Current Operationality of the Concept of Parody after Postmodernism: from Roberto Alcázar to ¡García!

Abstract

The paper proposes a discussion of the operationality of the concept of parody for cultural analysis based on the review of a case: the different versions of the Spanish comic book character Roberto Alcázar. The characteristics of the original ‘cuaderno de aventuras’ Roberto Alcázar y Pedrín (1941-1976, Valenciana, Arizmendi y Vañó) are described. Then we present and characterize, from the point of view of parodic treatment, their versions from the Spanish underground comics during the Transition and beyond: Roberto el carca (1980, 1982-1984, Laertes, Pàmies) and Roberto España y Manolín (1994, 1997, Midons, Vidal-Folch and Gallardo). This analysis provides the basis for a critical review of the historical debate on postmodern parody (Jameson, Hutcheon), contemporary to the appearance of these versions, taking into account the reflexive access of the medium to its specificity. The conclusions of this review will be used to develop an analysis of the recent ¡García! (2015-..., Astiberri, García y Bustos) in which we will try to shed more light on the concept of parody and, above all, its previous uses during the Transition, especially with regard to the relations between art and politics beyond the classic examples from architecture, the visual arts and the novel.