Visualidades urbanas e escritas da história: a HQ Serigy em análise (2014-2024)

Abstract

This dissertation analyzes the cultural representations present in the comic book Serigy, produced by the Sergipe-based publishing collective Serigy Comics, focusing on the connection between image, identity and belonging. The research assumes that comics, beyond their entertainment character, constitute a graphic-narrative language capable of producing historical and cultural meaning. Grounded in the theoretical frameworks of Cultural History, Visual Culture and Visual History, the analysis considers the image as a historical and symbolic document. The central problem of the investigation is to understand how Serigy mobilizes memory and urban references to produce a localized reading of the narrative. The research advances three hypotheses: the work creates the figure of a peripheral hero who engages with the superhero imaginary through a hybrid perspective; the city of Aracaju functions as a narrative agent; and the comic mobilizes local cultural symbols as strategies of identity affirmation within the cultural field. Methodologically, the work combines semiotic and hermeneutic analysis of the imaginary drawing on authors such as Peter Burke (2004), Moacy Cirne (1972, 1975, 1982, 1990, 2000), Hans Belting (2014), Gilbert Durand (1988, 2012), José D’Assunção Barros (2022), Néstor Canclini (2000, 2007, 2007), Roger Chartier (1990, 1998) and Ulpiano Bezerra de Meneses (2003, 2005). The dissertation is organized into three interconnected chapters. The first examines the trajectory of the Serigy Comics collective, its organizational forms, and its strategies for entering the cultural market of Sergipe. The second analyzes the *Serigy* comic book as a visual device for urban identity, investigating the construction of the hero João Pedro and the mobilization of local cultural markers. The third chapter concludes the analysis begun in the second by highlighting the centrality of the city within the narrative. The research shows that comics function as devices of memory and symbolic resistance, affirming regional production in a context historically marked by the hegemony of foreign narratives. The conclusion is that regional comics can act as legitimate sources of historical analysis, contributing to the strengthening of collective memories and the affirmation of local identities.