Publication: Las distancias a la realidad. Lo lejano y lo cercano en los Cuadernos de Igort
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2018
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Universitat Autònoma de Barcelona. Departamento de Periodismo y Ciencias de la Comunicación
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En los últimos años, en concordancia con la inflación documental que caracteriza nuestra sociedad, hemos podido observar una gran fortuna de los géneros narrativos de no fic-ción, que se han extendido hasta territorios históricamente poco receptivos a la represen-tación de la realidad. El cómic es uno de ellos y sus autores, al tratar el género documen-tal, se ven a menudo obligados a buscar soluciones originales a viejos problemas.El presente artículo se centra en dos trabajos del italiano Igort, Cuadernos ucranianosy Cuadernos rusos, que describen las atrocidades del Holodomor y la guerra ruso-cheche-na. El análisis de estas obras conlleva una reflexión sobre el problema de la distancia (cer-cana, no cercana, lejana, no lejana) respecto a sus fuentes y a la realidad misma, cuestión central en cualquier relato histórico, periodístico o documentalista. A partir de la semióti-ca estructural y de la historiografía del presente, el artículo da cuenta de la compleja estra-tegia de acercamiento y alejamiento que Igort lleva a cabo con el objetivo de representar una determinada realidad. Al mismo tiempo, se razona en torno a algunas problemáticas teóricas relativas al tratamiento de los testigos, los testimonios y los documentos, dentro de las disciplinas que pretenden narrar una realidad histórica o cultural.
In recent years, along with the growth in documentation that characterises our society, we have witnessed the rise of the non-fiction narrative genres, which have extended their domain to territories that are historically unconcerned with the representation of reality. Comics is one of them, and its authors are frequently forced to look for original solutions to old problems. This article focuses on two works by the Italian comic artist Igort, The Ukranian Notebooks and The Russian Notebooks, which describe the atrocities of the Holodomor and of the Russian-Chechen war. The analysis of these comic-books involves a reflection on the problem of distance (close, not close, distant, not distant) from their source and the reality, a central issue in any historical, journalistic or documentary narrative. Applying the analytical tools of structural semiotics and of the historiography of present times, this article illustrates the complex strategy of getting close and moving away carried out by Igort with the purpose of representing a specific reality. At the same time, it argues some theoretical issues concerning the use of witnesses, testimonies, and documents among the disciplines that aspire to narrate historical or cultural reality.
In recent years, along with the growth in documentation that characterises our society, we have witnessed the rise of the non-fiction narrative genres, which have extended their domain to territories that are historically unconcerned with the representation of reality. Comics is one of them, and its authors are frequently forced to look for original solutions to old problems. This article focuses on two works by the Italian comic artist Igort, The Ukranian Notebooks and The Russian Notebooks, which describe the atrocities of the Holodomor and of the Russian-Chechen war. The analysis of these comic-books involves a reflection on the problem of distance (close, not close, distant, not distant) from their source and the reality, a central issue in any historical, journalistic or documentary narrative. Applying the analytical tools of structural semiotics and of the historiography of present times, this article illustrates the complex strategy of getting close and moving away carried out by Igort with the purpose of representing a specific reality. At the same time, it argues some theoretical issues concerning the use of witnesses, testimonies, and documents among the disciplines that aspire to narrate historical or cultural reality.
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Semiòtica, Distància, Còmic, Document, Testimoni, Igort
Bibliographic citation
Anàlisi. Quaderns de Comunicació i Cultura, 58, 77-87