Text and Image in Translation

CLEaR ◽  
2016 ◽  
Vol 3 (2) ◽  
pp. 40-51
Author(s):  
Milena Yablonsky
Keyword(s):  
Comic Books ◽  
Graphic Novels ◽  
Translation Studies ◽  
Primary Objective ◽  
Text And Image ◽  
The Status ◽  
Alan Moore

Abstract The primary objective of the following paper is the analysis of selected issues related to the translation of comic books. The paper aims at investigating the relationships between the text and the image and their implications in the process of translation. It reflects on the status of the translation of comics/graphic novels - a still largely unexploited area within Translation Studies and briefly presents a definition and specificity of the genre. Moreover, it discusses Jakobson’s (1971) tripartite distinction into interlinguistic, intralinguistic and intersemiotic translation. The paper concludes with the analysis of certain issues associated with the Polish translation of V like Vendetta by Alan Moore, a text that is copious with intertextual and cultural references.

scholarly journals (Anti)Fascism and Superhero Comics: An Anthropological Examination of Innovativeness in Comic Books as Exemplified by "V for Vendetta"

2020 ◽  
Vol 15 (4) ◽  
Author(s):  
Miloš Zarić
Keyword(s):  
Comic Books ◽  
Graphic Novels ◽  
Comic Book ◽  
Individual Level ◽  
Semiotic Model ◽  
The Individual ◽  
Semantic Dimension ◽  
Alan Moore ◽  
The Way ◽  
V For Vendetta

The paper analyzes the V for Vendetta comic books, written by Alan Moore and illustrated by David Lloyd. These volumes are graphic novels whose characteristics place them in the literary genre of the critical dystopia, but they have also been associated with the genre of the superhero comic, which, according to a number of authors including Alan Moore, is inextricably linked to the ideology and practice of the political right, which in its extreme form assumes the form of fascism. The way that fascism is treated in that work, as well as in two other comics discussed in the paper (Alan Moore and Dave Gibbon’s Watchmen and Frank Miller’s The Dark Knight Returns), is linked to the way in which the process of creativity/innovativeness functioned in the context of the revision/deconstruction of the superhero comic book genre in the 1980s, both on the collective (intra-genre) and the individual level, on the level of the thought structure of the British writer Alan Moore. Using the structural-semiotic model of analysis, the paper seeks to fathom the logic of this deconstruction procedure "broken down" into the three comic books discussed in the paper, with particular emphasis on the analysis of V for Vendetta, with the aim of establishing its "hidden", connotative semantic dimension. The study adopts a modern view of the comic book according to which the essence of this medium, which distinguishes it from other narrative and graphic forms of expression as well as from film, can be recognized in the specific, sequential way of combining its visual and narrative components, thus generating meanings whose interpretation depends on the intention of the author but also on the view of the reader.

Computing Literary Surplus Value: Alan Moore and the Density of the Comic Book as Graphic Novel

2021 ◽  
Vol 139 (1) ◽  
pp. 195-223
Author(s):  
Alexander Dunst ◽  
Rita Hartel
Keyword(s):  
Cultural Production ◽  
Graphic Novels ◽  
Comic Book ◽  
Graphic Novel ◽  
Text And Image ◽  
Specific Element ◽  
Surplus Value ◽  
Graphic Narratives ◽  
Textual Content ◽  
Alan Moore

Abstract The term graphic novel has increasingly functioned as a catalyst for understanding comic books as an emergent literary genre. This article focuses on one specific element within this historical process: the claim, made by artists such as Alan Moore, that graphic novels are characterized by greater formal complexity, or density, than serial comics. These claims are evaluated by combining computational text and image recognition of a corpus of 131 graphic narratives with sociological metadata on production and circulation. The results show that Moore’s own book-length comics, in particular Watchmen and V for Vendetta, rank among the densest graphic narratives in the sample in both their visual and textual content. Graphic memoirs, in contrast, only show an increase in textual complexity. With Pierre Bourdieu, the article understands complexity as a social and aesthetic strategy that aims at increasing the cultural capital of comics creators. At the same time, the article contextualizes computational results against the background of a changing marketplace for comics, in particular the decline of serial comics, the shift towards digital printing, and increased access to book distribution. This analysis shows that graphic narratives pursue both literary and popular aesthetic strategies, challenging Bourdieu’s account of a clear opposition between profit and prestige in cultural production.

