{"id":16192,"date":"2025-11-20T11:44:41","date_gmt":"2025-11-20T10:44:41","guid":{"rendered":"https:\/\/www.imex-revista.com\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/"},"modified":"2025-11-20T11:44:41","modified_gmt":"2025-11-20T10:44:41","slug":"xxviii-appropriating-the-colonial-icon-befs-uncle-bill","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/","title":{"rendered":"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF&#8217;s Uncle Bill"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; background_image_loading=&#8221;default&#8221; bg_repeat=&#8221;repeat&#8221; scene_position=&#8221;center&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; row_border_radius=&#8221;none&#8221; row_border_radius_applies=&#8221;bg&#8221; overflow=&#8221;visible&#8221; overlay_strength=&#8221;1&#8243; gradient_direction=&#8221;left_to_right&#8221; shape_divider_position=&#8221;bottom&#8221; bg_image_animation=&#8221;none&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_tablet=&#8221;inherit&#8221; column_padding_phone=&#8221;inherit&#8221; column_padding_position=&#8221;all&#8221; column_element_direction_desktop=&#8221;default&#8221; column_element_spacing=&#8221;default&#8221; desktop_text_alignment=&#8221;default&#8221; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_backdrop_filter=&#8221;none&#8221; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; column_link_target=&#8221;_self&#8221; column_position=&#8221;default&#8221; gradient_direction=&#8221;left_to_right&#8221; overlay_strength=&#8221;0.3&#8243; width=&#8221;1\/1&#8243; tablet_width_inherit=&#8221;default&#8221; animation_type=&#8221;default&#8221; bg_image_animation=&#8221;none&#8221; border_type=&#8221;simple&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Ausgabe-XXVIII_Final-2.pdf\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Edici\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/03_Appropiating-the-colonial-Icon_Porras-Sanchez-2.pdf\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Art\u00edculo<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; text_align=&#8221;left&#8221; row_position=&#8221;default&#8221; row_position_tablet=&#8221;inherit&#8221; row_position_phone=&#8221;inherit&#8221; overflow=&#8221;visible&#8221; pointer_events=&#8221;all&#8221;][\/vc_row_inner][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_tablet=&#8221;inherit&#8221; column_padding_phone=&#8221;inherit&#8221; column_padding_position=&#8221;all&#8221; column_element_direction_desktop=&#8221;default&#8221; column_element_spacing=&#8221;default&#8221; desktop_text_alignment=&#8221;default&#8221; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_backdrop_filter=&#8221;none&#8221; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; column_link_target=&#8221;_self&#8221; overflow=&#8221;visible&#8221; gradient_direction=&#8221;left_to_right&#8221; overlay_strength=&#8221;0.3&#8243; width=&#8221;1\/1&#8243; tablet_width_inherit=&#8221;default&#8221; animation_type=&#8221;default&#8221; bg_image_animation=&#8221;none&#8221; border_type=&#8221;simple&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][\/vc_column_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<h3 style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\">Appropriating the (Colonial) Icon: BEF\u2019s <em>Uncle Bill<\/em> as a Counternarrative of Exploration<br \/>\n(pp. 58-76; DOI: 10.23692\/iMex.28.4)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F03_Appropiating-the-colonial-Icon_Porras-Sanchez-2.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/03_Appropiating-the-colonial-Icon_Porras-Sanchez-2.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Mar\u00eda Porras S\u00e1nchez <\/span><\/strong><\/span><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-15928 size-medium alignleft\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Porras-Sanchez_Foto300dpi-e1763636799676-233x300.webp\" alt=\"\" width=\"233\" height=\"300\" srcset=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Porras-Sanchez_Foto300dpi-e1763636799676-233x300.webp 233w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Porras-Sanchez_Foto300dpi-e1763636799676-794x1024.webp 794w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Porras-Sanchez_Foto300dpi-e1763636799676-1191x1536.webp 1191w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Porras-Sanchez_Foto300dpi-e1763636799676.webp 1230w\" sizes=\"auto, (max-width: 233px) 100vw, 233px\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Mar\u00eda Porras S\u00e1nchez es profesora permanente en la Universidad Complutense de Madrid y miembro del Instituto Universitario de Lenguas Modernas y Traductores, e investiga sobre narrativas gr\u00e1ficas, traducci\u00f3n literaria y literaturas postcoloniales y trasnacionales en lengua inglesa, con especial inter\u00e9s por temas como la precariedad, la migraci\u00f3n y la otredad. Ha coeditado, entre otros, <em>Precarious Youth in Contemporary Graphic Narratives: Young Lives in Crisis<\/em> (Routledge, 2022), con Gerardo Vilches. Como traductora literaria ha firmado m\u00e1s de treinta t\u00edtulos entre c\u00f3mic, novela, ensayo, libro juvenil e ilustrado. Ha editado y traducido <em>El himen y el hiyab: por qu\u00e9 el mundo \u00e1rabe necesita una revoluci\u00f3n sexual<\/em> (Capit\u00e1n Swing, 2018), de Mona Eltahawy, y <em>Feminismo de barrio: lo que olvida el feminismo blanco<\/em> (Capit\u00e1n Swing, 2022) de Mikki Kendall.