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Aquí analizo Virus tropical (2009), novela gráfica de PowerPaola. Aunque ha alcanzado gran popularidad para una novela gráfica latinoamericana, con publicaciones nacionales e internacionales en medios impresos y electrónicos, la obra no ha recibido consideración dentro de los espacios académicos tradicionales, sobre todo en América Latina, donde el estudio del cómic es considerado una cuestión de segundo orden, y su discusión se ha relegado a locales alternativos fuera de la academia, en particular, a espa­cios comunitarios como bibliotecas públicas y librerías. Dado que propone un reto a la noción de creador de cómics como masculino, su empleo del lenguaje visual para desafiar la representación estereotípica de los personajes femeninos y la forma en que se suma a iniciativas similares y contemporáneas del género de cómics a nivel internacional en el proceso de lograr lo anterior, en el ensayo argumento las razones para desarrollar trabajos académicos sobre cómics como este. Abstract Here I analyze Virus Tropical (Colombia, 2009), a graphic novel by PowerPaola. Despite having achieved great popularity for a Latin American graphic novel –with national and international publications in both print and electronic formats–, it still has not been properly considered or analyzed in traditional academic media; particularly in Latin America where the study of comics is considered a matter of minor importance, and therefore discussions about Virus Tropical were relegated to alternative, communitarian spaces, such as public libraries or bookstores. Because Virus Tropical poses a challenge to the notion of the male comic book creator, because of its use of visual language to defy stereotypical female characters, and because of the way it engages issues of contemporary comic production, in this article I argue for a sound academic engagement with comics like this one.

This essay argues that analysis of Mexico’s visual culture generally, and the graphic novels of Edgar Clement specifically, can be usefully situated within the poli­tics of patrimonio cultural. Mexico’s 20th century graphic arts heritage has undergone a transformation during the past several decades, elevating the commercial comic book tradition to a greater position of prestige and public visibility than the more politically engaged revolutionary art forms inherited from the same period. In this context, Clement’s Los perros salvajes (2012) appropriates the comic book character Memín Pingüín in the service of social and political critique. La cultura visual de México y, por ende, las novelas gráficas de Edgar Clement, pueden ubicarse de manera útil dentro de la política del ‘patrimonio cultural’. La herencia gráfica mexicana del siglo xx ha experimentado una transformación durante las décadas más recientes, elevando la tradición comercial de la historieta a una posición de prestigio y de visibilidad pública mayor que la de las formas revolucionarias heredadas del mismo período. Dentro de este contexto, Los perros salvajes (2012) de Clement se apropia de la figura de la historieta Memín Pingüín para plantear una crítica social y política de las condiciones nacionales.

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Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)