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The purpose of this work is to observe and analyze the way in which in the mid-20th century a part of Latin American Catholic religiosity was represented in the comics format. Through the indentification, Reading and analysis of the issues of the comic strips Vidas Ejemplares y Patronos y Santuarios, carried out jointly by the Buena Prensa publishing houses and the Editores-Impresores Novaro workshops around various personalities --religious and secular--, to virgins and holy places of Latin America, we want to explain the reasons for the production of a Project with these religious characteristics and that was distributed in several Latin American countries. In this sense, we want to show that more tan meaning a comercial bet behind the product, which undoubtedly existed, there was also an ideological reason for the reaffirmation of Latin catholicity between members of the Society of Jesus in Mexico and the director of the publishing house most successful in the production of comics or historietas in Latin America: the Editores-Impresores Novaro workshops. [ABSTRACT FROM AUTHOR]

This article intends to make known through its analysis the first Catholic confessional comic strip with wide editorial reach. I refer to Chiquitín. A magazine for boys printed in the workshops of the Catholic publishing house Obra Nacional Buena Prensa run by members of the Society of Jesus in Mexico. Between1945 and 1963 —years in which it remained in force— Chiquitín was presented as the proposal of a comic strip of the Catholic Church in Mexico, given the emergence that magazine format had achieved, becoming in those years the most successful of the creative industries in Mexico. The interest focuses on explaining the pastoral purposes of the comic Chiquitín and on delving into its own development in artistic, literary and commercial terms. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

En este articulo se interpreta teoría y práctica de la historieta durante la Unidad Popular chilena desde aspectos contextuales y sociales, intermediales y culturales. La teoría se expone a partir del popular ensayo Cómo leer al Pato Donald (1972) de Ariel Dorfman y Armand Mattelart como crítica al cómic de Disney pero también como implícita propuesta de una práctica distinta. Como contraste práctico se estudiarán dos ejemplos de las revistas de la Editora Nacional Quimantú Cabrochico y El manque. En estas historietas, basadas en la evaluación crítica de Dorfman y Mattelart, logran distinta articulaciones entre narrativa visual, la política y la recepción de los lectores.

This study aimed to develop an instrument to identify behavioural patterns based on real everyday situations related to the Brazilian Jeitinho, which maps decision-making in different social contexts. Two studies were developed to explore the phenomenon. In study 1, the construction of an ipsative measurement scale (forced-choice) is described, composed of 11 daily stories about real situations and outcomes that require decision-making. In study 2, the instrument developed was tested in a sample of 480 participants. Confirmatory multidimensional scaling was carried and showed a two-dimensional model with 2 polarized dimensions: (1) positive-negative orientation (assertive/malandro or rascal) (malandro is like slippery and naughty people) and (2) passive-active disposition (negligent/creative). The operationalization of an ipsative measure demonstrated a functional option as an alternative to the Likert-type scale, enabling psychological measurement for inter-individual comparison. The study, therefore, provides a complementary empirical tool in a specific perspective for everyday behaviours from the perspective of the Brazilian Jeitinho. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana 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.)

This article studies the history and characteristics of the mediatic transposition of the character Patoruzú from comic books into animated films, in Argentina, comparing it with a similar case: Popeye in the United States. Where Popeye was a great success that impacted several generations of spectators, Patoruzú could only materialize at the time in a single short film, Upa en apuros. This article reflects upon the historical context that made the short film’s production possible, the causes behind its commercial failure and the inherent esthetical factors concerning the format leap. Furthermore, it analyses the theme and motifs that appear in the short film in context.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

La tesis estudia cómo se reprodujeron y fortalecieron los estereotipos sobre el migrante andino en un contexto de masiva migración durante los años cincuenta en Lima. Para ello, proponemos a la historieta como un artefacto cultural que permite conocer los discursos racistas de la época. En ese sentido, hemos estudiado a la historieta durante sus primeros diez años de publicación que coincidieron con el Perú oligárquico, hemos resaltado —desde el concepto de la etnicidad— aquellas viñetas que manifiestan un estereotipo que tiene como base la deformación intencional de la cultura. Así, la caricatura Serrucho transmitió la percepción racista limeña y los estereotipos que le imponían al migrante andino, estos deformaban sus características culturales como las costumbres, gustos, hábitos, conducta y moral, lo que generó la creación de una imagen inamovible e inalterable de lo que se supone era un migrante.

