| dc.description.abstract | The study upon the heterodiscourse is relevant to the comprehension of the Comics
discursive genre in the futuristic setting framework which composes Lusíadas 2500
of Lailson de Holanda Cavalcanti. The author has transposed his work from the
classic epic Os Lusíadas, from Luís de Camões. The discourses of these authors,
as well as those of their characters, are elements that construct an ideology, and
thus reveal their social position through the contextualized resonance of voices. In
this discursive perspective of language, the understanding of the work passes by the
verbal sign of the title, the letter written by KMOS1572, the subtitles that contain the
poem of Camões, the speech balloons that contemplate the insertion of the
discourse proposed by Cavalcanti and finally the non-verbal sign from the
representation of the characters and of the settings. Therefore, those signs
transpose the original work from 1572 to a futuristic context at the year of 2500,
which reflects and refracts the story of the Portuguese society and the journey to
Indies of Vasco da Gama. For the development of this research, we have based our
discussion in the theoretical assumptions of the Dialogic Theory of the Discourse
according to Bakhtin, Jakubinskij, Medviédev, Volóchinov, and also those of the
sequencial art language based on McCloud , Eisner, Cagnin, Groensteen, Ramos
and Barbieri. The present paper proposes the analysis of the Canto I in the intent of
understanding the heterodiscourse applied in a structure that combines verbal and
visual signs. This hybrid structure is characteristic of sequential narratives as
Lusíadas 2500. | eng |
