Uma leitura de jornada do herói em Grandes Artros Superman

Abstract

The comparative mythologist Joseph Campbell found that the myths basically comprise the same story, retold, last forever, in myriad variations. In the book, The Hero with a Thousand Faces (CAMPBELL, 2007), are compiled their most recurrent convictions about the oral tradition and the written literature, reaching a common denominator: the monomyth. This concept can be understood in terms of the Hero's Journey, revealing cyclical narratives that can be used both in understanding human problems and as a guiding creative writing. Not coincidentally, they are also the backbone that supports the work of this subject: the comics, All-Star Superman (MORRISON, QUITELY; 2012). The story on screen is divided into twelve independent chapters that, when read in its entirety, allows a series of allusions to Hero's Journey and the remitologizações manifestation of the classic / traditional mythical hero. Indeed, the overall goal is to see how the three acts Campbell Monomyth - called evidence and return - are hidden in the text and illustrations of the comic of All-Star Superman. Through literature, the work is organized into three chapters and crosses, an ancillary way, the study Meletínski (2002) on literary archetypes; the buildings listed in the essay The Myth of Superman, Eco (2015); and liquid modernity concepts, worked by Bauman (2001), and the notion of mitopoeta by Ribeiro (2013). It is observed that Superman stands as a modern / contemporary hero and differs from classic / traditional mythical hero; the first of which is presented as a man whose acts of heroism are highlighted by the facts of contemporary, dynamism and unpredictability typical of Romanesque productions; already the second, is stuck in the middle of a temporal vortex that stabilizes and immobilizes it forward to new possibilities. So while the mythical hero "is" the modern hero lives in the midst of a "maybe." On the other hand, we arrive at the insight that in the comics, symbolic objects - like Superman costume - are not reserved solely the narrative, but end up amplifying the emotional reader demonstration outside the materialization of images and imagination. Furthermore, it is identified that the notion of cultural producer - illustrator writer or artist - in comic books fits the classification Ribeiro (2013) gives the mitopoeta. As regards the proposal of reading All-Star Superman, it appears that Campbell's Monomyth is not fully followed to the letter, the synchronic sense capitulate story, showing that the Hero's Journey structure need not necessarily be established so precisely . Finally, it is concluded that this comic is established within the standard monomyth as a form, but not as a formula, allowing sections and subsections are deleted, added and even shuffled without cool the hero myth