scholarly journals Aristophanes in Comic Books: Adaptation as Metabase

2017 ◽  
Vol 61 (3) ◽  
pp. 553-577 ◽  
Author(s):  
Dimitris Asimakoulas
Keyword(s):  
Comic Book ◽  
Translation Studies ◽  
Close Reading ◽  
Adaptation Studies ◽  
Visual Rhythm ◽  
Mise En Scene ◽  
Long Time ◽  
Book Format ◽  
Formal Properties ◽  
Shed Light

Translation studies researchers have for a long time critically engaged with the idea of translation being a mode of creative rewriting across media and cultural or temporal divides. Adaptation studies experts use a similar premise to study products, processes and reception of adaptations for specific locales. This article combines such perspectives in order to shed light on an under-researched area of comic adaptation: this is the metabase, or transfer, of Aristophanic comedies to the comic book format in Greek and their subsequent translation into English for an e-book edition (Metaichmio Publications 2012). The paper suggests a model for the close reading of creative transfer based on Lefèvre’s (2011; 2012) typology of formal properties of comics and Attardo’s (2002) General Theory of Verbal Humour. As is shown, visual rhythm and text-image relations create a rich environment for anachronism, parody, comic characterisation and ideological comments, all of which serve a condensed plot. The English translation rewrites cultural/ideological references, amplifies obscenity and emphasizes narrator visibility, always taking into consideration the mise en scène.

Listening to Ravel, Watching Un coeur en hiver: Cinematic Subjectivity and the Music-film

2004 ◽  
Vol 1 (2) ◽  
pp. 253-275
Author(s):  
JULIE BROWN
Keyword(s):  
Music Theory ◽  
Film Music ◽  
Close Reading ◽  
It Projects ◽  
Piano Trio ◽  
Mise En Scene ◽  
Music Film ◽  
Love Triangle ◽  
Shed Light

This close reading of Claude Sautet’s music-film Un coeur en hiver / A Heart in Winter (1992) also reflects on issues raised by music-films generally. Films that take music as their central subject raise special questions about the role of music in cinematic representation. Un coeur en hiver’s musically saturated narrative explores people’s abilities to know themselves and others and to express themselves adequately in emotional contexts. At the same time, the film’s techniques interrogate both the role of music in the construction of cinematic subjectivity and the potential of cinema to engage with our understandings of musical subjectivity. On one level the music self-critically serves its classic role in cinematic narrative of encouraging – even coercing – us into filling in narrative gaps otherwise left open by plot and dialogue. On another level, however, Un coeur en hiver can be read as a species of cinematic meditation on Ravel’s music: traces of Ravelian biography are scattered throughout; on-screen performances of the Piano Trio provide a musical metaphor for the narrative love triangle; and the Trio’s first movement provides a formal skeleton for the film as a whole. Drawing on recent film-music theory as well as Naomi Cummings’ account of musical subjectivity, I suggest that the film reflects specifically upon the music by exploiting its cinematic resources – dramatis personae, narrative, and mise-en-scène– to position us as auditors of Ravel; it projects a sense that Ravel’s subjective presence inhabits his trio and sonatas. To shed light on the nature of this cinematic meditation on musical authorship, I draw on John Corbett’s account of recorded music as something that both promises pleasure and threatens lack. I also revisit Edward T. Cone’s understanding of ‘the composer’s voice’, proposing a reading of Un coeur en hiver as a cinematic reflection on our fetishism of composer biography in an era marked by the loss of human presence in mechanical musical reproduction.

scholarly journals The voiceless in The Voice: A multimodal critical discourse analysis

2020 ◽  
Vol 40 (6) ◽  
pp. 705-732
Author(s):  
Ibrahim Er
Keyword(s):  
Discourse Analysis ◽  
Critical Discourse Analysis ◽  
Critical Discourse ◽  
Standard Language ◽  
Mise En Scene ◽  
Global Television ◽  
The Voice ◽  
Shed Light

