Blurring the Margins

The title of Miguelanxo Prado's Ardalén is a word invented by its author, but which refers to a real phenomenon: a long-distance wind that carries the scent of salt and sea far inland from the coast. In the fictional tale, this sea breeze carries with it not just air and smells, but also storie...

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Detalhes bibliográficos
Autor: Harris, Sarah Dibble
Formato: artículo
Fecha de publicación:2017
País:España
Recursos:Universitat Autònoma de Barcelona
Repositorio:Dipòsit Digital de Documents de la UAB
Idioma:inglés
OAI Identifier:oai:ddd.uab.cat:180342
Acesso em linha:https://ddd.uab.cat/record/180342
https://dx.doi.org/urn:doi:10.5565/rev/brumal.381
Access Level:acceso abierto
Palavra-chave:Miguelanxo Prado
Ardalén
Memoria
Cómic
Memoria colectiva
Memoria histórica
Memory
Comic
Colective memory
Historical memory
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spelling Blurring the MarginsArdalén (2012) and Collective Memory in SpainHarris, Sarah DibbleMiguelanxo PradoArdalénMemoriaCómicMemoria colectivaMemoria históricaMemoryComicColective memoryHistorical memoryThe title of Miguelanxo Prado's Ardalén is a word invented by its author, but which refers to a real phenomenon: a long-distance wind that carries the scent of salt and sea far inland from the coast. In the fictional tale, this sea breeze carries with it not just air and smells, but also stories, as well as living sea creatures. Appropriate to its title, this winner of the 2012 National Spanish Comics Prize blurs lines between the real and the imaginary, between self and other, between land and sea, and between life and death. Blurry margins exist metaphorically in the book's story as well as visually in its images, both within its panels and in its gutters. Drawing on Anne Whitehead's recent discussion of modes of inscription and collective memory, this article explores the representation of memory and the fantastic in Miguelanxo Prado's 2012 graphic novel Ardalén, noting the strong implications of Ardalén's main character's incapacity to distinguish between what he lived and what he heard in the context of the Recovery of Historical Memory in Spain's early 21st century.La novela gráfica Ardalén (2012) de Miguelanxo Prado se titula con una palabra inventada por su autor, pero que se refiere a un fenómeno verdadero: un viento de larga distancia que lleva el olor de la sal y del mar lejos de la costa al interior del país. En la novela gráfica, esta brisa marina lleva consigo no sólo sus aires y sus olores, sino también historias, recuerdos, así como criaturas marinas vivas. Apropiado a su título, este libro ganador del Premio Nacional de Cómic de 2012 borra fronteras entre lo real y lo imaginario, entre persona y colectividad, entre tierra y mar, y entre vida y muerte. Los márgenes borrosos existen metafóricamente en la historia del libro, así como visualmente en sus imágenes, tanto dentro de sus viñetas como en los espacios entre sus vi- ñetas. Basándose en el reciente análisis de Anne Whitehead sobre los modos de inscripción y la memoria colectiva, el presente artículo explora la representación de la memoria y lo fantástico en la novela gráfica Ardalén de Miguelanxo Prado, señalando las fuertes implicaciones de la incapacidad del protagonista en Ardalén de distinguir entre lo que vivió y lo que oyó contar en el contexto de la Recuperación de la Memoria Histórica en el siglo xxi de España. 22017-01-0120172017-01-01Articlehttp://purl.org/coar/resource_type/c_6501VoRhttp://purl.org/coar/version/c_970fb48d4fbd8a85info:eu-repo/semantics/articleapplication/pdfhttps://ddd.uab.cat/record/180342https://dx.doi.org/urn:doi:10.5565/rev/brumal.381reponame:Dipòsit Digital de Documents de la UABinstname:Universitat Autònoma de BarcelonaInglésengopen accesshttp://purl.org/coar/access_right/c_abf2Aquest document està subjecte a una llicència d'ús Creative Commons. Es permet la reproducció total o parcial, la distribució, la comunicació pública de l'obra i la creació d'obres derivades, fins i tot amb finalitats comercials, sempre i quan es reconegui l'autoria de l'obra original.https://creativecommons.org/licenses/by/3.0/info:eu-repo/semantics/openAccessoai:ddd.uab.cat:1803422026-06-06T12:50:31Z
dc.title.none.fl_str_mv Blurring the Margins
Ardalén (2012) and Collective Memory in Spain
title Blurring the Margins
spellingShingle Blurring the Margins
Harris, Sarah Dibble
Miguelanxo Prado
Ardalén
Memoria
Cómic
Memoria colectiva
Memoria histórica
Memory
Comic
Colective memory
Historical memory
title_short Blurring the Margins
title_full Blurring the Margins
title_fullStr Blurring the Margins
title_full_unstemmed Blurring the Margins
title_sort Blurring the Margins
dc.creator.none.fl_str_mv Harris, Sarah Dibble
author Harris, Sarah Dibble
author_facet Harris, Sarah Dibble
author_role author
dc.subject.none.fl_str_mv Miguelanxo Prado
Ardalén
Memoria
Cómic
Memoria colectiva
Memoria histórica
Memory
Comic
Colective memory
Historical memory
topic Miguelanxo Prado
Ardalén
Memoria
Cómic
Memoria colectiva
Memoria histórica
Memory
Comic
Colective memory
Historical memory
description The title of Miguelanxo Prado's Ardalén is a word invented by its author, but which refers to a real phenomenon: a long-distance wind that carries the scent of salt and sea far inland from the coast. In the fictional tale, this sea breeze carries with it not just air and smells, but also stories, as well as living sea creatures. Appropriate to its title, this winner of the 2012 National Spanish Comics Prize blurs lines between the real and the imaginary, between self and other, between land and sea, and between life and death. Blurry margins exist metaphorically in the book's story as well as visually in its images, both within its panels and in its gutters. Drawing on Anne Whitehead's recent discussion of modes of inscription and collective memory, this article explores the representation of memory and the fantastic in Miguelanxo Prado's 2012 graphic novel Ardalén, noting the strong implications of Ardalén's main character's incapacity to distinguish between what he lived and what he heard in the context of the Recovery of Historical Memory in Spain's early 21st century.
publishDate 2017
dc.date.none.fl_str_mv 2
2017-01-01
2017
2017-01-01
dc.type.none.fl_str_mv Article
http://purl.org/coar/resource_type/c_6501
VoR
http://purl.org/coar/version/c_970fb48d4fbd8a85
dc.type.openaire.fl_str_mv info:eu-repo/semantics/article
format article
dc.identifier.none.fl_str_mv https://ddd.uab.cat/record/180342
https://dx.doi.org/urn:doi:10.5565/rev/brumal.381
url https://ddd.uab.cat/record/180342
https://dx.doi.org/urn:doi:10.5565/rev/brumal.381
dc.language.none.fl_str_mv Inglés
eng
language_invalid_str_mv Inglés
language eng
dc.rights.none.fl_str_mv open access
http://purl.org/coar/access_right/c_abf2
https://creativecommons.org/licenses/by/3.0/
dc.rights.openaire.fl_str_mv info:eu-repo/semantics/openAccess
rights_invalid_str_mv open access
http://purl.org/coar/access_right/c_abf2
https://creativecommons.org/licenses/by/3.0/
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.source.none.fl_str_mv reponame:Dipòsit Digital de Documents de la UAB
instname:Universitat Autònoma de Barcelona
instname_str Universitat Autònoma de Barcelona
reponame_str Dipòsit Digital de Documents de la UAB
collection Dipòsit Digital de Documents de la UAB
repository.name.fl_str_mv
repository.mail.fl_str_mv
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