This article examines the rationale for definitions of the homeless in the public imagination and the kind of discourses used to create a physical, psychological, and moral distance between the domiciled and the destitute. In a society where the worthy individual is tied to an ideal of entrepreneurial, rational, homed, successful consumer, and where public space is solely destined for the unobstructed consumption of the privileged, street dwellers are naturally seen as a threat to the economic, social, and moral order as well as a visual blemish: an obstacle to safety and wellbeing. Drawing from a number of sociological, urban, and narrative studies on the survival tactics of homeless people, and especially from Nicholas Blomley’s (2010) insights about street mobility and Leon Anderson’s (2017) classifications of stigma management, this article describes how subjects defined as pathological, dangerous, or pitiful, negotiate street restrictions and create their own standing within a revanchist city. These individuals feature in two comic books published in Canada, Zanta: The Living Legend (2012) and The Dregs (2017), whose originality lies in the heroic role the street person assumes, a legitimate searcher for meaning that sees what most people overlook. In their different format as non-fiction comic and serialized fictional comic we find the expressive visual and narrative potential of the genre and become witnesses of the tribulations of two characters whom the world may consider as deranged but are, however, able to enhance their self-esteem, dismantle ideologies behind assumed notions of respectability, and actively contribute to the city as a place of encounter with difference.

本文研究了公众想象中无家可归者的定义依据，以及用来在居者与穷人之间建立生理，心理和道德距离的话语类型。在一个社会上，有钱人与企业家，理性，居家，成功的消费者的理想息息相关，而公共空间仅是为特权人群的无障碍消费而设计的，流浪者自然被视为对经济，社会和社会的威胁。 ，道德秩序以及视觉缺陷：是安全与福祉的障碍。借鉴许多关于无家可归者生存策略的社会学，城市学和叙事研究，尤其是根据Nicholas Blomley（2010）对街道流动性的见解和Leon Anderson（2017）对污名化管理的分类，本文介绍了被定义为病理性，危险性或可怜性的主题如何协商街道限制并在重新发展的城市中建立自己的地位。这些人出现在加拿大出版的两本漫画书中，Zanta：《活着的传奇》（2012）和《残渣》（2017），其独创性在于流浪汉扮演的英雄角色，是寻找大多数人所忽略的含义的合法搜索者。我们以非小说漫画和连载小说漫画的不同形式，发现了该类型小说的表现力视觉和叙事潜力，并成为两个角色苦难的见证者，而这个角色可能被世界认为是疯狂的，但能够增强他们的自我自尊心，消除公认的尊重观念背后的意识形态，并积极地为这座城市带来与众不同的遭遇。