Relevant bibliographies by topics / Comics in translation

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Comics in translation'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Comics in translation"

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Borodo, Michał. "Exploring the Links Between Comics Translation and AVT." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 68. http://dx.doi.org/10.21992/t9xk9x.

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For a very young but steadily developing subfield of Translation Studies such as the translation of comics it seems only natural to look to other research areas within the discipline for inspiration and research methods. This is also one of the aims of the present article, which will attempt to point to certain similarities between comics translation and the subdiscipline of Translation Studies known as AVT (Audiovisual Translation) and the field of subtitling in particular. Both films and comic books are multimodal texts based on the interplay between the verbal and the visual. What is more, both films and comic books are primarily based on dialogue, which is nevertheless transcribed and communicated in writing in both subtitled films and translated comics. Text will, in both cases, usually appear in clearly specified areas, that is at the bottom of the screen (with some exceptions) in subtitled films, and in speech balloons (with some exceptions) in the case of comics. Furthermore, text may be condensed due to the existence of spatial and technical constraints, such as the limited number of characters that may appear at the bottom of the screen or the size of speech balloons and the type of the lettering employed in the case of comics. It is particularly the latter aspect, that is textual condensation related to both spatial constraints and the multimodal character of comics, that the article will focus on, investigating the first Polish translations of Calvin and Hobbes comic strips created by the American cartoonist Bill Watterson.
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Molés-Cases, Teresa. "On the translation of Manner-of-motion in comics." Languages in Contrast 20, no. 1 (September 10, 2019): 141–65. http://dx.doi.org/10.1075/lic.19007.mol.

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Abstract This paper focuses on the translation of Manner-of-motion in comics, a genre in which information is conveyed in both verbal and visual language. The study draws on Slobin’s Thinking-for-translating hypothesis, according to which translators tend to distance themselves from the source text in order to conform to the rhetorical style of the target language. Special attention is devoted to the role of visual language within this framework, with the ultimate aim of identifying translation techniques adapted to the issue of translating Manner-of-motion in comics, in both inter- and intratypological translation scenarios. This paper analyses a corpus that includes a selection from the Belgian comic series Les aventures de Tintin and its translation into two satellite-framed languages (English and German) and two verb-framed languages (Spanish and Catalan). Overall, the results highlight the key role of visual language in the translation of Manner-of-motion in comics, since this can compensate for alterations in the verbal code of target texts, by comparison with originals, and thus minimize the consequences of Thinking-for-translating. Moreover, the (limited) space in the balloons and the respective stylistic conventions of comic books in each language are shown to constrain translation to some extent.
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Öztürk, Göksel, and Aslı Özlem Tarakçıoğlu. "Comics and Translation with a Multimodal Perspective in the Early Republican Era." Border Crossing 10, no. 2 (July 17, 2020): 129–42. http://dx.doi.org/10.33182/bc.v10i2.1061.

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Comics has a “hybrid” interaction emerging from the “interplay” between pictorial and textual elements. However; many studies on comics translation focus on texts but disregarding pictures. Analyses performed by focusing on textual elements disregard pictorial and textual interactions, which is a kind of regression of the multimodal aspect of comics. One of the aims of this article is to treat comics on its own autonomy since comics is generally considered as a tool of other research areas. The present study investigates the functions of pictures and texts in the context of “pictorial turn” by keeping multimodal approach in perspective. Translated comics to be analysed are the first translated comic strips into Turkish after the alphabet reform. The very first concealed translations of comics during the Early Republican Era are analysed with a multimodal perspective considering historical context as well as cross-media interactions of pictures and texts. As the first Turkish translations of comics were published in children’s periodicals in the early Republican era, this article practices on multiple layers such as transformation of media, culture planning, and manipulation.
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Umiyati, Mirsa, and I. Gusti Ayu Agung Dian Susanthi. "Translation of Weiman Kou’s ‘Corona Virus’ Comic into Indonesian: Covid-19 Prevention Educational Strategy." RETORIKA: Jurnal Ilmu Bahasa 6, no. 2 (October 29, 2020): 91–97. http://dx.doi.org/10.22225/jr.6.2.2211.91-97.

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The Covid-19 pandemic having been spreading throughout the world has resulted in the emergence of various literary works with the aim of educating the wider community on how to anticipate it. One form of literary work helping educate and is well responded to by the community, especially school-aged children, is comics. Comics are very effective in attracting people to listen and read since the information is conveyed in attractive pictures and in easily digestible language. The comics written are translated into various languages ​​so that people in the regions and speakers of other languages ​​can receive the messages conveyed through the comics in question. Identifying the advantages of comics in educating the prevention of Covid-19 around the world, this research focuses on examining the process of translating a comic by Weiman Kou into Balinese. Translation is an effective way to develop learning, not only in college but also in the wider community environment. This study examines the procedure for translating comics by graduate students of linguistics. The results showed that the comic was translated by literal, calque, and borrowing procedures. In order to achieve quality translation results, it is suggested that translating does not only apply three types of procedures but also many other types of procedures, including communicative and idiomatic procedures. By applying these procedures, the message conveyed is perceived the same to both the source language reader and the target language reader.
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Jin Vei, Chan, and Krishnavanie Shunmugam. "The Translation of Name Labels in Spider-Man Comics." Linguistics and Literature Review 7, no. 1 (March 26, 2021): 17–28. http://dx.doi.org/10.32350/llr.71.02.

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This paper investigates the translation of address terms or name labels in comics from English to Malay. The two aims of this study are: (i) to identify the main translation strategies used in the target text regarding Baker's (1992) typology of translation strategies and (ii) to discuss how effectively the source author’s name labels are transposed in Malay by using Eugene Nida’s (1964: 182) basic principles of "the general efficiency of the communication process" and "comprehension of intent" as a yardstick. The data comprises 187 name labels identified in 14 series of the Spider-Man comics and their Malay counterparts. The findings revealed that the three most frequently used strategies are paraphrasing by using related words followed by omissions of name labels and translating by using less expressive or neutral words. With regard to the efficacy of the Malay translations in conveying the semantic robustness of the English name labels, it was found that the translator has prioritized a transparent translation to achieve easy comprehensibility for the target reader over a faithful preservation of the author's style and the finer nuances expressed by the name labels.
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Faveri, Rodrigo, and Dennys Silva-Reis. "Comics in Translation." Tradterm 27 (October 4, 2016): 11. http://dx.doi.org/10.11606/issn.2317-9511.v27i0p11-14.