<br \/>\n<\/span><\/p>\n<p>&nbsp;<\/p>\n<h3><\/h3>\n<h3><\/h3>\n<p>&nbsp;<\/p>\n<h3><\/h3>\n[\/vc_column_text][divider line_type=&#8221;Full Width Line&#8221; line_thickness=&#8221;3&#8243; divider_color=&#8221;extra-color-2&#8243; custom_height=&#8221;80&#8243;][tabbed_section style=&#8221;default&#8221; tab_change_animation=&#8221;fade&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221; vs_content_animation=&#8221;fade&#8221; vs_link_animation=&#8221;opacity&#8221; vs_navigation_alignment=&#8221;left&#8221; vs_navigation_width_2=&#8221;25%&#8221; vs_navigation_func=&#8221;default&#8221; vs_navigation_width=&#8221;regular&#8221; vs_navigation_spacing=&#8221;15px&#8221; vs_navigation_mobile_display=&#8221;visible&#8221; vs_tab_spacing=&#8221;5%&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1770664691515-0&#8243; tab_id=&#8221;1770664691516-3&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]<span style=\"color: #999999;\">This article explores Bernardo Fern\u00e1ndez \u201cBEF\u201d\u2019s <em>Uncle Bill<\/em> (2014), a graphic biography of U.S. writer William S. Burroughs (1914-1997) which focuses on Burroughs\u2019s years in Mexico City. It analyzes how BEF intermingles autobiographical details with key events in Burroughs\u2019s biography, such as the killing of his wife, Joan Vollmer, so as to decipher and deconstruct his own admiration for this controversial figure of U.S. counterculture. The article argues that the result is a narrative of exploration which shows parallelisms with traditional travel accounts and appropriates Burroughs as an icon of the Global North. To that end, the article locates <em>Uncle Bill<\/em> within BEF\u2019s comics production and traces the Burroughsian presence in comics; then, drawing from decolonial and postcolonial theory, it portrays BEF\u2019s position as a master narrator of Burroughs\u2019slife and defines the different strategies used in the description of his object of study.<\/span>[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1770664691531-4&#8243; tab_id=&#8221;1770664691532-3&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]<span style=\"color: #999999;\">El art\u00edculo analiza <em>Uncle Bill<\/em> (2014), de Bernardo Fern\u00e1ndez \u201cBEF\u201d, una biograf\u00eda gr\u00e1fica del escritor estadounidense William S. Burroughs (1914-1997) que se centra en los a\u00f1os que Burroughs pas\u00f3 en la Ciudad de M\u00e9xico. Explora c\u00f3mo BEF intercala detalles de su propia autobiograf\u00eda con hechos clave en la biograf\u00eda de Burroughs, como la muerte de su esposa, Joan Vollmer, para descifrar y deconstruir su propia admiraci\u00f3n por esta controvertida figura clave en la contracultural estadounidense. Seg\u00fan el art\u00edculo, el resultado es una narrativa de exploraci\u00f3n que establece paralelismos con las narrativas de viaje tradicionales se apropia de Burroughs como icono del Norte Global. Para tal fin, el art\u00edculo contextualiza <em>Uncle Bill <\/em>dentro de la producci\u00f3n historiet\u00edstica de BEF y rastrea la presencia de Burroughs en los c\u00f3mics, para despu\u00e9s, mediante el uso de teor\u00edas decoloniales y poscoloniales, situar a BEF como narrador absoluto de la vida de Burroughs y definir las distintas estrategias utilizadas en la descripci\u00f3n de su objeto de estudio<\/span>[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b028 | La Historieta en M\u00e9xico &#8211; Perspectivas interdisciplinares&#8221; id=&#8221;1770664691540-7&#8243; tab_id=&#8221;1770664691540-1&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<p style=\"text-align: left;\"><span style=\"color: #b0b0b0;\"><strong>Introducci\u00f3n<\/strong><\/span><\/p>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-introduccion\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Laura Nallely Hern\u00e1ndez Nieto \/ Jasmin Wrobel \u2013 Introducci\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><span style=\"color: #b0b0b0;\"><strong>Art\u00edculos <\/strong><\/span><\/p>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-interpretaciones-del-68-en-la-historieta-el-ultimo-tramo-del-siglo-xx-en-mexico\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. E. R. Espinosa Lucas \u2013 Interpretaciones del 68 en la historieta <em>El \u00faltimo tramo del siglo XX en