Cruzando El puente del troll, de Neil Gaimande la literatura al cómic

  1. Álvaro Pina Arraba 1
  1. 1 Universidad de Jaén (España)
Revista:
Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos

ISSN: 1853-3523 1668-0227

Año de publicación: 2020

Título del ejemplar: Literaturas gráficas y relatos visuales. Sobre poéticas y políticas de la imagen narrativa

Número: 123

Páginas: 103-117

Tipo: Artículo

DOI: 10.18682/CDC.VI123.4408 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Otras publicaciones en: Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos

Resumen

In this work, the adaptation from literature into comic is studied taking the spe-cific case of Troll Bridge (a short story by Neil Gaiman that Colleen Doran has illustrated more than twenty years after the publication of the former) as a point of departure. In the first place, the fact of adaptation is contextualized as part of a socioeconomic framework in which both works (the adapted and the adaptation) feed each other. Special emphasis is put, however, on differentiating the features of one medium and those of the other even when the comic by Doran entirely translates the original text by Gaiman. In the second place, consideration is given to the intersemiotic characteristics that derive from thee adaptation, in order to examine the transposition of the different elements from one medium into the other. In this way, special attention is paid to the juxtaposition of word and image, to metaphor and, mainly, to the transmission of emotions in the frame of an allegorical fable. As a conclusion, it is argued that an absolute semiotic change is inviable insomuch as they are two different media, although the constituents of the fiction (story, characters, settings) are essentially the same.

Referencias bibliográficas

  • Ahmed, M. (2016). Openness of Comics. Generating Meaning within Flexible Structures. Mississippi: University Press of Mississippi.
  • Cholbi, M. (2017). Suicide. En Stanford Encyclopedia of Philosophy. Obtenida el 1 de abril de 2020, de https://plato.stanford.edu/entries/suicide/.
  • Čipkár, I. (2019). Enjoy Your Trials: Emotions of Reader-response in Neil Gaiman’s ‘Troll Bridge. PsyArt, 23, 105-137.
  • Doležel, L. (1986). Semiotics of Literary Communication. Strumenti Critici, 1, 5-48.
  • Doran, C. (2016). NYCC: TMS Speaks to Illustrator Colleen Doran of Neil Gaiman’s TROLL BRIDGE for Dark Horse Comics. En Youtube. Obtenida el 30 de marzo de 2020, de https://www.youtube.com/watch?v=Eku4eH3XiAc.
  • El Refaie, E. (2003). Understanding visual metaphor: the example of newspaper cartoons. Visual Communication, 2(1), 75-95.
  • Gaiman, N. y Doran, C. (2019). El puente del troll. Barcelona: Planeta DeAgostini Cómics.
  • Gasca, L. y Gubern, R. (1988). El discurso del cómic. Madrid: Cátedra.
  • Gaudreault, A. y Groensteen, T., eds. (1998). La Transécriture. Pour une théorie de l’adaptation. Littérature, cinéma, bande dessinée, théâtre, clip. Québec / Angoulême: Éditions Nota Bene y Centre national de la bande dessinée et de l’image.
  • Hutcheon, L. (2006). A Theory of Adaptation. Londres: Routledge.
  • Maestro, J. G. (2014). Contra las musas de la ira: el materialismo filosófico como teoría de la literatura. Asturias: Pentalfa.
  • Miodrag, H. (2013). Comics and Language. Reimagining Critical Discourse on the Form. Mississippi: University Press of Mississippi.
  • Oatley, K. (2016). Fiction: Simulation of Social Worlds. Trends in Cognitive Sciences, 20(8), 618-628.
  • Pichois, C. y Rousseau, A. M. (1969). La literatura comparada. Barcelona: Gredos.
  • Postman, N. (2005). Amusing Ourselves to Death: Public Discourse in the Age of Show Business. Londres: Penguin Books.
  • Rashkov, G.; Bobe, A.; Fastovets, D. y Komarova, M. (2019). Natural image reconstruction from brain waves: a novel visual BCI system with native feedback. En bioRxiv. Obtenida el 31 de marzo de 2020, de https://www.biorxiv.org/content/10.1101/787101v2.full.pdf
  • Reid, C. (2015). Dark Horse to Publish Graphic Versions of Neil Gaiman Short Stories. En Publishers Weekly. Obtenida el 1 de abril de 2020, de https://www.publishersweekly.com/pw/by-topic/industry-news/comics/article/68953-dark-horse-to-publish-graphicversions-of-neil-gaiman-short-stories.html.
  • Roas, D. (2019). Tras los límites de lo real. Una definición de lo fantástico. Madrid: Páginas de Espuma.
  • Roche, D.; Schmitt-Pitiot, I. y Mitaine, B. (2018). Comics and Adaptation. En B. Mitaine, D. Roche y I. Schmitt-Pitiot (Eds.), Introduction. Adapting Adaptation Studies to Comic Studies (11-56). Mississippi: University Press of Mississippi.
  • Rodríguez, J. C. (2013). Entrevista a Juan Carlos Rodríguez, por David Becerra Mayor. Youkali: revista crítica de las artes y el pensamiento, 15, 85-92.
  • Slabbert, M. (2009). Fairy Tales Reimagined. Essays on New Retellings. En Susan Redington Bobby (Ed.), Inventions and Transformations. Imagining New Worlds in the Stories of Neil Gaiman (68-84). Carolina del Norte: McFarland & Company Inc., Publishers.
  • The New York Times (2016). Best Sellers: Hardcover Graphic Books. En The New York Times. Obtenida el 31 de marzo de 2020, de https://www.nytimes.com/books/best-sellers/2016/11/20/hardcover-graphic-books/.
  • Luque, A. (2019). El diablo en el cruce de caminos. El puente del troll, 1-2. Barcelona: Planeta DeAgostini Cómics.
  • Waller, C. (2016). Troll Bridge Review. En Wethenerdy. Obtenida el 31 de marzo de 2020, de https://wethenerdy.com/troll-bridge-review/.