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Wisudawanto, Rahmat. "THE PATTERN OF TRANSLATION STRATEGIES OF IDIOMATIC EXPRESSION IN COMICS." Lingual: Journal of Language and Culture 9, no. 1 (May 31, 2020): 34. http://dx.doi.org/10.24843/ljlc.2020.v09.i01.p06.

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This article focuses on translation strategy of idiom in comic Garfield Goes to and its translation. It is expected to identify translation strategies and to know the pattern of translation strategies in translating the idiomatic expression. This research belongs to descriptive qualitative. The source of data is a comic entitled Garfield Goes to Waist and its translation Garfield Mengurangi Berat. Whereas, the data are all of idioms found in the comic. This research applies total sampling technique since the samples are all of data which are found in the source of data. The result of the analysis shows that there are four strategies used by the translator in translating idioms. Meanwhile, the pattern of strategies indicates that Translation by Paraphrasing is dominant strategy. Besides, the others strategies are translation Using an Idiom of Similar Meaning but Dissimilar Form, Translation by Omission and Using an Idiom of Similar Meaning and Form respectively
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Santoo, Laura. "From Tabermann to Mr. Baudelaire. Allusions and popular culture references in the Finnish comic Northern Overexposure and their English translations." Studia Scandinavica 24, no. 4 (December 2, 2020): 93–110. http://dx.doi.org/10.26881/ss.2020.24.06.

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Comics, as other written works, contains allusions that serve many functions and might be difficult to translate due to cultural differences. The aim of this article is to analyse the selected allusions and popular culture references in the Finnish comic Northern Overexposure and compare the Finnish source text with the English target text. In addition, the function of these allusions as well as the relevant cultural background are covered. The examples were analysed with Ritva Leppihalme’s (1997) strategies for translating allusions. The article also provides insight into the Finnish field of comics and the translation process of the selected comic.
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Assis, Erico. "THE CONCEPT OF FIDELITY IN COMICS TRANSLATION." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 8. http://dx.doi.org/10.21992/t9634p.

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The long-discussed – and frequently dismissed – concept of translation faithfulness or translation fidelity, though usually applied to literary texts, has its fair share of applications when considered for comics translation. In literary translation, non-linguistic portions such as illustrations are often considered addenda or “paratexts” relative to the main, linguistic text. Comics, by its turn, present a certain set of features which single them out as a form that demands a new concept of “text” and, therefore, of translation fidelity. The comic-reading process, as pertaining to cognitive apprehension, implies interpretative accords that differ from the ones in purely linguistic texts: each and every element of the comics page – non-linguistic (mainly imagetic) signs, linguistic signs, panel borders, typography and such – are intertwined and should be perceived in regards to its spatial and topological relations. This approach to understanding comics is based on Groensteen (1999) and his concepts of arthrology, spatio-topia, page layout, breakdown and braiding. As for translation fidelity, we rely on authors such as Berman (1984), Guidere (2010) and Aubert (1993). On comics translation, Zanettin (2008), Rota (2008) and Yuste Frías (2010, 2011) are of particular interest. Based on various concepts of fidelity – supported by samples of translated comics with varied degrees of fidelity to the source text – we discuss the different grounds of source-text fidelity, target-reader fidelity and source-author fidelity in the following instances: linguistic sign fidelity, imagetic sign fidelity, spatio-topia fidelity, typographic fidelity and format fidelity.
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Igareda, Paula. "Approach to the translation of sound in comic books." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 3 (November 3, 2017): 343–63. http://dx.doi.org/10.1075/babel.63.3.03iga.

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Abstract The relationship between texts and images in comics is essential from the graphic point of view and for the understanding of the story. Hence, the translation of comics has certain peculiarities that other literature genres do not have, partly due to its combination of iconic language and literary language. Among the wide array of interesting topics within this field, we are going to focus on a great challenge for translators: the graphic and phonetic values of the sounds in comics. Technical advances have improved comic books translation: nowadays modifying an element of the vignette no longer involves redrawing the whole animation. Thus, the translation of this literature genre can now focus on other problematic issues, such as the translation of sounds. Taking into account the lack of categorization of these sounds, this article deals with the translation of inarticulate sounds, interjections and onomatopoeias from English comic books into Spanish in order to observe the existing trends in these issues and to confirm if the new technologies have changed the translators’ task in the last 25 years.
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Dissertations / Theses on the topic "Comics in translation"

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Zitawi, Jehan Ibrahim. "Translation of Disney comics in the Arab world : a pragmatic perspective." Thesis, University of Manchester, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488196.

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The vast majority of studies drawing on pragmatics have focused on conversation and face-to-face interaction, with little or no attention paid to written text. Like much of pragmatic theory, Brown and Levinson's politeness theory also focuses on spoken discourse. At the same time, politeness theory claims to offer a universal framework for the study of politeness across different cultures and, one would therefore assume, across different genres of discourse. This study attempts to examine the applicability of the Brown and Levinson model to a particularly challenging genre, namely Disney comics, and to extend the model beyond monolingual and monocultural contexts, to look at politeness strategies in translation between two very different cultures. The study thus sets out to test politeness theory to ascertain whether it can offer credible and coherent explanations of the potential for comics in translation to threaten the face(s) of Arab readers, and whether it can provide a robust framework for describing the pragmatic strategies employed by translators seeking to maintain the face(s) of Arab readers. The study argues that Brown and Levinson's politeness theory can be fruitfully applied to Disney comics translated from English into Arabic, provided we can demonstrate that (a) it is possible to identify a composite speaker and composite hearer in Disney comics, and (b) Disney comics can be read as face threatening texts (FTTs). Disney comics are simply texts that have writers and readers. However, the complex nature of this discourse and the attempt to contextualise it within a totally different culture - Arab culture - point to certain limitations of the Brown and Levinson model. At the same time, they enable us to propose ways in which the model may be refined to read the nuances of complex discourses, such as Disney comics, that are normative and manipulative in nature while presenting themselves as benign entertainment. The data used in this study consists of 278 Disney comic stories: 140 English stories and 138 Arabic stories translated and published by Dar Al-Hilal in Egypt, Al-Futtain/ITP in Dubai, and Al-Qabas in Kuwait. The English stories appeared between 1962 and 2000. The Arabic stories appeared between 1993 and 2003. Most of these comics are aimed at 6-13 year-olds. The starting point of the analysis is a conventional application of Brown and Levinson's politeness theory to original and translated Disney comics, looking specifically at three sources of face threat in this context: verbal and/or visual signals that can be considered taboo or at least unpalatable to the reader; the raising of sensitive or divisive topics (e. g., Jewish and Christian imagery and colonial ideologies, stereotyping and ridiculing the target reader); and the use of address terms and other status-marked identifications that may be misidentified in an offensive or embarrassing way, either intentionally or accidentally. Politeness strategies used by Arab publishers and translators in the data examined in this study include all three categories proposed by Brown and Levinson: Don't do the FTA; Do the FTA on record with mitigation; and Do the FTA baldly with no mitigation. However, the study also reveals a number of weaknesses inherent in the Brown and Levinson model and highlights the need to refine politeness theory in order to make it more applicable to the analysis of complex genres such as comics and complex types of face threat encoded in discourses which are normative in nature but which present themselves as benign.
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Ollerenshaw, Emily Anna. "“That was a touching exhortation, dear Armadillo”: English translation of the graphic novel LA PROFEZIA DELL’ARMADILLO by Zerocalcare." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/12724/.