La enseñanza del pensamiento crítico involucra el desarrollo de habilidades de pensamiento específicas, y de las actitudes necesarias para aplicar oportunamente dichas habilidades a situaciones de la vida cotidiana. Mediante el diseño e implementación de actividades de aprendizaje en las cuales los estudiantes utilizan la narrativa para abordar los problemas que afectan sus propias comunidades, es posible equiparlos con las habilidades y actitudes que requieren. Este estudio describe el proceso de diseño e implementación de dos unidades para la instrucción del pensamiento crítico para la vida ciudadana en una escuela primaria de Costa Rica. Estas unidades combinan el uso de recursos narrativos, como cortos animados e historietas, y herramientas de visualización de pensamiento. Adicionalmente se propone un método de evaluación basado en el análisis de historietas creadas por los estudiantes. Este método analiza la estructura lógica de las historietas, y busca determinar el nivel de aplicación de habilidades de pensamiento crítico expresado en ellas, enfocándose en habilidades específicas como la inferencia y el análisis. Los resultados de la evaluación sugieren que a través de la participación en unidades de aprendizaje que integran el uso de medios narrativos y herramientas de pensamiento, los estudiantes pueden expresar un mayor nivel de aplicación de habilidades de pensamiento crítico en las historias que ellos mismos crean.

The cartoon after a time of ostracism is occupying a prominent place in the pedagogical processes; however, in the Ecuadorian educational context, limitations are still observed. This study aims to update the knowledge on the inclusion of the story in the teaching-learning process of history and contribute through its disclosure to reverse this situation. The authors studied agree that the culture of the image that the current society experiences has favored its approach to the educational context, revaluing its educational potentials confirming the category of teaching medium; fulfills the functions: didactic, communicative and critical. Its use as a powerful didactic, methodological and pedagogical resource is justified in that historical ideas are easily associated with visual representations, the description and information is captured in the subconscious of the reader, which allows its subsequent analysis and learning.

This paper proposes an action plan aimed at the use of comics as a didactic tool in the application of Law 10.639 / 03. The research is based on studies referring to the educational function of comics. Thus, it will be analyzed the insertion of these materials in school libraries and in the curriculum guidelines — for the implementation of the aforementioned law. The purpose of the plan is to enable the use of comics about Afro-Brazilian culture, suggesting titles specifically designed to comply with the law; it is recommended, as well solutions for one of the points considered critical in its effective fulfillment: the lack of familiarity of teachers with the topic and their unpreparedness to approach it in the classroom. [ABSTRACT FROM AUTHOR]

This paper aims to analyze the contributions of comic book on the development of children’s reading skills in early childhood; hence, it is examined how these contributions dialogue with the perspective of literacy. The chosen methodology was bibliographic, and the goal is to discuss, in the light of contemporary authors ideas, the history of comics (PAIVA, 2016; NETTO; VERGUEIRO, 2018; VERGUEIRO, 2006; RAMOS, 2017; SILVA, 2012; BARI, 2008). It is investigated, as well, its uses in the teaching and learning of reading, in this school stage (BRANDÃO; ROSA, 2010; SOLÉ, 1998; ROMAN; STEYER, 2001; SOARES, 1998). Thus, we analyzed scientific papers available on Anped and Scielo websites. The result showed that this textual genre, since it is part of children’s everyday life, can contribute to extend literacy possibilities in Early Childhood Education, in an enjoyable and ludic way. [ABSTRACT FROM AUTHOR]