AbstractThis article highlights the importance of multimodality in the study of discourse with a discussion of a segment from the Turkish adaptation of the global television format, The Voice. In the segment under discussion, a contestant is disqualified from the show by the host for her allegedly disrespectful style of speech towards the coaches. Departing from traditional (sociolinguistic) critical discourse analysis, the article seeks to unveil the deep power discourse hidden in the multimodal landscape of the show by extending the scope of discourse analysis to include both linguistic and non-linguistic modes of communication and representation such as the camerawork, and mise-en-scene. The findings shed light on the inherently asymmetrical nature of the show and how the contestant's highly non-standard language and manners are demonized (multimodally) while the coaches and the host find a relatively less judgmental environment as the “authority” in the show.

scholarly journals Impact of technology on Translation and Translation Studies

2019 ◽  
Vol 23 (2) ◽  
pp. 344-361
Author(s):  
Yves Gambier
Keyword(s):  
International Relations ◽  
Translation Studies ◽  
The Political ◽  
The Third ◽  
The Past ◽  
Attitudes And Perceptions ◽  
Long Time ◽  
The 1960S ◽  
Impact Of Technology ◽  
Multimodal Communications

The landscape in translation and interpreting is changing deeply and rapidly. For a long time, but not necessarily everywhere, translation was denied as a need (except for the political and religious powers), as effort (translation being defined as a kind of mechanical work, as substitution of words), and as a profession (translators embodying a subaltern position). Technology is bringing in certain changes in attitudes and perceptions with regards international, multilingual and multimodal communications. This article tries to define the changes and their consequences in the labelling and characterisation of the different practices. It is organised in five sections: first, we recall that translation and interpreting are only one option in international relations; then, we explain the different denials of translation in the past (or the refusal to recognize the different values of translation). In the third section, we consider how and to what extent technology is transforming today practices and markets. The ongoing changes do not boil solely to developments in Machine Translation (which started in the 1960s): community, crowdsourced/collaborative translation and volunteer translation encompass different practices. In many cases, users provide their own translations, with or without formal qualifications in translation. The evolution is not only technical but also economic and social. In addition, the fragmentation and the diversity of practices do have an impact on a multi-faceted market. In the fourth section, we emphasize that there are nowadays different concepts of translation and competitive paradigms in Translation Studies. Finally, we tackle the organisational challenge of the field, since the institutionalisation of translation and Translation Studies cannot remain the same as when there was a formal consensus on the concept of translation.

scholarly journals Ruin philosophy, poetic discourse and the collapse of meta-narratives in Aleksandr Kushner's poetry of the 1970s

Nordlit ◽  
2017 ◽  
Author(s):  
Andreas Schönle
Keyword(s):  
The Self ◽  
Close Reading ◽  
Poetic Discourse ◽  
Philosophical Background ◽  
The Face ◽  
Creative Forces ◽  
Bear Witness ◽  
Shed Light ◽  
The Way

This article offers an analysis of the trope of ruin in the poetry of Aleksandr Kushner (born 1936), in particular through a close reading of two of his poems: “In a slippery graveyard, alone” and “Ruins”. The analysis of these poems is preceded by an overview of ruin philosophy from Burke and Diderot to Simmel and Benjamin, with particular emphasis on the way the trope of ruin contemplation stages a confrontation between the self and what transcends it (death, history, nature, etc.). This philosophical background serves as a heuristic tool to shed light on the poetry of Kushner. Through the trope of ruin, Kushner explores the legitimacy of poetic speech after the collapse of all meta-narratives. Kushner has no truck with Diderot's solipsism, nor with Hegel's bold narrative of progress, nor with Simmel's peaceful reconciliation with the creative forces of nature. Nor, really, does he intend to bear witness to history, the way Benjamin does in the faint anticipation of some miracle. Instead, Kushner posits the endurance of a community united not around a grand project, but around the idea of carrying on in the face of everything, muddling through despite the lack of hopes for a transformational future and making the most of fleeting moments of positivity that emerge out of the fundamental serendipity of history.