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The aim of this work is to present a translation into English of the graphic novel La Profezia dell’Armadillo by Zerocalcare, published in 2012 by Bao Publishing. It is worth specifying that the translation proposed in this dissertation is specifically targeted at the North American market. The first chapter offers a theoretical framework by giving a definition of the medium of comics and the medium of the graphic novel. It then briefly outlines the history of comics in the United States, and how the development of comics has led to the modern graphic novel. The second chapter outlines the development of comics in Italy, with a particular emphasis on those stages that have had a strong influence on the modern graphic novel. A number of the most important Italian graphic novelists are also presented: Vanna Vinci, Davide Toffolo, and Gipi. The third chapter is dedicated entirely to Zerocalcare and La Profezia dell’Armadillo. It first gives a brief biographical outline on the author, his recent works and his success. Later, the narrative, linguistic, and stylistic style of the graphic novel is analyzed. The fourth chapter presents an in-depth comment on the translation proposed. The most prominent and challenging translation problems are divided into three categories (problems relating to the comics medium, to the language, or to cultural references) and analyzed. The appendix of the dissertation includes two interviews carried out by email: the first is to Zerocalcare, while the second is to Michele Foschini, the CEO of Bao Publishing. The appendix also includes the complete translation of the graphic novel.
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Schröder, Katja. "Visuell-verbale Beziehungszusammenhänge im Comic. Eine Untersuchung anhand ausgewählter franko-belgischer Comics und der jeweiligen deutschen Übersetzungen." Master's thesis, Universitätsbibliothek Leipzig, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-124300.

