ILUSTRAXON: Semyotika sa Pahina at sa Piraso ng Komix.
The paper proposes the term "ilustraxon" to describe the operation of meaning-making in "komix." In deriving the "x" from WJT Mitchell's "image x text" (2012) and coining a new concept, the ilustraxon called komix works as sublation or synthesis of "ilustracion" and "ilustrasyon." Two works of komix...
| Published in: | Kritika Kultura no. 30/31; pp. 497 - 526 |
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| Format: | Article |
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Kritika Kultura
2018
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=128890483&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 128890483 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 20946937 786B jtl: Kritika Kultura issn: 20946937 maglogo: N pubinfo: dt: 2018 iid: 30/31 pid: 51553 pub: Kritika Kultura artinfo: ui: 128890483 ppf: 497 ppct: 29 formats: fmt: @attributes: type: P size: 1.9MB tig: atl: ILUSTRAXON: Semyotika sa Pahina at sa Piraso ng Komix. aug: au: Acuña, Arbeen R. affil: University of the Philippines su: Noli Me Tangere (Book : Rizal) Rizal, José, 1861-1896 sug: subj: Noli Me Tangere (Book : Rizal) Rizal, José, 1861-1896 keyword: Dead Balagtas Komiks Nationalism Noli Me Tangere Rizal Semiotics ab: The paper proposes the term "ilustraxon" to describe the operation of meaning-making in "komix." In deriving the "x" from WJT Mitchell's "image x text" (2012) and coining a new concept, the ilustraxon called komix works as sublation or synthesis of "ilustracion" and "ilustrasyon." Two works of komix that pictured the well-known scene toward the end of Jose Rizal's Noli Me Tangere (1887), with Padre Damaso and Maria Clara's conversation, were read using semiotic analysis: three pages from Nakalarawang Noli Me Tangere (Illustrated Noli Me Tangere) (1956) arranged by Clodualdo del Mundo and Pedrito Reyes and illustrated by Ric Collado, and three panels from the strip "Clara, Join the Dark Side of the Force" (2014) by Emiliana Kampilan were compared and studied through Alice Guillermo's planes of semiotic analysis (2001). The first work is a key text because it is arguably one of the earliest komiks adaptations of an essential work on Philippine nationalism and the latter because it is a contemporary and intertextual appropriation of Rizal's writing. In conclusion, the similiarities of ilustraxon with Charles Sanders Peirce's dialogical sign--composed of the representamen, the interpretant, and the semiotic object--is elaborated. The paper ends with suggestions and notes that might contribute to the disciplines of translation studies and comics studies toward further studies or analyses of komix adaptations. pubtype: Academic Journal doctype: Article src: R language: Filipino refInfo: copyright: @attributes: flag: Y custom: Copyright of Kritika Kultura is the property of Kritika Kultura and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Kritika Kultura holder: Kritika Kultura dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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