Comic Books and Graphic Novels for the Differentiated Humanities Classroom

2020 ◽  
Vol 56 (4) ◽  
pp. 176-182
Author(s):  
Adam I. Attwood ◽  
Jill L. Gerber
Keyword(s):  
Comic Books ◽  
Graphic Novels

scholarly journals Pedagogical theories and the process of internalization of moral values

2021 ◽  
Vol 43 ◽  
pp. e49921
Author(s):  
Juliana Santos Monteiro Vieira ◽  
Dinamara Garcia Feldens
Keyword(s):  
Present Article ◽  
Friedrich Nietzsche ◽  
Moral Values ◽  
Primary Objective ◽  
Status Quo ◽  
Theoretical Frameworks ◽  
State Culture ◽  
The Status ◽  
Pedagogical Discourses

The present article proposes to reflect on the process of internalization of moral values as the primary objective of Education, through historical and philosophical sources, analyzing, for this, theoretical frameworks of Pedagogy, such as: Comenius, Pestalozzi, Herbart and Durkheim. Our methodology was based on the bibliographic and authorial writings of these theorists and we try to question the logic established in pedagogical discourses, starting from the critic of moral values formulated by Friedrich Nietzsche, emphasizing aspects present in the referred theories and their reverberations in singularities and collectivities. The process of internalizing moral values had as its priority making education an instrument for the ordering of subjects, making it useful to the interests of state culture. It is understood that subjectivities are constituted inside and outside for the moral field and that the same is not alien or should be non-existent in school. However, it has been attempted to demonstrate in this article, how the moral field has been reduced to a process of disciplining and ordering, according to pre-determined models, virtues and values, which shows the limited pedagogical perspective in the vision of the moral field, which from its conception responds to interests and prioritizes the maintenance of the status quo.

Book Reviews

2021 ◽  
Vol 14 (1) ◽  
pp. 89-95
Author(s):  
Fransiska Louwagie ◽  
Benoît Crucifix
Keyword(s):  
New York ◽  
Comic Books ◽  
Graphic Novels ◽  
Bande Dessinee ◽  
The Holocaust

Ewa Stańczyk, ed., Comic Books, Graphic Novels and the Holocaust: Beyond Maus. (Abingdon and New York: Routledge, 2020). 142 pp. ISBN: 9780367585921 (£29.59)Vittorio Frigerio, Bande dessinée et littérature: Intersections, fascinations, divergences (Macerata: Quodlibet, 2018). 96 pp. ISBN: 9788822902573 (€10.00)

“So You Still Believe in the Future?”

2020 ◽  
pp. 263-287
Author(s):  
Matthew J. A. Green
Keyword(s):  
Graphic Novels ◽  
The Political ◽  
Text And Image ◽  
Graphic Narrative ◽  
Non Fiction ◽  
Revolutionary Politics ◽  
International Reputation ◽  
And Gender ◽  
Political Commitments ◽  
Marxist Tradition

The third in a trilogy of graphic novels by Mary and Bryan Talbot, The Red Virgin and the Vision of Utopia both explores the intersection of violence, law, and gender, and allows an unprecedented opportunity to explore what can be called the expository function of graphic narrative. This chapter provides the first ever exploration of the continuity between Mary Talbot’s writing for comics and her academic work, whilst also addressing the surprising gap in scholarly work on Bryan Talbot whose international reputation and pioneering work in the medium merit further enquiry. Drawing on a Marxist tradition of critique embodied by Frederic Jameson and Slavoj Žižek, the chapter explores the political commitments of this graphic novel, enriching our understanding of the way Red Virgin combines fiction and non-fiction, as well as text and image, to provide a nuanced contribution to debates concerning utopianism and revolutionary politics within critical comics studies.

Comic books and graphic novels

2012 ◽  
pp. 175-195 ◽  
Author(s):  
Hillary Chute ◽  
Marianne Dekoven
Keyword(s):  
Comic Books ◽  
Graphic Novels

Latinx Popular Culture and Social Conflict: Comics, Graphic Novels, and Film

2020 ◽  
Author(s):  
Frederick Luis Aldama
Keyword(s):  
United States ◽  
Popular Culture ◽  
Comic Books ◽  
Graphic Novels ◽  
Comic Book ◽  
The United States ◽  
Corporate America ◽  
Consumer Market ◽  
Negative Stereotypes ◽  
Cultural Imaginary

Despite Latinxs being the largest growing demographic in the United States, their experiences and identities continue to be underrepresented and misrepresented in the mainstream pop cultural imaginary. However, for all the negative stereotypes and restrictive ways that the mainstream boxes in Latinxs, Latinx musicians, writers, artists, comic book creators, and performers actively metabolize all cultural phenomena to clear positive spaces of empowerment and to make new perception, thought, and feeling about Latinx identities and experiences. It is important to understand, though, that Latinxs today consume all variety of cultural phenomena. For corporate America, therefore, the Latinx demographic represents a huge buying demographic. Viewed through cynical and skeptical eyes, increased representation of Latinxs in mainstream comic books and film results from this push to capture the Latinx consumer market. Within mainstream comic books and films, Latinx subjects are rarely the protagonists. However, Latinx comic book and film creators are actively creating Latinx protagonists within richly rendered Latinx story worlds. Latinx comic book and film creators work in all the storytelling genres and modes (realism, sci-fi, romance, memoir, biography, among many others) to clear new spaces for the expression of Latinx subjectivities and experiences.

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