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Comics erfreuen sich bei allen Altersgruppen großer Beliebtheit und bereits in der Kindheit beginnen viele mit dem Lesen von Micky Maus-Magazinen oder Asterix-Bänden. Sie werden im Schulunterricht verwendet, es werden Tagungen, Messen und Festivals (Wichtige Veranstaltungen sind in dieser Hinsicht der Comic-Salon in Erlangen, das Comicfestival München, das Sym-posium zur Förderung und Vernetzung der Comicforschung Comics - Intermedial und Interdisziplinär und vor allem das Festival) zum Thema Comic veranstaltet und nicht zuletzt belegt eine Vielzahl von Sammlern, Vereinigungen und Fachzeitschriften (u. a. Comixene, Reedition, Speedline usw.), dass Comics vor allem im vergangenen Jahrhundert zunehmend an Popularität gewannen und heute sowohl Kinder als auch Erwachsene zu begeistern vermögen. Um den Ansprüchen der verschiedenen Zielgruppen gerecht zu werden, haben sich im Laufe des 20. Jahrhunderts verschiedene Genres herausgebildet, die mittlerweile jegliche Vorlieben der Comicleser abdecken. Auch bilden sie nicht selten die Vorlage für Kinoadaptionen, wie aktuell der Film Die Abenteuer von Tim und Struppi. Das Geheimnis der „Einhorn“(Der Originaltitel des Films lautet The Adventures of Tintin: Secret of the Unicorn) beweist. Da Comics mit einem Übersetzungsaufkommen von rund 40.000 Seiten pro Jahr im deutschen Sprachraum (Kaindl 2004: 164) eine übersetzungsrelevante Textsorte sind und auch das Zusammenwirken von Bild und Text im alltäglichen Umfeld zunimmt, entstand die Idee, im Rahmen dieser Arbeit visuell-verbale Beziehungszusammenhänge und ihre Relevanz für die Übersetzung am Beispiel franko-belgischer Comics zu untersuchen. Belgien und Frankreich sind Länder mit einer langen Comictradition und tragen als Ausgangskulturen eine bedeutende Rolle. Allein 2011 sind im frankofonen Raum 5327 bandes dessinées erschienen, was einer Steigerung von 3,04 % gegenüber dem Vorjahr entspricht (web_acbd.fr). Von den 3841 Neuerscheinungen fallen insgesamt 42,49 % (1632 Alben) auf franko-belgische Alben (web_acbd.fr). Aus übersetzungswissenschaftlicher Sicht bilden Comics einen interessanten Untersuchungsgegenstand, weil sie viel über die Kultur und Gesellschaft, aus der sie stammen, preisgeben und die Sprache von Teilen der Gesellschaft prägen. Wendungen wie Dem Ingenieur ist nichts zu schwör oder Inflektive wie seufz, lach oder grübel sind in den allgemeinen Sprachschatz übergegangen. Das Zusammenspiel visueller und sprachlicher Elemente ermöglicht verschiedene Aspekte der Analyse und es gibt viele Bereiche, zu denen Comics Wissen beisteuern können. Obwohl neben alljährlich erscheinenden Publikationen wie dem Comic-Preiskatalog, Comic Jahrbuch oder Comic Almanach (Sanladerer 2006: 6) wiederholt die Bestandteile von Comics oder auch die Übersetzung von Sprachspielen im Comic in der Vergangenheit thematisiert worden sind (Spillner 1980, Grassegger 1985, Picout 2008 etc.), wurden nur wenige Arbeiten einer ausführlichen Betrachtung visuell-verbaler Beziehungszusammenhänge gewidmet. Zu erwähnen ist in diesem Zusammenhang vor allem die Monografie von Kaindl (2004), in der der Comic mit seinen Elementen sowie das Zusammenwirken von sprachlichen und bildlichen Komponenten aus translationswissenschaftlicher Sicht analysiert werden. Dolle-Weinkauff erklärte 1990, dass das Feld der Comics längst nicht „vollständig bibliographisch erschlossen“ sei (ebd.: 14). Mit der vorliegenden Arbeit soll vor allem eine Lücke hinsichtlich der genauen Beschreibung der Beziehungsmöglichkeiten von Text und Bild sowie deren Auswirkungen auf die Übersetzung geschlossen werden. Ziel der vorliegenden Arbeit ist, zunächst einen umfassenden Überblick über Comics zu geben und anschließend eine Analyse der visuell-verbalen Beziehungszusammenhänge an ausgewählten Beispielen franko-belgischer Comics und deren deutschen Übersetzungen vorzunehmen. Es sollen Zusammenhänge verdeutlicht und Übersetzungsschwierigkeiten aufgezeigt werden, die sich aus der Verflechtung sprachlicher und bildlicher Elemente ergeben. Die sehr detaillierte Aufschlüsselung in spezifische Beziehungszusammenhänge soll vor allen Übersetzer für derartige Details und daraus resultierende Probleme sensibilisieren. In dieser Arbeit sind bildliche Elemente synonym zu visuellen Elementen zu verstehen. Die Bezeichnungen verbal und sprachlich werden in dieser Arbeit ebenfalls synonym verwendet. Zunächst sollen in Kapitel 2 Definitionsansätze für Comics vorgestellt, die historische Entwicklung beschrieben sowie Erscheinungsformen und Genres dargestellt werden. In Kapitel 3 soll auf Comics als Gegenstand der Übersetzungswissenschaft eingegangen werden. Dies geschieht sowohl unter Berücksichtigung ihrer Einbettung in die Texttypenklassifizierung nach Reiß (1971), ihrer besonderen Elemente auf bildlicher und sprachlicher Ebene als auch für die Praxis relevanter Aspekte wie die Entwicklung und den Stand der Comicübersetzung. In Kapitel 4 stehen die Text-Bild-Beziehungen im Mittelpunkt, die unter anderem zur Konstruktion der Narration beitragen und somit für den Comic und seine Übersetzung eine wichtige Funktion einnehmen. Es werden unterschiedliche Klassifizierungsansätze vorgestellt, die sich mit dem zwischen sprachlichen und visuellen Elementen bestehenden Verhältnis auseinandersetzen. Des Weiteren werden Übersetzungsprobleme in der Theorie dargelegt, die sich aus dem Zusammenspiel von Text und Bild ergeben. In Kapitel 5 werden diese visuell-verbalen Beziehungszusammenhänge anhand von Beispielen aus franko-belgischen Comicserien und deren deutschen Übersetzungen genauer untersucht sowie spezifische Übersetzungsprobleme hervorgehoben und Lösungsmöglichkeiten aufgezeigt. Es soll eine qualitative, keine quantitative Analyse entstehen, sodass mit der vorliegenden Analyse auch kein Anspruch auf Vollständigkeit erhoben werden soll. Insbesondere bei der Betrachtung übersetzungsrelevanter Einzelphänomene wäre dies unmöglich, sodass lediglich repräsentative Beispiele der jeweiligen Kategorien angeführt werden können. Im anschließenden Kapitel 6 sollen die Ergebnisse resümiert werden. Sämtliche Ergebnisse und Schlussfolgerungen, die auf der Grundlage der Analyse gezogen werden, können sich natürlich lediglich auf das untersuchte Korpus beziehen und sollten nicht verallgemeinernd übertragen werden. In Kapitel 7 wird schließlich ein Fazit der Arbeit gezogen und ein Ausblick auf mögliche Forschungsperspektiven gegeben.
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Aragão, Sabrina Moura. "Imagem e texto em tradução: uma análise do processo tradutório nas histórias em quadrinhos." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-09012013-154417/.

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O presente trabalho tem como objetivo analisar, do ponto de vista da tradução, as histórias em quadrinhos de língua francesa Astérix, dos quadrinistas Uderzo e Goscinny, e Les aventures de Tintin, do autor belga Hergé, considerando as obras originais em francês e as suas traduções em português. Para a realização da pesquisa, foram considerados aspectos que envolvem a tradução dos elementos textuais inseridos nos balões em conjunção com as imagens, atentando para a relação entre imagem e texto e sua interdependência, bem como as implicações que essa relação traz para o processo tradutório. Vale notar que, ao estabelecer uma relação interdependente entre imagem e texto nos quadrinhos, os autores de ambas as séries buscavam, frequentemente, provocar efeitos de humor, o que se mostrou um dos principais desafios para as traduções em língua portuguesa. A partir da análise da relação entre os códigos verbal e imagético presente nos quadrinhos, foi possível observar que o processo de tradução dessa forma de linguagem apresenta especificidades que indicam dessemelhanças ou similaridades com outras formas de linguagem, como o cinema, e a literatura ilustrada, graças à sua forma de expressão que, como salientamos, é formada por dois sistemas de signos distintos. Nesse sentido, a tradução de histórias em quadrinhos deve tomar como ponto de partida não só o material escrito em língua estrangeira, mas também a imagem, haja vista a função desta última na construção de efeitos interpretativos nos contextos originais e a inteligibilidade da mensagem nos contextos de tradução. Em nosso trabalho, buscamos definir os principais processos em que a relação entre imagem e texto se manifesta nos quadrinhos originais para, assim, propor estratégias de tradução que reproduzissem, de forma análoga, os efeitos desses processos tanto nas traduções publicadas quanto naquelas sugeridas por nós no decorrer das análises.
This thesis reviews tha transalations of the French language comic books Astérix, by Uderzo and Goscinny, and Les aventures de Tintin, by Hergé into Brazilian Portuguese. In the course of our investigation, we have taken into account aspects which involve the translation of the textual elements inserted in the balloons, and particularly the situations in which the interdependence of text and image is evident, with the aim at determining the implications of such interdependence on the translational process. The text/image relationship is often established for the sake of humour, which proved one of the major challenges for the translations into Brazilian Portuguese. Our analysis of the relationship between the verbal and the image codes enabled us to determine certain specificities in the translation of this kind of language, in part similar and in part dissimilar to the translation of other forms of language particularly cinema and illustrated literature. In this sense, the translation of comic stories must take as a starting point not only the written language material, but also the image, essential to the construction of the interpretative effects in te original contexs and to the intelligibility of the message in the translational contexts. The thesis proposes a definition of the major procedures whereby the image/text relationship becomes manifest in the original comics, and of the translation strategies which will generate analogous effects both, as found both in the published translations and in the alternative translations we have suggested in the course of our analyses.
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Davis, Matthew. "Translating Chris Ware's Lint into Russian." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1369071228.