This article is a synthesis a final paper, linked to the scientific initiation, carried out in the pedagogy course. The intention of this article is to demonstrate the students' approach with the Sequential Art / Comics, in the sense to produce a significant learning of the Portuguese language content. The experience aimed to analyze the language of Sequential Art / Comics in Portuguese classes, providing the training of teachers to use this teaching tool in the school environment. Methodologically, we made use of a qualitative research, using the case study and participant observation. Thus, it was possible to infer about the language aspects of Sequential Art / Comics used in elementary school by teachers, in order to promote its use in the classroom. We proposed strategies for using the multiple languages found in Sequential Art. As a result, we could observe that there are flaws in the design and use of different resources in the classroom that arouse the interest of students; we observed, as well, that they can be stimulated through materials that do not require high investments, since they are available to everyone. We conclude that the encouragement to learn the language and its different functions — such as interpretation, reading habits and textual understanding —, are factors that need to be addressed more by teachers, from their professional training to their teaching practice. [ABSTRACT FROM AUTHOR]

These article observes how comics are approached in the National Common Curricular Base. The hypothesis is that the interpretation about comics is open to questions. Thus, all references to the different genres presented in the document are identified and, from them, possible aspects are pointed to be criticized, from the point of view of studies about comics developed in the country and which support this analysis. The corpus is composed of the BNCC text. Approved in December 2017, it has the proposal to standardize primary education throughout Brazil. [ABSTRACT FROM AUTHOR]

The work entitled Sherlock em Quadrinhos (Sherlock in Comics), developed with two classes from the 7th year of elementary school at the Colégio de Aplicação da UFRJ throughout the academic year of 2018, consisted of the reading, interpretation and collective adaptation of Sherlock Holmes tales for comics. In this context, knowledge, literary analysis and the comprehension process of the comics genre, as well as the structure of the detective story narrative and the short story genre were essential steps to make their appropriation by the students possible, enabling the retextualization work proposed by the project. This was only possible based on an interdisciplinary approach that included teachers from other disciplines and students from other grades, whose involvement included acting as instructors for 7th grade students in partnership with teachers, helping students with specific technical knowledge. In addition to describing the idealization, realization and results of that project, this article seeks to elucidate the understanding adopted here of language, text and discourse and, guided by the guidelines pointed out by the PCNs for the teaching of Portuguese at EFII level, describes the path theoretical-methodological — based on the areas of textual linguistics and applied to teaching — used in the idealization and realization of the Sherlock em Quadrinhos project. [ABSTRACT FROM AUTHOR]

This study aims to discuss two concepts related to Evaluation — to evaluate and to examine —, from the exploratory analysis of comics. While evaluating is linked to monitoring and mediation actions and is committed to learning, the concept of examining refers to specific acts of verification and verification of “truths” in terms of learning. This textual genre works as satires to events and allows a critical analysis of themes, situations, and everyday events. Thus, from an exploratory research, we list some comics with the characters Armandinho and Mafalda, in order to analyze the prevalence of the act of evaluating or examining, associated with elements such as selection, measurement, training, repetition, memorization, school grades, value judgments, process and evaluation criteria. In summary, it was possible to conclude that the analysis of the Evaluation, from comics, contributes to: invite educators to reflect on the possible changes in the evaluation act, in order to avoid the repetition of traditional Evaluation practices focused on exams, notes and results; “prove” some examining practices; tense the evaluative act as a magnifying glass over the practice itself, shedding light on the possibility of learning the Assessment. The comics have the potential for discussion, problematization, confrontation and criticism of a reality and can be used with different audiences and purposes, including to discuss concepts, build concepts and promote the learning of Evaluation. [ABSTRACT FROM AUTHOR]

This article studies the history and characteristics of the mediatic transposition of the character Patoruzú from comic books into animated films, in Argentina, comparing it with a similar case: Popeye in the United States. Where Popeye was a great success that impacted several generations of spectators, Patoruzú could only materialize at the time in a single short film, Upa en apuros. This article reflects upon the historical context that made the short film's production possible, the causes behind its commercial failure and the inherent esthetical factors concerning the format leap. Furthermore, it analyses the theme and motifs that appear in the short film in context. [ABSTRACT FROM AUTHOR]