Explicitation, simplification and neutralisation in the translation of reference

2020 ◽  
Vol 13 ◽  
pp. 29-43
Author(s):  
Mona ARHIRE
Keyword(s):  
Discourse Analysis ◽  
Qualitative Methods ◽  
Translation Studies ◽  
Referring Expressions ◽  
Training Environment ◽  
John Fowles ◽  
Characteristic Features ◽  
Quantitative And Qualitative Methods ◽  
Theoretical Component ◽  
Shed Light

Recurrent features of translation, sometimes labelled as ‘translation universals’, have been intensively investigated within Descriptive Corpus-based Translation Studies. Numerous language pairs have been set under researchers’ lens with a view to observing languages from a contrastive viewpoint, but also individually, in their translational manifestations. This has enabled the identification of characteristic features of the translational facets of languages, which have generated more and more nuanced scholarly theories. This paper examines the occurrence of some of the most frequent features of translation, namely: explicitation, simplification and neutralisation in the translation of reference as a cohesive device. Methodologically speaking, the investigation combines the theoretical and applied areas of Translation Studies, with an interdisciplinary dimension provided by the fusion of methodological input borrowed from Descriptive Translation Studies, Discourse Analysis and Contrastive Studies. The theoretical component of the research refers to issues of contrastiveness between English and Romanian viewed from a translational angle, in terms of equivalence and the occurrence of the three features of translation. The applied area of Translation Studies comprises the empirical approach to the translation of reference, while addressing not only the researchers’ community, but also the practitioners in translation and the translator training environment. The research applies both quantitative and qualitative methods to investigate the data selected from John Fowles’ novel Mantissa (1982) and its translation into Romanian by Angela Jianu (Fowles 1995). The findings provide insights into the nature and functions of referring expressions as formal links, but also as stylistic devices, and shed light into issues related to contrastiveness of reference between English and Romanian, to aspects of equivalence and translatability, as well as to the occurrence of translation universals.

Seeing Race in Comics

Neo-Passing ◽  
2018 ◽  
Author(s):  
Jennifer Glaser
Keyword(s):  
African American ◽  
African American Men ◽  
Visual Media ◽  
Racial Violence ◽  
Graphic Novel ◽  
Close Reading ◽  
Police Shootings ◽  
History Of ◽  
Shed Light

This chapter discusses the power of the medium of comics to shed light on discussions of race, racism, and the act of passing. Glaser moves from a close reading of Mat Johnson and Warren Pleece’s recent neo-passing narrative, the graphic novel Incognegro (2008), to a wider look at the history of visual media in representing racial violence during the twentieth and twenty-first centuries. This chapter makes the argument that comics provide an arena for thinking both about how we see and interpret race and how visual depictions of racial violence—from photographs of lynchings to recordings of police shootings of unarmed African American men—force us to grapple with complex ethical questions.

Resetting Taxonomies

2020 ◽  
pp. 201-222
Author(s):  
Kamilla Elliott
Keyword(s):  
Identity Politics ◽  
Translation Studies ◽  
Adaptation Studies ◽  
Second Stage ◽  
Contrast Adaptation ◽  
The Arts ◽  
Adaptation Practice ◽  
Historical Periods