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Pimentel, Ana Carolina Alves de Souza. "O habitus dos tradutores de histórias em quadrinhos de super-heróis da Marvel e DC Comics no Brasil." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-16082016-153032/.

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Em um mercado em constante crescimento, o tradutor de histórias em quadrinhos deve aplicar as mais variadas formas de conhecimento em seu trabalho. Conhecimento do par linguístico não é a única ferramenta de que ele necessita, mas de um vasto conhecimento nas mais variadas instâncias do saber e, acima de tudo, um domínio sobre o material com o qual está trabalhando. Na presente dissertação, analisamos a teoria do habitus de Pierre Bourdieu e sua influência direta nos tradutores de histórias em quadrinhos da Marvel Comics e DC Comics no Brasil através da análise de entrevistas realizadas e sua influência na escolha do uso de gírias na tradução. Tratamos das questões relativas à tradução contextualizada e não somente da transferência automática e impensada de palavras soltas de uma língua para outra (Milton, 2010). Analisamos o potencial da Tradução Descritiva (DTS), mais especificamente a Function Oriented DTS, como maneira de enfatizar elementos essenciais à tradução e às funções que elas representam em seus receptores analisando a influência sociocultural e o contexto em que o texto foi produzido (Holmes, 2000).
In a constantly growing market in, the translator of comics should apply the most varied forms of knowledge to his or her work. Knowledge of a language pair is not the only tool that he or she needs, but a vast knowledge in the most varied areas, and above all a familiarity with the material with which he or she is working. In the present thesis we analyze the theory of habitus of Pierre Bourdieu and its direct influence on comic book translators of Marvel Comics and DC Comics in Brazil through interviews analysis, and its influence on the choice of slang used in translation. Also the ability to handle all issues related to contextual translation and not only the automatic transfer of loose and thoughtless words from one language to another is examined (Milton, 2010). Furthermore, we analyze the potential of Descriptive Translation Studies (DTS), specifically the \"Function Oriented DTS\" as a way to emphasize key elements in translation and the roles they represent in their receivers analyzing the sociocultural influence and the context in which the text was produced (Holmes, 2000).
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Rohrlack, Henrike. "Der Comic als semiotisch komplexer Text: Spezifische Probleme seiner Übersetzung. Eine Untersuchung anhand der französischen Comic-Serie \"Astérix\" und ihrer deutschen Übersetzungen." Master's thesis, Universitätsbibliothek Leipzig, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-124276.