M\u00e9xico<\/em><\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-la-pervivencia-de-la-memoria-en-la-historieta\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Sarahi I. Castelli Olvera \u2013 La pervivencia de la memoria en la historieta mexicana: <em>El Trayecto<\/em> (2021)<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF's <em>Uncle Bill<\/em><\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-el-espacio-distopico-y-la-resistencia-en-ecatepunk-de-joshua-hernandez\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Alfredo Guzm\u00e1n Tinajero \u2013 El espacio dist\u00f3pico y la resistencia en <em>Ecatepunk<\/em> <\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-neo-nagualismo-grafico\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Felipe G\u00f3mez Guti\u00e9rrez \u2013 Neo-nagualismo gr\u00e1fico<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p><span style=\"color: #b0b0b0;\"><strong>Entrevistas<\/strong><\/span><\/p>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-entrevista-a-jose-luis-pescador\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Ignacio Ballester Pardo \u2013 Entrevista a Jos\u00e9 Luis Pescador<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-entrevista-a-idalia-candelas\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Laura Nallely Hern\u00e1ndez Nieto \u2013 Entrevista a Idalia Candelas<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; background_image_loading=&#8221;default&#8221; bg_repeat=&#8221;repeat&#8221; scene_position=&#8221;center&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; row_border_radius=&#8221;none&#8221; row_border_radius_applies=&#8221;bg&#8221; overflow=&#8221;visible&#8221; overlay_strength=&#8221;1&#8243; gradient_direction=&#8221;left_to_right&#8221; shape_divider_position=&#8221;bottom&#8221; bg_image_animation=&#8221;none&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_tablet=&#8221;inherit&#8221; column_padding_phone=&#8221;inherit&#8221;&#8230;<\/p>\n","protected":false},"author":12,"featured_media":16021,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[580,2540],"tags":[],"class_list":["post-16192","post","type-post","status-publish","format-standard","has-post-thumbnail","category-issues","category-xviii-la-historieta-en-mexico"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF&#039;s Uncle Bill - iMex Revista<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF&#039;s Uncle Bill - iMex Revista\" \/>\n<meta property=\"og:description\" content=\"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; background_image_loading=&#8221;default&#8221; bg_repeat=&#8221;repeat&#8221; scene_position=&#8221;center&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; row_border_radius=&#8221;none&#8221; row_border_radius_applies=&#8221;bg&#8221; overflow=&#8221;visible&#8221; overlay_strength=&#8221;1&#8243; gradient_direction=&#8221;left_to_right&#8221; shape_divider_position=&#8221;bottom&#8221; bg_image_animation=&#8221;none&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_tablet=&#8221;inherit&#8221; column_padding_phone=&#8221;inherit&#8221;...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/\" \/>\n<meta property=\"og:site_name\" content=\"iMex Revista\" \/>\n<meta property=\"article:published_time\" content=\"2025-11-20T10:44:41+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Porras-Sanchez_Foto300dpi-e1763636799676-233x300.webp\" \/>\n<meta name=\"author\" content=\"Emiliano Garcilazo\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Emiliano Garcilazo\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/\"},\"author\":{\"name\":\"Emiliano Garcilazo\",\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/#\\\/schema\\\/person\\\/c3db84d6ab5222fa47482c22e63f1fd8\"},\"headline\":\"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF&#8217;s Uncle Bill\",\"datePublished\":\"2025-11-20T10:44:41+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/\"},\"wordCount\":1416,\"image\":{\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.imex-revista.com\\\/wp-content\\\/uploads\\\/Imagen-Idalia-Candelas.webp\",\"articleSection\":[\"Issues\",\"XXVIII. La Historieta en M\u00e9xico\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/\",\"url\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/\",\"name\":\"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF's Uncle Bill - iMex Revista\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.imex-revista.com\\\/wp-content\\\/uploads\\\/Imagen-Idalia-Candelas.webp\",\"datePublished\":\"2025-11-20T10:44:41+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/#\\\/schema\\\/person\\\/c3db84d6ab5222fa47482c22e63f1fd8\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.imex-revista.com\\\/wp-content\\\/uploads\\\/Imagen-Idalia-Candelas.webp\",\"contentUrl\":\"https:\\\/\\\/www.imex-revista.com\\\/wp-content\\\/uploads\\\/Imagen-Idalia-Candelas.webp\",\"width\":900,\"height\":1200},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/imex\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF&#8217;s Uncle Bill\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/#website\",\"url\":\"https:\\\/\\\/www.imex-revista.com\\\/\",\"name\":\"iMex Revista\",\"description\":\"iMex Revista\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.imex-revista.