Revisiting Guernica (1937): the relationship between the classic and intermediality based on the caricature
This article analyzes the relationship between the classic (ELIOT, 1992; CALVINO, 1993) and intermediality (RAJEWSKY, 2011; RAJEWSKY, 2012) based on three re-readings of Pablo Picasso's work Guernica (1937) in caricature format. In this work, we seek to understand the roots of the permanence of...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Brasil |
| Institución: | Universidade de Santa Cruz do Sul (UNISC) |
| Repositorio: | Rizoma (Santa Cruz do Sul) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.online.unisc.br:article/18820 |
| Acceso en línea: | https://seer.unisc.br/index.php/rizoma/article/view/18820 |
| Access Level: | acceso abierto |
| Palabra clave: | Guernica Caricatura Classic Intermediality Charge Intermidialidade Clássico Clásico. Intermidialidad |
| Sumario: | This article analyzes the relationship between the classic (ELIOT, 1992; CALVINO, 1993) and intermediality (RAJEWSKY, 2011; RAJEWSKY, 2012) based on three re-readings of Pablo Picasso's work Guernica (1937) in caricature format. In this work, we seek to understand the roots of the permanence of the Picasso mural in Western art through the caricatures of Márcio Vaccari, Mário Tarcitano and Quinho. We also bring to this research quantitative data that places the artistic language of the caricature as the most fruitful in the reinterpretations of Guernica. |
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