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Dass Comics nicht nur Unterhaltungswert besitzen, sondern durchaus auch von wissenschaftlich-theoretischem Interesse sind, beweisen zahlreiche Arbeiten mit den unterschiedlichsten Schwerpunkten. Neben den Beiträgen, die auf einer allgemeineren Ebene einen Überblick über die Geschichte, die verschiedenen Publikations- und Herstellungsformen, die einzelnen Bestandteile, die Funktionsweise und die stilistischen und thematischen Varianten des Comics vermitteln (z.B. Fuchs/Reitberger, 1971 und 1978, Havas/Habarta, 1992 und 1993 und McCloud, 1995), gibt es auch Untersuchungen, die sich speziell mit einzelnen Aspekten der Textsorte beschäftigen. Dazu gehören bspw. semiotische Ansätze wie die von Krafft (1978) und Fresnault-Deruelle (1972), die erziehungswissenschaftlich orientierte Auseinandersetzung mit dem Gegenstand (z.B. Grünewald, 1991 und 2000) und die Arbeiten aus Literaturwissenschaft (z.B. Stoll, 1974) und Sprachwissenschaft (z.B. Rothe, 1974 und Krieger, 2003). Auch die Translatologie hat sich mit dem Thema Comic auseinandergesetzt. Eine Übersicht über generelle Probleme bei der Übersetzung dieser Textsorte bietet Schmitt (1997a). Einen ähnlich allgemeinen Anspruch haben die Arbeiten von Spillner (1980) und Schwarz (1989). Mit Sprachspielen als Teilaspekt der Comic-Übersetzung am Beispiel der französischen „Astérix“-Serie haben sich Grassegger (1985) und Schmitt (1997) beschäftigt. Praktische Relevanz bekommen derartige Untersuchungen durch die Situation auf dem deutschen Comic-Markt, der bis heute von ausländischen Lizenzausgaben beherrscht wird (vgl. Grünewald, 2000:2 und Schmitt, 1999:266). Der größte Anteil liegt dabei auf Übersetzungen aus dem Französischen (vgl. Schmitt, 1999:267) und inzwischen, bedingt durch den „Manga-Boom“ (vgl. DER SPIEGEL 10/2001), auch aus dem Japanischen. Von grundlegendem theoretischen Interesse ist die translatologische Auseinandersetzung mit dem Phänomen Comic deshalb, weil sie im Zusammenhang mit der charakteristischen Wort-Bild-Einheit dieser Textsorte die generelle Frage danach berührt, welche konstitutiven Merkmale einen Text als solchen kennzeichnen und inwieweit auch nonverbale Elemente im Übersetzungsprozess Berücksichtigung finden müssen (vgl. dazu auch Schmitt, 1997a:619). Mit der vorliegenden Arbeit soll eine weitere Annäherung an die semiotisch komplexe Textsorte Comic aus translatorischer Perspektive erfolgen. Da zum Comic aus allgemein künstlerisch-ästhetischer Sicht bereits zahlreiche Arbeiten vorliegen und das Thema, wie oben festgestellt, auch schon Gegenstand übersetzungswissenschaftlicher Beiträge war, wird hier der Analyse konkreter Fallbeispiele aus der Serie „Astérix“ von René Goscinny und Albert Uderzo und der jeweiligen deutschen Übersetzungslösungen besonderes Gewicht verliehen. Einzelne „Astérix“-Bände wurden in der Sekundärliteratur bislang hauptsächlich im Hinblick auf die Problematik der Sprachspiele untersucht (s. oben), während die für das Comic-Übersetzen ebenfalls relevanten typografischen und grafischen Besonderheiten und expliziten Bezüge auf die Ausgangskultur kaum Erwähnung fanden. Nach einer allgemeinen Einführung in das Thema, in der das grafisch-literarische Phänomen Comic definitorisch eingegrenzt und seine Entwicklungsgeschichte, die verschiedenen inhaltlichen und formalen Varianten sowie die herstellungstechnischen Abläufe grob umrissen werden sollen (Abschnitt 2), geht es im Abschnitt 3 der Arbeit um eine übersetzungswissenschaftlich ausgerichtete Betrachtung der charakteristischen Merkmale und typischen Bestandteile der Textsorte Comic. Dabei wird zunächst der Versuch unternommen, zu einer dem Gegenstand angemessenen Textdefinition zu gelangen und die damit eng verbundene Frage nach dem Texttyp zu beantworten (3.1). Unter 3.2 sollen die wesentlichen Konstituenten von Comic-Texten sowie die besonderen Bedingungen ihres Zusammenspiels herausgearbeitet und die sich daraus ergebenden translatorischen Herausforderungen besprochen werden. Die so gewonnenen theoretischen Einsichten werden dann im 4. Abschnitt anhand konkreter Beispiele aus einer umfangreichen Auswahl von „Astérix“-Bänden und ihren Übertragungen ins Deutsche auf ihre praktische Relevanz hin überprüft. Die Serie eignet sich für derartige Untersuchungen in besonderem Maße, weil sie erstens einen großen Umfang aufweist (bisher sind 31 Bände erschienen), zweitens einen hohen Bekanntheitsgrad genießt und deshalb leicht zugänglich ist und drittens im Hinblick auf die mit der Textsorte Comic verbundenen Übersetzungsprobleme insbesondere aufgrund ihrer engen kulturellen Einbettung sowie der bemerkenswerten Quantität und Qualität der enthaltenen Sprachspiele ausgesprochen ergiebig ist. Dass „Astérix“ unter den Comics eine herausragende Stellung einnimmt und deshalb immer wieder Gegenstand theoretischer Betrachtungen ist, bemerken auch Havas/Habarta (1993): „Asterix künstlerisch gesehen, Asterix historisch gesehen, Asterix als Parodie der Geschichte, Asterix als Kinderlektüre auf der einen Seite, Asterix als Erwachsenenlektüre durch versteckte Hinweise und Anspielungen auf der anderen, Asterix in Latein, Asterix in Esperanto, (...) lebende Persönlichkeiten als Nebenfiguren in Asterix und so weiter, und so fort – kaum ein anderer Comic hat so viele interessante Aspekte aufzuweisen, über die zu berichten es sich lohnen würde.“ (ebd., S. 156/158). Nach einer Vorstellung der Serie sowie ihrer deutschen Übersetzungen (4.1) und einer formalen und inhaltlichen Einordnung in die Textsorte Comic mit Blick auf die anzuwendende Übersetzungsmethode (4.2) werden unter 4.3 spezielle translatorische Probleme, nach thematischen Feldern geordnet, in drei verschiedenen Abschnitten behandelt: Umgang mit typografischen und grafischen Besonderheiten (4.3.1), Kulturspezifik (4.3.2) und Sprachspiele (4.3.3). Neben der Analyse von Belegstellen für Anspielungen und intertextuelle Bezüge im Ausgangstext und den entsprechenden Zieltextlösungen geht es unter der Überschrift „Kulturspezifik“ auch um den Vergleich der Arbeiten von drei verschiedenen „Astérix“-Übersetzern, die in ihrer grundsätzlichen Herangehensweise starke Unterschiede aufweisen (4.3.2.2. und 4.3.2.3). Eine Zusammenfassung der Ergebnisse erfolgt im Abschnitt 5.
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Moschini, Martina. "Kobane Calling: proposta di traduzione verso l'inglese del fumetto di Zerocalcare." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8220/.

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Hanna, Katia Regina Vighy. "Do gibi ao livro: as traduções de Watchmen no Brasil." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-17082016-122731/.

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O objetivo deste trabalho é demonstrar como as quatro traduções de Watchmen foram influenciadas pelos diferentes estágios de consolidação da graphic novel no sistema de histórias em quadrinhos do Brasil e pela aproximação deste com o sistema literário. Defende-se a ideia que as histórias em quadrinhos constituem seu próprio sistema e que no Brasil as traduções ocupam o centro do sistema, sendo responsáveis pela introdução de novos modelos de narrativas gráficas. A minissérie Watchmen foi lançada nos EUA entre 1986-1987 em 12 volumes pela editora DC, sendo logo depois reunida em um único livro, com o rótulo de graphic novel. No Brasil, Watchmen seguiu um caminho editorial similarcom as traduções refletindo as transformações do mercado nacional de quadrinhos dos últimos trinta anos em direção à consolidação de um público adulto mais exigente e a migração das vendas em bancas para as livrarias, de forma semelhante ao ocorrido nos EUA na década de 1980. Além disso, este estudo demonstra o peculiar papel de autonomia na escolha de estratégias tradutórias desempenhado pelo tradutor de três das versões brasileiras. O corpus deste estudo é composto dos seis números da edição da Editora Abril (1988), dos doze volumes lançados pela mesma editora em 1999, dos quatro livros da edição da Via Lettera (2005-2006) e a da Edição Definitiva lançada pela Panini Books, em 2011.
This study aims to demonstrate how the consolidation stage of the graphic novel in the Brazilian comic system and the relation between the comic system and the literary system influenced the four Brazilian translations of Watchmen. The ideia defended is that comics have their own system, and that translation occupies the center of the system in Brazil, being responsible for introducing new models of graphic narratives. Watchmen was released in the USA from 1986 to 1987 as a 12-issue miniseries by DC Comics, and not long after was collected into a single book under the label of graphic novel. In Brazil, Watchmen has followed a similar publishing path and the translations reflect the transformations of the national comic book market in the last three decades towards establishing a market for adults and more demanding readers, and to migrate sales from news agencies to bookstores, in a similar way to what happened in the US comic market from the 1980s. This study also demonstrates the peculiar autonomy held by the translator regarding to translations strategies in three of the Brazilian editions. The corpus of this study is composed of 6-issues miniseries published by Editora Abril (1988-1989), 12-issues also released by Editora Abril (1999), the 4 books by Via Lettera publishing house (2005-2006) and the Absolute Edition (2011) by Panini Books.
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Simone, Nicola. "One Step Inside Doesn’t Mean You Understand: Analisi della traduzione italiana di The Lie and How We Told It di Tommi Parrish." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.