Chapter 6 demonstrates how and why adaptation resists theorization at its second stage: the development of taxonomies. While taxonomization has been challenged as a theoretical enterprise generally, adaptation offers more particular resistance to it. As a process that crosses taxonomical borders of all kinds, adaptation is itself anti-taxonomical. Even so, examining how some scholars have sought to taxonomize adaptation and others have resisted adaptation taxonomies informs adaptation’s relationship to theorization. As with definitions, taxonomies have subjected adaptation to other disciplines and their taxonomies. While discussions of adaptation taxonomies have been largely focused on taxonomies from translation studies and narratology, adaptation has been subjected to a host of others, studied and organized by adapters, genres, nations, historical periods, media forms and technologies, and by the taxonomies of identity politics, which are rarely addressed as taxonomical systems. Moreover, disciplines are themselves taxonomies: certain disciplines (most notably philosophy, history, linguistics/rhetoric) have been accorded theorizing power in the humanities, while others have not. By contrast, adaptation inhabits all disciplines and cannot be satisfactorily theorized without input from them all. Joining scholars who have for centuries questioned the ability of rational and empirical epistemologies to theorize the arts, Chapter 6 argues for creative-critical adaptation practice as a way to generate dialogues between the theorizing and “non-theorizing” disciplines. As with definition, retheorizing adaptation theorization at the level of taxonomization is not a matter of deciding which taxonomies developed to study other things we should apply to adaptation but of taxonomizing adaptation as adaptation and of setting these in dialogue with the taxonomies we already have in adaptation studies.

Cinematic Spaces of ‘the Arab Street’ : Mohamed Diab’s Inverted Road Movie Clash (2016)

2021 ◽  
Author(s):  
Alena Strohmaier
Keyword(s):  
Middle East ◽  
North Africa ◽  
Close Reading ◽  
Feature Film ◽  
Mise En Scene ◽  
Cinematic Space

This chapter examines how cinema challenges and inverts traditional spaces of social upheavals, such as streets and squares, in their capacity to be spaces of knowledge and solidarity, in conceptualizing them as enhanced media-sensible spaces. Through a close reading of Mohamed Diab’s feature film Clash (2016), I foreground the idea of the truck as a cinematic space predicated on its ability to accommodate movement, both in a literal and a metaphorical sense. This allows for a discussion of cinematic spaces of the so-called ‘Arab street’, created by both mise en scène and cinematography that go against the more prevalent images of street fights and mass demonstrations as seen in documentaries about the popular upheavals in the Middle East and North Africa region since 2009.

scholarly journals Translating English Sound Symbolism in Italian Comics: A Corpus-Based Linguistic Analysis across Six Decades (1932–1992)

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 108
Author(s):  
Pier Simone Pischedda
Keyword(s):  
Historical Linguistic ◽  
Comic Books ◽  
Time Windows ◽  
Translation Studies ◽  
Linguistic Analysis ◽  
Sound Symbolism ◽  
The Cross ◽  
Archival Work ◽  
Shed Light

Linking interdisciplinarity and multimodality in translation studies, this paper will analyse the diachronic translation of English ideophones in Italian Disney comics. This is achieved thanks to the compiling of a bi-directional corpus of sound symbolic entries spanning six decades (1932–1992)—a corpus that was created following extensive archival work in various Italian and American libraries between 2014 and 2016. The central aim is to showcase practical examples coming from published comic scripts and to highlight patterns of translation in each of the five different time windows which were chosen according to specific historical, linguistic and cultural vicissitudes taking place in the Italian nation. Overall, the intention is to shed light on an under-developed area of studies that focuses on the cross-linguistical transposition of ideophonic forms in comic books and to pinpoint how greater factors might influence the treatment of such deceptively miniscule elements in the comic books’ pages.

scholarly journals Hip Hop Family Tree Treasury Editions: A Book Review for Art and Visual Culture Educators

Arts ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 5
Author(s):  
Jeffrey Broome
Keyword(s):  
Visual Culture ◽  
Hip Hop ◽  
Visual Art ◽  
Comic Book ◽  
Family Tree ◽  
Basic Premise ◽  
Hip Hop Culture ◽  
Book Format ◽  
Culture Education

This book review examines Ed Piskor’s Hip Hop Family Tree as compiled and packaged by Fantagraphics into two gift box sets featuring a total of four treasury editions of collected works. The basic premise of Hip Hop Family Tree focuses on a loose narrative detailing the historical development of hip-hop culture as depicted in a comic book format. The review begins with a brief summary of each treasury edition with a specific focus on selected vignettes detailing the role that visual art has played in hip-hop culture. The review closes with a discussion of the overall relevance of Piskor’s work to those working in art and visual culture education.

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