ABSTRACT

Building on growing interest in the development of the ninth art in Spain, this article returns to a foundational work by creator Pere Joan that encapsulates Barcelona’s role in forging the post-dictatorial Iberian comic. Beyond carrying out a close reading of the eponymous comic contained in Passatger en trànsit, it is important also to elucidate the cultural forces shaping post-dictatorial comics in Spain: from the languages of publication, to the legacies of visual style, the relationship between comics and prose literature, and the reemergence of Barcelona as a putative center of the comics industry. Published by Norma Editorial in 1984, the hardback volume arguably reflected the growing expansion of the Catalan-language cultural market specifically and the progressive linguistic diversification of the Iberian comics market in general. The theme, story and comics form of the visual tale – “Passatger en trànsit”, which was adapted from English science fiction writer Barrington J. Bayley’s earlier short story “Man in Transit” – establish a number of the hallmark traits of Pere Joan’s subsequent work: such as contemplative mood; themes of isolation, alienation, interiority and travel; and his characteristic use of landscape panels in page design. The comic’s spatial aesthetics also connects with notions of space, place and nonplace that were receiving renewed attention in 1980s Barcelona.

摘要

基于对西班牙第九艺术发展日益增长的兴趣，本文将回归创作者佩雷琼的基础作品，该作品概括了巴塞罗那在塑造后独裁伊比利亚漫画中的作用。除了仔细阅读Passatger en transit 中包含的同名漫画之外，阐明塑造西班牙后独裁漫画的文化力量也很重要：从出版语言到视觉风格的遗产，漫画与散文文学之间的关系，以及巴塞罗那重新成为公认的漫画中心。漫画行业。由 Norma 社论于 1984 年出版的精装本可以说是反映了加泰罗尼亚语文化市场的不断扩张，以及伊比利亚漫画市场总体上的渐进式语言多样化。视觉故事的主题、故事和漫画形式——改编自英国科幻作家巴林顿·J·贝利早期的短篇小说“过境的人”的“Passatger en transit”——确立了佩雷琼随后的许多标志性特征工作：如沉思的心情；孤立的主题，异化、内在性和旅行；以及他在页面设计中对景观面板的独特使用。漫画的空间美学也与空间、地方和非地方的概念有关，这些概念在 1980 年代的巴塞罗那受到了新的关注。