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Il seguente elaborato ha lo scopo di presentare e analizzare i processi traduttivi utili all’adattamento di fumetti e graphic novel, mediante il commento alla traduzione italiana di The Lie and How We Told It di Tommi Parrish, a cura di Matteo Gaspari. A tale scopo, il primo capitolo illustrerà la storia del fumetto e la sua evoluzione fino alla nascita delle graphic novel negli Stati Uniti e in Italia. Sulla base della definizione del termine “fumetto” data da Scott McCloud (1993), si tenterà inoltre di distinguere meglio il particolare genere della graphic novel, in base alle caratteristiche a esso tipicamente associate. Il secondo capitolo introdurrà la terminologia relativa alle questioni di genere e LGBTQ+, in modo da comprendere il modo in cui la comunità del fumetto si rapporta alla femminilità e al non eterosessuale. Questo aspetto verrà analizzato sia dal punto di vista della rappresentazione mediatica di tali comunità di persone, sia da quello degli spazi editoriali a disposizione di donne e membri della comunità LGBTQ+ nel campo dei fumetti. Il terzo capitolo presenterà la graphic novel The Lie and How We Told It, a opera di Tommi Parrish, così come lo stile dell’artista e le influenze di altri fumetti sul suo lavoro. Si illustreranno poi brevemente alcuni aspetti teorici sulla traduzione del fumetto, in modo da poter analizzare l’adattamento italiano del volume edito da Diabolo Edizioni. Si commenteranno in modo particolare l’adattamento del formato, del metatesto, degli aspetti grafici, sintattici e lessicali. Il quarto capitolo, infine, riporterà le interviste condotte a Tommi Parrish, a Riccardo Zanini di Diabolo Edizioni e a Matteo Gaspari. Scopo delle interviste sarà quello di affiancare le informazioni così dedotte alle fonti bibliografiche consultate durante la stesura dell’elaborato, al fine di offrire una prospettiva più ampia riguardo all’analisi condotta sia in generale sia relativamente alla trasposizione di The Lie in lingua italiana.
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Books on the topic "Comics in translation"

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European comics in English translation: A descriptive sourcebook. Jefferson, N.C: McFarland & Co., 2002.

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Bryan, Peter Cullen. Creation, Translation, and Adaptation in Donald Duck Comics. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73636-1.

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Mack, David. Kabuki.: Lost in translation. Orange, CA: Image Comics, 2002.

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Heinrich, Hoffmann. Struwwelpeter: In English translation. New York: Dover Publications, 1995.

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Shakespeare, William. A midsummer night's dream: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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Bureibu sutōrī: Brave story. Tōkyō: Kadokawa Shoten, 2003.

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Miyabe, Miyuki. Brave story. San Francisco, Calif: VIZ Media, 2009.

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Miyabe, Miyuki. Brave story. San Francisco, Calif: VIZ Media, 2009.

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Yoichiro, Ono, Dorsey Bruce, and Swayze Alan, eds. Brave story.: A retelling of a classic. Hamburg: Tokyopop, 2007.

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Shakespeare, William. The tragedy of Macbeth: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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Book chapters on the topic "Comics in translation"

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Kaindl, Klaus. "Comics in translation." In Handbook of Translation Studies, 36–40. Amsterdam: John Benjamins Publishing Company, 2010. http://dx.doi.org/10.1075/hts.1.comi1.

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Zanettin, Federico. "Comics, manga and graphic novels." In Routledge Encyclopedia of Translation Studies, 75–79. 3rd ed. Third edition. | London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315678627-17.

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Zanettin, Federico. "Translating comics and graphic novels." In The Routledge Handbook of Translation and Culture, 445–60. New York, NY : Routledge, 2018. | Series: Routledge handbooks in translation and interpreting studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315670898-25.

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Kaindl, Klaus. "Comics, the graphic novel and fan fiction." In The Routledge Handbook of Literary Translation, 240–54. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge handbooks in translation and interpreting studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315517131-16.

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Kaindl, Klaus. "Multimodality in the Translation of Humour in Comics." In Perspectives on Multimodality, 173–92. Amsterdam: John Benjamins Publishing Company, 2004. http://dx.doi.org/10.1075/ddcs.6.12kai.

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Valente, Alex. "“A Fumetto, a Comic, and a BD Walk into a Bar…”: The Translation of Humor in Comics." In Cultures of Comics Work, 265–81. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55090-3_18.

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Ferrari, Fulvio. "From Saga to Comics: Njáls Saga and the Graphic Novels of Embla Ýr Bárudóttir and Ingólfur Örn Björgvinsson." In Lost in Translation?, 351–64. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.tmt-eb.3.4244.

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Bryan, Peter Cullen. "“The Empire-Builder from Calisota”: Donald Duck and the Rise of Disney." In Creation, Translation, and Adaptation in Donald Duck Comics, 29–45. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73636-1_2.

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Bryan, Peter Cullen. "“Guardians of the Lost Library”: Developments of the Duck Fan Communities." In Creation, Translation, and Adaptation in Donald Duck Comics, 143–83. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73636-1_6.