The comic strips have been introduced into the world of history as a didactic resource for their learning; However, there are still shortcomings in their use by teachers, motivated on many occasions due to lack of knowledge and insufficient methodological preparation; The purpose of this work is to socialize knowledge related to these didactic resources to contribute to the didactic-methodological enrichment of the teacher, in order to change this attitude. The methodological strategy responds to the quantitative-qualitative paradigm; in the collection of the information a participant observation guide was used to the history classes and interview to a sample of 9 teachers of Third Degree of the schools of the city of Machala randomly selected. We recorded the observations of the knowledge acquired by the 98 students who received the classes mediated by comic strips, which allowed us to conclude that comics for the teaching and learning of History constitute a powerful didactic resource.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

This article aims to examine the production by cartoonist Chiquinha by highlighting how important guidelines of feminist movements are present in her work. By drawing attention to the analysis of the self-portraits produced by the cartoonist and the use of grotesque style in her drawings, we will analyze how the cartoonist criticizes political control over the female body, essentialized forms of understanding men and women, and the normative patterns imposed on women, which are important themes for feminist critique. Through this approach, we want to highlight the humour produced by women, for women and with a feminist orientation, which still lacks significant space in the field of Cultural History of Humour. [ABSTRACT FROM AUTHOR]

Copyright of Revista Práxis Educativa is the property of Revista Praxis Educativa 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.)

En este artículo se explora el acceso que tuvieron los niños mexicanos a las historietas para adultos, en especial a las que retomaron la figura del secuestrador de niños, el robachicos, en el contexto de mediados de siglo XX. Los niños participaron de la cultura de masas que colocaba ante ellos producciones culturales con gran carga visual en las que los niños eran protagonistas de historias que presentaban una alta dosis de violencia. Las historietas mostraban la tensión entre el mundo de los adultos y los niños y exponían un mundo adulto que no sólo se relacionaba a través de la violencia física con los niños sino también de una violencia simbólica en la que los niños no eran escuchados, se permitía su utilización y abuso, se callaba ante las injusticias y los peligros que vivían. El texto muestra cómo en estas historietas se explotaron mercantilmente emociones ligadas al miedo y cómo el hecho de que los niños hicieran uso autónomo de la ciudad se tornó, para los años cuarenta y cincuenta en una actividad riesgosa.

El texto analiza Chibata! João Cândido e a revolta que abalou o Brasil (2008), la novela gráfica de Hemeterio y Olinto Gadelha que documenta el levantamiento de marinos afrobrasileños a comienzos del siglo xx. Pese a que la obra pretende un recuento de los hechos y la documentación de una injusticia, personificada en la suerte del protagonista de la novela, el texto, en realidad, funge de cómplice del oficialismo cultural brasileño, tan dispuesto a valerse del pasado para eximirse de responsabilidades en el presente. Dentro de este contexto, esta novela gráfica es un acertado ejemplo de producción cultural que, pretendiendo avanzar una agenda de intereses raciales latinoamericanos, en efecto, inhibe su correspondiente problematización. Abstract The text discusses Chibata! João Cândido e a revolta que abalou o Brasil (2008), the graphic novel by Hemeterio and Olinto Gadelha, which documents the upri­sing of Afro-Brazilian sailors in the early twentieth century. Though the text posits an account of events and the documenting of injustice, mainly personified in the ill treatment awarded to the narrative’s main character, in reality, the novel serves as accomplice of the national cultural establishment, so eager to make use of the past to redeem itself from responsibilities in the present. Within this context, this graphic novel is a key example of cultural production that, pretending to advance an agenda of Latin American racial interests, in fact inhibits its corresponding problematization.

