Caldas dos. "Visões de São Paulo: a marca urbana segundo Luiz Gê". Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2632.
Pełny tekst źródłaThis research intends to reflect about the comics of Luiz Gê about Avenida Paulista, considering the dialogue between the discourses of paulistanity and the ideals of Brazilian modernity. The goal is to investigate how the comics artist builds, through his narrative, representations of São Paulo that establish critics and, simultaneously, reiterate the symbols of industrial development, technological modernization and main financial, economic and industrial center of the country. Luiz Gê sought to set many of his stories in the city of São Paulo throughout his career, making the capital city more than just a scenario for his entanglements. São Paulo is present both literally, with its urban landscape and its architectural landmarks - as the 9 de Julho avenue, the building of Banespa or the Avenida Paulista - as indirect, through metaphors - as the parody of the Grito do Ipiranga episode. We will try to understand his comics as part of a process of change of power axes in Brazil using the concept of “cultural horizon” proposed by Feenberg (2010), taking into account its relation with the questions of hegemony pertinent to the moment in which Fragmentos completos (Complete Fragments), the story of Avenida Paulista in comics, is produced. Another aspect to be analyzed is Luiz Gê’s approach to Avenida Paulista on the occasion of its centenary, in 1991: an urban landmark of the city that materializes at the same time that it represents many of São Paulo’s yearnings and contradictions.
Książki na temat "Slavery – Brazil – Comic books, strips, etc"
Gilberto, Freyre. Casa-grande & senzala em quadrinhos. Rio de Janeiro, RJ: Letras & Expressões Editora, 2000.
Znajdź pełny tekst źródłaSchmid, Katie Kelley. Nat Turner and slave life on a southern plantation. New York: PowerKids Press, 2014.
Znajdź pełny tekst źródłaPerritano, John. Free at last! St. Catharines, Ont: Crabtree Pub. Co., 2009.
Znajdź pełny tekst źródłaGlen, Heather, red. Wuthering Heights. London, England: Methuen, 1988.
Znajdź pełny tekst źródłaFoster, David William. Eternauta, Daytripper, and Beyond: Graphic Narrative in Argentina and Brazil. University of Texas Press, 2016.
Znajdź pełny tekst źródłaFoster, David William. Eternauta, Daytripper, and Beyond: Graphic Narrative in Argentina and Brazil. de Gruyter GmbH, Walter, 2016.
Znajdź pełny tekst źródłaFoster, David William. Eternauta, Daytripper, and Beyond: Graphic Narrative in Argentina and Brazil. University of Texas Press, 2016.
Znajdź pełny tekst źródłaSimmons, Mark, Mari Bolte i Dante Ginevra. Flight to Freedom!: Nickolas Flux and the Underground Railroad. Capstone, 2020.
Znajdź pełny tekst źródłaSimmons, Mark, Brad W. Foster, Mari Bolte i Dante Ginevra. Flight to Freedom!: Nickolas Flux and the Underground Railroad. Capstone, 2014.
Znajdź pełny tekst źródłaFlight to Freedom!: Nickolas Flux and the Underground Railroad. Capstone, 2014.
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