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Bryan, Peter Cullen. "“Donald Gets Drafted”: Donald Duck at War and as Propaganda." In Creation, Translation, and Adaptation in Donald Duck Comics, 47–68. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73636-1_3.

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Conference papers on the topic "Comics in translation"

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Zecca, Federico. "COMICS IN MOTION: THE INTERSEMIOTIC TRANSLATION OF COMICS INTO FILM." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-102.

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Ningsih, Eli, Emzir, and Rahayu S. Hidayat. "Dynamic Equivalence in Manga (Japanese Comics): Translation into Indonesian from the Cultural Context." In International Conference on Education, Language, and Society. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009014805540562.

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Asmarani, Dhaniar, Daniel Hermawan, and Sandhya Widyatnya. "Cultural Substitution Translation Strategy on Japanese Comics: A Sustainable Research to Understand Indonesian Language Identity Shifting." In BINUS Joint International Conference. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0010003501190123.

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Nurhayatin, Titin, Marlia Marlia, and Desti Fauziyah. "Portable e-Comics Implementation in Bahasa Indonesia Lessons to Improve Literacy Culture for Class IX Students." In Proceedings of the 2nd International Seminar on Translation Studies, Applied Linguistics, Literature and Cultural Studies, STRUKTURAL 2020, 30 December 2020, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.30-12-2020.2311235.

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Baena Lupiáñez, María del Carmen. "Phraseological Units in Horror Comics: Comparative Study of the Translation into English, French and Spanish from a Multimodal Corpus." In EUROPHRAS 2017 - Computational and Corpus-based Phraseology: Recent Advances and Interdisciplinary Approaches. Editions Tradulex, Geneva, Switzerland, 2017. http://dx.doi.org/10.26615/978-2-9701095-2-5_003.

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Sherstneva, E. S. "Retranslation in the context of evolution of translators’ reception of the original." In XXV REGIONAL SCIENTIFIC CONFERENCE STUDENTS, APPLICANTS AND YOUNG RESEARCHERS. Знание-М, 2020. http://dx.doi.org/10.38006/907345-63-8.2020.135.141.

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The article is devoted to the consideration of the retranslation of the original in the context of translations evolution. After analysis of translators’ discourse, as well as critical essays, the author comes to the conclusion that the focus of the translator on a certain audience leads to the foreignization of the translation, and the focus on the language of the original author contributes to preserving the features of the author’s style and the national nature of the original.
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Abdurrosyid, Mr, and Dwi Santika. "Translating Sound Symbolism in Noblesse Comic." In International Conference on Culture and Language in Southeast Asia (ICCLAS 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icclas-17.2018.1.

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Narbut, Elena, and Ekaterina Kulshan. "PECULIARITIESOF TEXTCREOLIZATIONON THE EXAMPLE OF COMIC BOOKSTRANSLATIONS"MAUS: DIE GESCHICHTE EINES ÜBERLEBENDEN"BY A. SPIEGELMANAND"ENDSTATION GULAG" BY G. MOUMINOUX." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.6.

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Fišer, Daniel, Daniel Gnad, Michael Katz, and Jörg Hoffmann. "Custom-Design of FDR Encodings: The Case of Red-Black Planning." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/558.

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Classical planning tasks are commonly described in PDDL, while most planning systems operate on a grounded finite-domain representation (FDR). The translation of PDDL into FDR is complex and has a lot of choice points---it involves identifying so called mutex groups---but most systems rely on the translator that comes with Fast Downward. Yet the translation choice points can strongly impact performance. Prior work has considered optimizing FDR encodings in terms of the number of variables produced. Here we go one step further by proposing to custom-design FDR encodings, optimizing the encoding to suit particular planning techniques. We develop such a custom design here for red-black planning, a partial delete relaxation technique. The FDR encoding affects the causal graph and the domain transition graph structures, which govern the tractable fragment of red-black planning and hence affects the respective heuristic function. We develop integer linear programming techniques optimizing the scope of that fragment in the resulting FDR encoding. We empirically show that the performance of red-black planning can be improved through such FDR custom design.
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Abdelaal, Mohamed R., Omar A. Huzayyin, and Milind A. Jog. "Heat/Mass Transfer to a Drop Translating in a Perpendicular Electric Field." In ASME 2015 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/imece2015-51710.

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Enhancement of heat or mass transport in a spherical drop of a dielectric fluid translating in another dielectric fluid in the presence of uniform electric field is investigated. The internal problem or the limit of the majority of the transport resistance being in the dispersed phase is considered. The transient energy conservation equation is solved using a fully implicit finite volume method. In the literature, there is a plenty of studies that had been carried out when the electric field acts in the same plane of translation. In this paper, considering creeping flow regime, numerical computations have been conducted when the electric field acts perpendicular to the plane at which translation acts. As such the flow is no longer a two dimensional flow as a third component velocity comes to picture. At the first glance, thoughts of transport enhancement come to mind on the presence of a third velocity component that might promote mixing and consequently enhance transport effectiveness. Results are expressed in terms of the Nusselt number. Nusselt numbers are plotted in terms of Peclet number, Fourier number and the parameter L which is defined as the ratio of the maximum electric-field-induced surface velocity to translation-induced surface velocity. The code was validated by comparing, results for Peclet numbers of 500 and 1000 to corresponding cases available in literature. Results showed good agreement with previous results. A 3-D grid of 20×40×60 has been considered to cover the computational domain. A grid independence study has been carried out by doubling the whole grid. Results show acceptable results compromising accuracy and code running time. The effect of electric field is expressed in terms of parameter L. For low Peclet numbers (Pe ≤ 250), the application of electric field perpendicular to the plane at which translation acts leads to enhancement of heat/mass transport compared to that in pure translation. Such enhancement is about the same when the electric field and translation act in the same plane. On the other hand, for moderate Peclet numbers (Pe= 250∼1000), the transport enhancement is significant when compared to the enhancement obtained by an electric field acts in the same plane of action of translation as well as pure translation. These results can be understood by comparing time scales for diffusion and convection. When Peclet number is low the convection time scale is very large and hence mixing is not that effective in promoting heat / mass transfer. Whereas for moderate Peclet number, when the convection time scale gets smaller, heat/mass transfer is considerably enhanced compared to low Peclet numbers.
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