<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0122-8285</journal-id>
<journal-title><![CDATA[Palabra Clave]]></journal-title>
<abbrev-journal-title><![CDATA[Palabra Clave]]></abbrev-journal-title>
<issn>0122-8285</issn>
<publisher>
<publisher-name><![CDATA[Universidad de La Sabana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0122-82852018000200364</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2018.21.2.5</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Respuestas ambivalentes ante la moralidad ambigua del antihéroe: Tony Soprano y Walter White como casos de estudio]]></article-title>
<article-title xml:lang="en"><![CDATA[Ambivalent Responses to the Ambiguous Antihero Morality: Tony Soprano and Walter White as a Case Study]]></article-title>
<article-title xml:lang="pt"><![CDATA[Respostas ambivalentes perante a moralidade ambígua do anti-herói: Tony Soprano e Walter White como casos de estudo]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Canet]]></surname>
<given-names><![CDATA[Fernando]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[García-Martínez]]></surname>
<given-names><![CDATA[Alberto Nahum]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Politécnica de Valencia  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad de Navarra  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2018</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2018</year>
</pub-date>
<volume>21</volume>
<numero>2</numero>
<fpage>364</fpage>
<lpage>386</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852018000200364&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852018000200364&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852018000200364&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen La popularización del antihéroe va anudada a la necesidad dramática y narrativa de la serialidad: la constante dicotomía entre esfera familiar y profesional, entre acciones nobles y mezquinas, entre deber y querer, permite hacer avanzar la trama, generar suspenso y renovar los conflictos, lo que hace que el relato se dilate decenas de horas. Vic Mackey (The Shield), Dexter Morgan (Dexter) o Nucky Thompson (Boardwalk Empire) podrían servir de ejemplo antiheroico. Pero, sin duda, los dos casos más radicales y complejos son los protagonistas de Los Soprano (Tony Soprano) y Breaking Bad (Walter White). La identificación emocional con el antihéroe ha empezado a estudiarse recientemente. Este artículo propone un nuevo ángulo de estudio: la relación del antihéroe con el resto de personajes de la serie. Para ello, seleccionaremos los caracteres -principales o secundarios- que los guionistas emplean como estrategia narrativa para guiar las respuestas emocionales y morales del espectador en su particular relación con el antihéroe. Principalmente, nos centraremos en las reacciones que estos personajes exhiben hacia las conductas amorales de los antihéroes. Proponemos una metodología de análisis textual que, partiendo de teóricos cognitivistas, nos servirá como mecanismo para entender mejor la construcción del antihéroe e indagar sobre los efectos que las decisiones autorales provocan en los espectadores.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The popularization of the antihero is linked to the dramatic and narrative need of seriality: the constant dichotomy between the family and professional spheres, between noble and petty actions, desire, moves the story forward, generates suspense and renews conflicts. This prolongs the story for dozens of hours. Vic Mackey (The Shield), Dexter Morgan (Dexter) or Nucky Thompson (Boardwalk Empire) could serve as an antihero example. However, the two most radical and complex cases are undoubtedly the protagonists of The Sopranos (Tony Soprano) and Breaking Bad (Walter White). The emotional affinity with the antihero has recently become the object of study. This paper proposes a new angle of study: the antihero's relationship with the rest of the characters in the series. For that purpose, we will select the characters - main or secondary - that the writers use as narrative strategy to guide the emotional and moral responses of the spectator the emotional and moral responses of the viewer in their particular relationship with the antihero. We will mainly focus on the reactions of these characters to the amoral behaviors of the antiheroes. We propose a methodology of textual analysis that, based on cognitivist theorists, will serve as a mechanism to better understand the construction of the antihero and to investigate the effects of authorial decisions on viewers.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo A popularização do anti-herói vai ligada à necessidade dramática e narrativa da serialidade: a constante dicotomia entre esfera familiar e profissional, entre ações nobres e mesquinhas, entre dever e querer, permite o avanço da trama, geração de suspenso e renovação dos conflitos, dilatando o relato durante dezenas de horas. Vic Mackey (The Shield), Dexter Morgan (Dexter) ou Nucky Thompson (Boardwalk Empire) poderiam servir como exemplo anti-heróico. Mas, sem dúvida, os dois casos mais radicais e complexos são os protagonistas de Família Soprano (Tony Soprano) e Breaking Bad (Walter White). A identificação emocional com o anti-herói começou a ser estudada recentemente. Este artigo propõe um novo ângulo de estudo: a relação do anti-herói com o resto de personagens da série. Para isso, selecionaremos os caracteres -principais ou secundários- que os roteiristas empregam como estratégia narrativa para guiar as respostas emocionais e morais do espectador em sua particular relação com o anti-herói. Principalmente, nos concentraremos nas reações que estes personagens exibem com relação às condutas amorais dos anti-heróis. Propomos uma metodologia de análise textual que, partindo de teóricos cognitivistas, nos servirá como mecanismo para entender melhor a construção do anti-herói e indagar sobre os efeitos que as decisões autorais provocam nos espectadores.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[The Sopranos]]></kwd>
<kwd lng="es"><![CDATA[Breaking Bad]]></kwd>
<kwd lng="es"><![CDATA[teoría cognitiva]]></kwd>
<kwd lng="es"><![CDATA[estudios de televisión]]></kwd>
<kwd lng="es"><![CDATA[vínculos con los personajes]]></kwd>
<kwd lng="es"><![CDATA[narrativas del antihéroe]]></kwd>
<kwd lng="es"><![CDATA[emociones morales]]></kwd>
<kwd lng="en"><![CDATA[The Sopranos]]></kwd>
<kwd lng="en"><![CDATA[Breaking Bad]]></kwd>
<kwd lng="en"><![CDATA[cognitive theory]]></kwd>
<kwd lng="en"><![CDATA[television studies]]></kwd>
<kwd lng="en"><![CDATA[character engagement]]></kwd>
<kwd lng="en"><![CDATA[antihero narratives]]></kwd>
<kwd lng="en"><![CDATA[moral emotions]]></kwd>
<kwd lng="pt"><![CDATA[Los Soprano]]></kwd>
<kwd lng="pt"><![CDATA[Breaking Bad]]></kwd>
<kwd lng="pt"><![CDATA[teoria cognitiva]]></kwd>
<kwd lng="pt"><![CDATA[estúdios de televisão]]></kwd>
<kwd lng="pt"><![CDATA[envolvimento com os personagens]]></kwd>
<kwd lng="pt"><![CDATA[narrativas dos anti-heróis]]></kwd>
<kwd lng="pt"><![CDATA[emoções morais]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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</ref>
</ref-list>
</back>
</article>
