Charles Andrade

PRÍNCIPE VALENTE E A MODERNIZAÇÃO DO CAVALEIRO

Introduction

PrÍncipe valente e a modernizaÇÃo do cavaleiro. Explore como "Príncipe Valente" de Hal Foster moderniza a figura do cavaleiro medieval. Analisa sua relação com o imaginário arturiano desde as novelas de cavalaria.

Abstract

Das novelas de cavalaria, até os best-sellers da atualidade, a figura do cavaleiro medieval paira sobre o homem do ocidente. E a corte do Rei Arthur serve de pano de fundo para incontáveis proezas de nobres famosos como Lancelot, Galaaz, Gawain (ou Galvão) e o próprio Rei Arthur. Foi neste universo cavaleiresco que o famoso cartunista canadense Harold Rudolph Foster (ou Hal Foster) inseriu seu príncipe, Valente, lançando suas aventuras nos jornais de 1937. O presente artigo, portanto, pretende apontar em que medidas as criações de Foster se relacionam com esse imaginário medieval.

Review

This article proposes an interesting and timely examination of Hal Foster's "Prince Valiant" strip, positioning it within the broader tradition of the medieval knight in Western culture. By focusing on how Foster's creations relate to the enduring "imaginário medieval," the study promises to shed light on the process of cultural reinterpretation and modernization of archetypal figures. The chosen subject matter, a cornerstone of adventure comics and a significant example of medievalism in popular culture, offers fertile ground for analysis, suggesting a relevant contribution to both comic studies and broader discussions of cultural history. A particular strength of this work lies in its potential to bridge distinct academic fields. The article effectively sets the stage by acknowledging the pervasive influence of Arthurian legend and its iconic knights, thereby establishing a rich historical and literary context for the subsequent analysis of "Prince Valiant." The explicit goal of identifying the "measures" by which Foster's work engages with this established imaginary is commendable, suggesting a detailed exploration of continuities and divergences. This approach has the capacity to illuminate how classic narratives and character tropes are adapted and transformed for new audiences and media, offering insights into the evolving nature of heroic archetypes. To further enhance the article's impact, it would be beneficial to explicitly outline the specific critical framework or methodologies employed for analyzing the "modernization" aspect. The title, "PRÍNCIPE VALENTE E A MODERNIZAÇÃO DO CAVALEIRO," points to a central argument that could be strengthened by clarifying *how* this modernization is conceptualized and demonstrated. For instance, does it involve changes in moral code, narrative structure, visual representation, or the knight's role in society? A comparative approach, perhaps contrasting Prince Valiant with other contemporary media portrayals of knights or even earlier literary adaptations, could also provide valuable context. Finally, a clear articulation of the article's main thesis regarding the *nature* of this modernization would solidify its contribution and provide a sharper focus for the ensuing discussion.

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