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El libro analiza la relación entre vanguardia y humorismo gráfico en dos periodos históricos críticos: la Guerra Civil Española (1936-1939) y los primeros años de la Revolución Cubana (1959-1961). Secentra en los periódicos y la llamada prensa de trincheras en España orientada a un público adulto, tanto en el bando republicano (No Veas, Trincheras, L'Esquella de la Torratxa, entre otras) como enel nacional (Vértice y La Ametralladora). En la parte dedicada a Cuba, el análisis se centra en el diario Revolución y en la revista de humor vanguardista El Pitirre, que discurrió paralela al suplemento cultural Lunes de Revolución y corrió similar suerte cuando tanto Lunes como El Pitirre fueron clausurados en 1961. El enfoque del libro traza la trayectoria de la vanguardia en el humorismo gráfico en ambos periodos, cuando el compromiso político y la militancia desplazaron paulatinamente el desarrollo de la vanguardia estética. La especial coyuntura socio-política planteó retos a los artistas gráficos de índole ideológico y estético-conceptual, estableciendo áreas de contacto e influencia entre España y Cuba. The book studies the relation between the avant-garde and graphic humour in two critical historical periods: the Spanish Civil War (1936-1939) and the early years of the Cuban Revolution (1959-1961). It focuses on the so-called war magazines in Spain on the Republican side (No Veas, Trincheras, and L'Esquella de la Torratxa, among others) and the Francoist side (Vértice and La Ametralladora). In the part devoted to Cuba, the analysis covers the newspaper Revolución and the avant-garde humour magazine El Pitirre, which ran simultaneously to the cultural supplement Lunes de Revolución and shared the same fate when Lunes and El Pitirre were closed down in 1961. The book unveils the trajectory of the avant-garde graphic humour in both periods, when the political commitment progressively overshadowed the development of the aesthetic avant-garde. The special socio-political conjuncture posed ideological and aesthetic-conceptual challenges to graphic artists, establishing contact areas and influences between Spain and Cuba. Jorge L. Catalá Carrasco es Lecturer in Hispanic Studies en Newcastle University.

Avant-garde (Aesthetics) --- Spanish wit and humor, Pictorial --- History --- Political satire, Cuban --- Political satire, Spanish --- Press and politics --- Cuban wit and humor, Pictorial --- History and criticism. --- Spain --- Cuba --- Press coverage. --- Spanish political satire --- Spanish wit and humor --- Cuban political satire --- Cuban wit and humor --- Aesthetics --- Modernism (Art) --- Politics and the press --- Press --- Advertising, Political --- Government and the press --- Journalism --- Political aspects --- Küba --- Guba --- Kkuba --- Republic of Cuba --- República de Cuba --- キューバ --- Kyūba --- Kuuba --- Espagne --- Espainiako Erresuma --- España --- Espanha --- Espanja --- Espanya --- Estado Español --- Hispania --- Hiszpania --- Isupania --- Kingdom of Spain --- Regne d'Espanya --- Reiaume d'Espanha --- Reino de España --- Reino d'Espanya --- Reinu d'España --- Sefarad --- Sepharad --- Shpanie --- Shpanye --- Spanien --- Spanish State --- Supein --- イスパニア --- スペイン --- Civil War (Spain : 1936-1939) --- Revolution (Cuba : 1959) --- 1900-1999 --- Artistic Movements. --- Cuban Revolution. --- Cultural Influence. --- Graphic Humor. --- Guerra Civil Española. --- Historical Analysis. --- Historical Periods. --- Humorismo Gráfico. --- Political Context. --- Revolución Cubana. --- Spanish Civil War. --- Vanguardia.

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Latin American comics and graphic novels have a unique history of addressing controversial political, cultural, and social issues. This volume presents new perspectives on how comics on and from Latin America both view and express memory formation on major historical events and processes. The contributors, from a variety of disciplines including literary theory, cultural studies, and history, explore topics including national identity construction, narratives of resistance to colonialism and imperialism, the construction of revolutionary traditions, and the legacies of authoritarianism and political violence. The chapters offer a background history of comics and graphic novels in the region, and survey a range of countries and artists such as Joaquín Salvador Lavado (a.k.a Quino), Hector G. Oesterheld, and Juan Acevedo. They also highlight the unique ability of this art and literary form to succinctly render memory. In sum, this volume offers in-depth analysis of an understudied, yet key literary genre in Latin American memory studies and documents the essential role of comics during the transition from dictatorship to democracy.

National characteristics, Latin American, in literature. --- Comic books, strips, etc. --- Graphic novels --- Collective memory in literature. --- Popular culture and literature --- Comic strips --- Comics --- Funnies --- Manga (Comic books, strips, etc.) --- Manhua (Comic books, strips, etc.) --- Manhwa (Comic books, strips, etc.) --- Serial picture books --- Caricatures and cartoons --- Wit and humor, Pictorial --- Comic book novels --- Fiction graphic novels --- Fictive graphic novels --- Graphic albums --- Graphic fiction --- Graphic nonfiction --- Graphic novellas --- Nonfiction graphic novels --- Fiction --- Popular literature --- Literature and popular culture --- Literature --- History and criticism. --- National characteristics, Latin American, in literature --- Comic books, strips, etc --- Collective memory in literature --- History and criticism --- E-books --- Manhua (Comic books) --- Manhwa (Comic books)

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