From Halconazo to #YoSoy132

Affective experience, cultural memory, and intergenerational transmission in a Mexican graphic narrative

Bibliographic Data

ID7473935
AuthorsJuan Sebastián Granada-Cardona (0000-0002-3601-192X, Universidad Nacional Autonoma de Mexico, corresponding author)
Year2026
Volume19
Issue1
Pages273-289
Publication date2026-02-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueMemory Studies (JOURNAL)
Journal identifiersISSN: 1750-6980 • E-ISSN: 1750-6999
PublisherSAGE Publications (PUBLISHER • US)
DOI10.1177/17506980251408591
OpenAlexW7124691677
LanguageEN
References cited18

This article examines Augusto Mora’s Grito de Victoria (2013) to show how comics make cultural memory both intelligible and affective through form. Drawing on cultural memory, affect theory, and the politics of the gaze—and using Passeron and Revel’s penser par cas —it follows how sequencing, repetition, and closure braid El Halconazo (1971) with #YoSoy132 (2012). The narrative forges an intergenerational link—Victoria/Vicente with Valentín/Vanessa—without erasing historical differences, offering “prosthetic” access to events not personally lived. Rather than opposing dominant frames, the book works within a memorial consensus that makes the persistence and mutation of state repression legible. Treating violence as a problem of form—focalization, rhythm, the gutter—the comic opens an ethical space for witnessing and solidarity. The study clarifies how Latin American protest comics sustain transmissible memory and why close attention to page architecture advances debates in comics and memory studies

Affect (linguistics · Affect theory · Comics · Cultural memory · Latin Americans · Narrative · Politics · State (computer science · Theme (computing · Comics and Graphic Narratives · Latin American Literature Studies · Memory, Trauma, and Commemoration

Tools

Open DOI