{"title":"Quino: la risa y el plumín al servicio de desentrañar esa madeja que es el ser humano","authors":"M. Burkart","doi":"10.15645/ALABE2021.23.17","DOIUrl":null,"url":null,"abstract":"On September 30, Quino, one of the Argentine graphic humorists with the greatest worldwide recognition, passed away. He left the day after his emblematic strip, “Mafalda”, turned 56 since its first publication in the Argentine magazine Primera Plana. In a matter of hours, they went from celebrating the birthday of the “rebellious” girl to firing her creator. And many, if not most, of the tributes remembered Quino exclusively for \"Mafalda\" which constitutes a huge injustice as others, in the minority, warned. Indeed, Quino's work does not begin or end with “Mafalda”, and in these pages I would like to refer to his entire production ˗including, of course, “Mafalda” ˗ with the purpose of paying homage to this humorist who made us laugh at himself time to reflect on the human condition and life in modern society.","PeriodicalId":42424,"journal":{"name":"Alabe-Revista de Investigacion sobre Lectura y Escritura","volume":"12 1","pages":"11"},"PeriodicalIF":0.2000,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Alabe-Revista de Investigacion sobre Lectura y Escritura","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.15645/ALABE2021.23.17","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE","Score":null,"Total":0}
引用次数: 0
Abstract
On September 30, Quino, one of the Argentine graphic humorists with the greatest worldwide recognition, passed away. He left the day after his emblematic strip, “Mafalda”, turned 56 since its first publication in the Argentine magazine Primera Plana. In a matter of hours, they went from celebrating the birthday of the “rebellious” girl to firing her creator. And many, if not most, of the tributes remembered Quino exclusively for "Mafalda" which constitutes a huge injustice as others, in the minority, warned. Indeed, Quino's work does not begin or end with “Mafalda”, and in these pages I would like to refer to his entire production ˗including, of course, “Mafalda” ˗ with the purpose of paying homage to this humorist who made us laugh at himself time to reflect on the human condition and life in modern society.