In recent years there have been several important scholarly works on Latin American comics and graphic novels published in the English-speaking world: Comics and Memory in Latin America, eds. Jorge Catalá Carrasco, Paulo Drinot, and James Scorer (2017); Posthumanism and the Graphic Novel in Latin America, by Edward King and Joanna Page (2018); and Mafalda: A Social and Political History of Latin America’s Global Comic, by Isabella Cosse and Laura Carrara (2014; 2019). In this group, one should include El Eternauta, Daytripper, and Beyond: Graphic Narrative in Argentina and Brazil. by David William Foster, an established scholar on Latin American comics, author of the pioneering study From Mafalda to Los Supermachos: Latin American Graphic Humor (1989). Foster justifies his focus on Argentina and Brazil because these two countries have “the most extensive production in, respectively, Spanish and Portuguese.” He follows the traditional Japanese distinction between manga—light-hearted comic book stories—and gekiga, which tend to be graphic novels “more serious in intent and effect.” His book is concerned with gekiga and the semiotic, linguistic, and ideological aspects of key works such as El Eternauta and Daytripper. Foster’s book is better read as a collection of essays on specific graphic novels—five in Argentina, five in Brazil—than as a discussion on the development of the genre in both countries. The best readings take up Breccia and Sasturain’s Perramus and Sampayo and Solano López’s Evaristo, in the Argentine section, and Moon and Bá’s Daytripper in the Brazilian section. In Perramus, Foster Review: Literature and Arts of the Americas, Issue 100, Vol. 53, No. 1, 2020, 178–179

中文翻译：

---

El Eternauta、Daytripper 等

近年来，在英语世界出版了几部关于拉丁美洲漫画和图画小说的重要学术著作：拉丁美洲的漫画和记忆，编辑。Jorge Catalá Carrasco、Paulo Drinot 和 James Scorer（2017 年）；后人类主义和拉丁美洲的图画小说，爱德华·金和乔安娜·佩奇（2018）；和 Mafalda：拉丁美洲全球漫画的社会和政治史，作者 Isabella Cosse 和 Laura Carrara（2014 年；2019 年）。在这一组中，应该包括 El Eternauta、Daytripper 和 Beyond：Graphic Narrative 在阿根廷和巴西。作者：大卫威廉福斯特，拉丁美洲漫画的知名学者，开创性研究从马法尔达到洛斯超级马乔斯：拉丁美洲图形幽默（1989）的作者。福斯特证明他对阿根廷和巴西的关注是合理的，因为这两个国家“分别拥有最广泛的西班牙语和葡萄牙语产量”。他遵循日本传统的漫画——轻松的漫画故事——和剧集之间的区别，剧集往往是“在意图和效果上更加严肃”的图画小说。他的书关注剧集以及 El Eternauta 和 Daytripper 等重要作品的符号学、语言和意识形态方面。福斯特的书更适合作为关于特定图画小说的散文集来阅读——五篇在阿根廷，五篇在巴西——而不是作为对这两个国家类型发展的讨论。最好的读物是阿根廷部分的 Breccia 和 Sasturrain 的 Perramus 和 Sampayo 以及 Solano López 的 Evaristo，以及巴西部分的 Moon 和 Bá 的 Daytripper。在佩拉默斯，福斯特评论：美洲文学与艺术，第 100 期，卷。53, No. 1, 2020, 178–179