[es] Este trabajo se propone dar a conocer resultados específicos de una investigación académica sobre recepción de historietas. Realizamos una aproximación a las lecturas hechas por distintas generaciones de lectores, de la obra de Héctor Germán Oesterheld, en particular de El Eternauta, trabajo que se destaca de su primera etapa de producción. Estudiamos los procesos por los cuales los sujetos construyen sentido en recepción, poniendo en relación sus lecturas con una serie de factores: sus posiciones en la estructura social y los contextos de sus vidas cotidianas –pertenencia a distintas generaciones, biografías y trayectos culturales, cambios editoriales, y estados de los campos histórico y político. A partir de algunas hipótesis de trabajo que orientaron la investigación y de las inferencias analítico/interpretativas posteriores, delineamos dos conclusiones centrales: a) Las interpretaciones de El Eternauta se caracterizan por presentar marcas significativas de ciertas condiciones de recepción relacionadas con los discursos hegemónicos actuales sobre Oesterheld y su obra, no sólo en las nuevas generaciones de lectores sino también en lectores de etapas anteriores. b) Existe una estrecha relación entre el proceso de consagración y canonización del autor y de parte de su obra y una significativa presencia de sentidos vinculados a la contemporaneidad política y social, manifestada en la recepción de su título más reconocido. [en] The purpose of this article is to expose specific results of an academic research on comics consumption. We study the reception of Héctor Germán Oestherld’s comics, especially his first production period in which El Eternauta stands out above the rest. We study the processes in which the meaning is produced by the readers. We relate their readings with several factors: the reader and its life history, environment and circumstances (belonging to different generations, individual cultural life, the changes in the comics production, beyond a national editorial field in particular). Also, we propose two conclusions based on some working hypotheses and the subsequent analytical and interpretive work research: a) The readings of El Eternauta show signs of certain condition related to current hegemonic discourses about Oesterheld and his work, not only in the new generations of readers but also in old readers. b) Our analysis suggests that there is a close relationship between the process of canonization and consecration of Oesterheld and a significant presence of senses related with the current political and social reality, manifested in the consumption of their most recognized comic

En la entrevista realizada al historietista peruano Juan Acevedo. Manifiesta que la situación de su país le ha traído problemas en el desarrollo de su profesión. “Las propuestas más racionales” en tiempo de elecciones, han quedado bajo las patas de los caballos. El voto popular privilegió a los candidatos que no tenían nada serio que ofrecer.

Copyright of Trabalhos em Lingüística Aplicada is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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.)

This article presents the analysis and results of an investigative experience related to the teaching of polarization through cartoons. It is a qualitative approach and it involves the design and validation of a didactic sequence based on guided research principles. The proposal includes the making of three cartoons entitled: "The One Direction Car", "3D Cinema" and "Anti-Spy Cell Phone Screen", all of which are experimental design and model building exercises. The process was documented on the student-designed handbooks and the teacher's field journal. The sequence helped to generate questions in the students about polarization, and it promoted the development of action plans to address the situations proposed in a theoretical-practical manner. The process helps to understand the meanings attributed to the polarization phenomenon in line with the characterization of light as a wave, the behavior of light in relation to materials and processes of 3D image composition. Some considerations about the importance of using cartoons while teaching physics are also described. [ABSTRACT FROM AUTHOR]

This research presents evidence that reading and creating comics may be an appropriate way to introduce children to the world of art creation. The study was conducted in four rural communities in the state of Colima in Mexico. This is a qualitative study with ethnographic inquiry techniques: Interviews, field observation and analysis of visual documents. The results showed positive attitudes and aesthetic pleasure during the individual creations of the participants, both essential elements in the artistic initiation of children. Creating comics also resulted in the expression of personal emotions and the practice of formative activities. The research was funded with resources from INBA educación artística 2011. [ABSTRACT FROM AUTHOR]

The history of comics is a key element of media history and a relevant research object that allows understanding the cultures of our region. Their publishing industries, audiences and their markets allow recognizing the cultural, social and political contexts of certain historical periods and imply, therefore, helpful methodological tools and relevant historical documents for the analysis of our complex societies. As an example, the adventure genre is central to the comic publishing industry at a regional level. This text therefore seeks to understand characteristics of this media product, particularly with regard to comics made in Brazil and Argentina, from a qualitative descriptive research and document analysis. [ABSTRACT FROM AUTHOR]

