{"id":16195,"date":"2025-11-20T11:41:11","date_gmt":"2025-11-20T10:41:11","guid":{"rendered":"https:\/\/www.imex-revista.com\/xxviii-entrevista-a-jose-luis-pescador\/"},"modified":"2025-11-20T11:41:11","modified_gmt":"2025-11-20T10:41:11","slug":"xxviii-entrevista-a-jose-luis-pescador","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xxviii-entrevista-a-jose-luis-pescador\/","title":{"rendered":"XXVIII. Ignacio Ballester Pardo \u2013 Entrevista a Jos\u00e9 Luis Pescador"},"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; 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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\/06_Entrevista-a-Pescador_Ballester.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;\">Entrevista a Jos\u00e9 Luis Pescador<br \/>\n(pp. 126-139; DOI: 10.23692\/iMex.28.7)<\/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%2F06_Entrevista-a-Pescador_Ballester.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\/06_Entrevista-a-Pescador_Ballester.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;\">Ignacio Ballester Pardo <\/span><\/strong><\/span><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-15922 size-medium alignleft\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Ignacio-Ballester-e1763637029451-225x300.webp\" alt=\"\" width=\"225\" height=\"300\" srcset=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Ignacio-Ballester-e1763637029451-225x300.webp 225w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Ignacio-Ballester-e1763637029451-768x1024.webp 768w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Ignacio-Ballester-e1763637029451.webp 1065w\" sizes=\"auto, (max-width: 225px) 100vw, 225px\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Ignacio Ballester Pardo (Villena, Alicante, 1990) es Licenciado en Filolog\u00eda Hisp\u00e1nica (2008-2012) por la Universidad de Alicante. Realiz\u00f3 su \u00faltimo curso en la Universidad Nacional Aut\u00f3noma de M\u00e9xico con la Beca Iberoamericana F\u00f3rmula Santander (2011). Tambi\u00e9n llev\u00f3 a cabo el M\u00e1ster en Estudios Literarios (2012-2013) y el M\u00e1ster en Profesorado de Educaci\u00f3n Secundaria (2013-2014), ambos en la Universidad de Alicante. Es Doctor en Filosof\u00eda y Letras por la Universidad de Alicante. Es miembro del Centro de Estudios Literarios Iberoamericanos Mario Benedetti y del Seminario de Investigaci\u00f3n en Poes\u00eda Mexicana Contempor\u00e1nea. Es autor del libro La dimensi\u00f3n c\u00edvica en la poes\u00eda mexicana contempor\u00e1nea: herencia, tradici\u00f3n y renovaci\u00f3n en la obra de Vicente Quirarte (Tirant lo Blanch \/ Universidad Aut\u00f3noma del Estado de M\u00e9xico, 2019) y de la gu\u00eda did\u00e1ctica sobre Miguel Hern\u00e1ndez La nana de la cebolla (Secretar\u00eda de Estado de Memoria democr\u00e1tica, 2022). Su trabajo gira en torno a la literatura hispanoamericana, la did\u00e1ctica de la lengua y la literatura, el feminismo y la ecocr\u00edtica. Actualmente es profesor Ayudante doctor en el Departamento de Innovaci\u00f3n y Formaci\u00f3n Did\u00e1ctica de la Facultad de Educaci\u00f3n de la Universidad de Alicante.<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;1770658965813-4&#8243; tab_id=&#8221;1770658965814-6&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]<span style=\"color: #999999;\">Jos\u00e9 Luis Pescador, a Mexican visual artist and comic book author, integrates his interest in disciplines such as history, archaeology, and literature into his work. He regards comics as a transversal medium that must engage in dialogue with other fields of knowledge. He develops visual metaphors in a non-literal manner and sees both the past and present of Mexico as rich sources of inspiration for his creations. Pescador began his career in comics at the age of sixteen and has been active in the field for over twenty-five years. Although he acknowledges the advancements in Artificial Intelligence, he currently views it more as an obstacle than an aid to his creative process. He reflects on the state of comics in Latin America, the impact of comics on reading and literacy skills, and the importance of balancing text and image in storytelling. Pescador emphasizes the need for more comics addressing social issues in Mexico. He has received support from cultural institutions and deeply values the expressive potential of black-and-white artwork. He also discusses how the figure of La Malinche has been reclaimed in recent years within the context of contemporary feminism. Additionally, he addresses other topics relevant to the \u201cninth art\u201d, ranging from his perspective on comics in Latin America to insights into his own creative process.<\/span>[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1770658965841-1&#8243; tab_id=&#8221;1770658965841-1&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]<span style=\"color: #999999;\">Este art\u00edculo analiza la representaci\u00f3n del nagualismo en el c\u00f3mic mexicano desde un enfoque interdisciplinario que articula historia colonial, estudios de g\u00e9nero, teor\u00eda del c\u00f3mic y ecocr\u00edtica. Investiga c\u00f3mo estas figuras, demonizadas en archivos coloniales, son resignificadas hoy como emblemas de resistencia anticolonial, feminista y ecol\u00f3gica. El estudio contrasta la visi\u00f3n prehisp\u00e1nica y su estigmatizaci\u00f3n durante la colonia con las lecturas contempor\u00e1neas de Edgar Cl\u00e9ment e In\u00e9s Estrada. Plantea que naguales y nagualas, asociados hist\u00f3ricamente con la transgresi\u00f3n de l\u00edmites y la comuni\u00f3n interespecies, emergen en estas obras como agentes de transformaci\u00f3n y cr\u00edtica social. A trav\u00e9s de la hibridez cultural, combinan recursos visuales de tradiciones amerindias y occidentales para cuestionar estructuras de poder y explorar nuevas formas de agencia femenina y comunitaria. Mediante el an\u00e1lisis de Operaci\u00f3n Bol\u00edvar, Los perros salvajes y varios fanzines de Cl\u00e9ment, as\u00ed como Impatience y Alienation de Estrada, se exploran las intersecciones entre lo humano, lo animal, lo ambiental y lo tecnol\u00f3gico. El art\u00edculo concluye que la resignificaci\u00f3n de estas figuras va m\u00e1s all\u00e1 de la cr\u00edtica cultural: propone visiones de futuros m\u00e1s sostenibles y justos, enriqueciendo el di\u00e1logo interdisciplinario sobre memoria hist\u00f3rica, ecolog\u00eda y feminismo en la narrativa gr\u00e1fica contempor\u00e1nea.<\/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;1770658965871-4&#8243; tab_id=&#8221;1770658965871-9&#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-16195","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. Ignacio Ballester Pardo \u2013 Entrevista a Jos\u00e9 Luis Pescador - 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-entrevista-a-jose-luis-pescador\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"XXVIII. 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