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.imex-revista.com\\\/#\\\/schema\\\/person\\\/c3db84d6ab5222fa47482c22e63f1fd8\",\"name\":\"Emiliano Garcilazo\",\"url\":\"https:\\\/\\\/www.imex-revista.com\\\/en\\\/author\\\/emiliano\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF's Uncle Bill - iMex Revista","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/","og_locale":"en_US","og_type":"article","og_title":"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF's Uncle Bill - iMex Revista","og_description":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; background_image_loading=&#8221;default&#8221; bg_repeat=&#8221;repeat&#8221; scene_position=&#8221;center&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; row_border_radius=&#8221;none&#8221; row_border_radius_applies=&#8221;bg&#8221; overflow=&#8221;visible&#8221; overlay_strength=&#8221;1&#8243; gradient_direction=&#8221;left_to_right&#8221; shape_divider_position=&#8221;bottom&#8221; bg_image_animation=&#8221;none&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_tablet=&#8221;inherit&#8221; column_padding_phone=&#8221;inherit&#8221;...","og_url":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/","og_site_name":"iMex Revista","article_published_time":"2025-11-20T10:44:41+00:00","og_image":[{"url":"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Porras-Sanchez_Foto300dpi-e1763636799676-233x300.webp","type":"","width":"","height":""}],"author":"Emiliano Garcilazo","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Emiliano Garcilazo","Est. reading time":"7 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/#article","isPartOf":{"@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/"},"author":{"name":"Emiliano Garcilazo","@id":"https:\/\/www.imex-revista.com\/#\/schema\/person\/c3db84d6ab5222fa47482c22e63f1fd8"},"headline":"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF&#8217;s Uncle Bill","datePublished":"2025-11-20T10:44:41+00:00","mainEntityOfPage":{"@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/"},"wordCount":1416,"image":{"@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/#primaryimage"},"thumbnailUrl":"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Imagen-Idalia-Candelas.webp","articleSection":["Issues","XXVIII. La Historieta en M\u00e9xico"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/","url":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/","name":"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF's Uncle Bill - iMex Revista","isPartOf":{"@id":"https:\/\/www.imex-revista.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/#primaryimage"},"image":{"@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/#primaryimage"},"thumbnailUrl":"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Imagen-Idalia-Candelas.webp","datePublished":"2025-11-20T10:44:41+00:00","author":{"@id":"https:\/\/www.imex-revista.com\/#\/schema\/person\/c3db84d6ab5222fa47482c22e63f1fd8"},"breadcrumb":{"@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/#primaryimage","url":"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Imagen-Idalia-Candelas.webp","contentUrl":"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Imagen-Idalia-Candelas.webp","width":900,"height":1200},{"@type":"BreadcrumbList","@id":"https:\/\/www.imex-revista.com\/en\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.imex-revista.com\/en\/imex\/"},{"@type":"ListItem","position":2,"name":"XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF&#8217;s Uncle Bill"}]},{"@type":"WebSite","@id":"https:\/\/www.imex-revista.com\/#website","url":"https:\/\/www.imex-revista.com\/","name":"iMex Revista","description":"iMex Revista","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.imex-revista.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/www.imex-revista.com\/#\/schema\/person\/c3db84d6ab5222fa47482c22e63f1fd8","name":"Emiliano Garcilazo","url":"https:\/\/www.imex-revista.com\/en\/author\/emiliano\/"}]}},"_links":{"self":[{"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/posts\/16192","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/comments?post=16192"}],"version-history":[{"count":0,"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/posts\/16192\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/media\/16021"}],"wp:attachment":[{"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/media?parent=16192"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/categories?post=16192"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.imex-revista.com\/en\/wp-json\/wp\/v2\/tags?post=16192"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}