Las historietas constituyeron uno de los principales medios de ocio de los niños españoles durante el franquismo. Sin embargo, el producto que llegaba a sus manos se hallaba previamente tamizado por las autoridades, atentas a cualquier aspecto que pudiera cuestionar los valores políticos, morales y religiosos que sustentaban el régimen dictatorial. Hasta los años cincuenta, sin embargo, las historietas se sometieron al régimen de censura general previsto para toda la prensa en España. Durante dicha etapa existió de facto una mayor libertad creativa, merced a la falta de atención que ese tipo de publicaciones merecía a las autoridades, que no las consideraban dignas de atención. Aun así, a través de medios espurios, como el control del papel, el régimen privilegió aquellas revistas más ligadas con el falangismo y el nacionalcatolicismo. A partir de la década de los años cincuenta el Estado empezó a considerar la necesidad de sujetar las publicaciones infantiles y juveniles a un control más estricto, creando para ellas incluso un estatuto particular en extremo severo, que condicionó tanto la forma como el contenido que adoptaron las historietas en los años sucesivos. Elementos como la violencia, el terror, la crítica social a través del humor o el erotismo fueron inmediatamente segados por las estrictas tijeras de los censores y su órgano directivo creado ad hoc, la Junta Asesora de las Publicaciones Infantiles. Al mismo tiempo, se imponía a las historietas una obligación pedagógica, tanto literaria como, sobre todo, en lo referente a los dogmas de la fe católica; aspectos que acabaron por cercenar buena parte de los aspectos lúdicos de aquellas lecturas. [ABSTRACT FROM AUTHOR]

Evolución de las tiras cómicas en la prensa en Cuba, desde el inicio de la Revolución hasta nuestros días.

El presente artículo presenta una síntesis histórica del cómic en Ecuador y las diferentes tendencias temáticas y de uso, a través de su evolución, principalmente en los medios de información de masas. También se exponen los nombres de los cultores de este arte/medio y de los historietistas más reconocidos en el país.

Este trabajo, realizado dentro del equipo de investigación Estudio y Crítica de la Historieta Argentina, con sede en la Escuela de Ciencias de la Información de la Universidad Nacional de Córdoba, se enmarca en un sub-proyecto para realizar un estudio de la recepción, en distintas generaciones de lectores, de la obra del guionista Héctor Germán Oesterheld. Su obra El Eternauta ha recibido un significativo reconocimiento tanto desde el interior del campo de la historieta como del exterior del mismo, en Argentina y en otros países, y ha sido ubicado junto a lo más destacado de la literatura argentina. Este artículo supone la formulación de un enfoque teórico y metodológico para investigar el consumo de historietas en Argentina, teniendo como orientación básica la teoría de Pierre Bourdieu. Intentamos describir, desde una mirada cualitativa, la recepción, el receptor y su trayectoria, ambiente y circunstancias, que condicionan el valor de uso del bien cultural y la forma de leer sus contenidos, permitiendo indagar los niveles de análisis meso y macro socioculturales.

Cualquier aficionado al cómic debería andar al corriente de cuáles son sus propios clásicos. No sólo los clásicos universales que han influido sobre los cómics del resto del mundo, sino de sus propios clásicos nacionales. Los clásicos de la historieta en México son poco compartidos porque, principalmente, nadie los conoce. Adelita y las guerrillas contiene dos valores que la convierten en obra fundamental de la historieta clásica mexicana: un indudable atractivo estético y una elevada calidad literaria. El mayor atractivo de este cómic lo constituye el ser una especie de "parque temático" de la Revolución Mexicana, sin pretensión alguna de verosimilitud histórica y su importancia radica en su representación del imaginario sexual masculino y en la de los grandes protagonistas del periodo vistos como iconos de cultura popular.

Teaching immunology in high school is still a challenge. How can we work the different types of cells and molecules which compose the immune system in biology classes? In this paper, we evaluated the use of immunology themed comics in biology classes. Our results indicated that the use of comics helped in the approach of the subject immunology over the different types of cells and molecules with the students. In conclusion, the use of comics in biology classes can help to approach and discuss complex topics such as immunology. [ABSTRACT FROM AUTHOR]