Dissertations / Theses on the topic 'Comics in translation'

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.

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.

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.

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.

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).

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.

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.

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.

Made available in DSpace on 2015-09-25T12:19:10Z (GMT). No. of bitstreams: 1 Manuela Aguiar Araujo de Medeiros.pdf: 1194624 bytes, checksum: 74a93fb7ef3ac359a92119c358fd05eb (MD5) Previous issue date: 2008-06-05
The HQ today, has occupied space in academic studies and analyses on their size and aesthetic discourse, has raised some questions regarding its composition, distribution and, especially, its reception in the contemporary (of mass culture). Thus, its high circulation has affected other disciplines such as literature, for example. This, historically thought from the library, has had meetings with fortuitous that support and its constituent speech has gone through some questions to be part of the verb-iconica language. The concept of beautiful, charming, and the ineffable feeling, that for a long time has had ressignificacions from this intertextuality. That is, with the poet aims to study how the literature in this area is studied and, hence, it is intended historical its constitution as discursive practice for, then in a second time, examine how we Laerte produces a semiotic the memory from the basic assumption that, behind the parodic duel between the poet and anti-heroes of Tiete, there is a productive dialogue between different forms discursive, held by the intersemiotic translation that allows the heterogeneity of the literary text.
A história em quadrinho, hoje, tem ocupado espaços nos estudos acadêmicos e, análises sobre sua dimensão estética e discursiva, tem suscitado alguns questionamentos em relação à sua composição, distribuição e, principalmente, sua recepção na contemporaneidade (cultura de massa). Assim, sua alta circulação tem alcançado outras disciplinas como a literatura, por exemplo. Esta, historicamente pensada a partir da biblioteca, tem tido encontros fortuitos com esse suporte e seu discurso constituinte tem passado por alguns questionamentos ao fazer parte da linguagem verbo-icônica. Dessa forma, o conceito de belo, de encantador, do inefável e do sentimento, que durante muito tempo lhe conceituou, tem tido ressignificações a partir desta intertextualidade. Ou seja, com O Poeta objetiva-se estudar de que forma a literatura neste espaço é estudada e, por isso, pretende-se historicizar sua constituição enquanto prática discursiva para, então, em um segundo momento, analisar de que forma Laerte produz uma semiótica da memória a partir da hipótese básica de que, por trás do paródico duelo entre o poeta e os anti-heróis do Tiête, existe um produtivo diálogo entre diversas modalidades discursivas, realizada pela tradução intersemiótica que possibilita a heterogeneidade do texto literário.

Made available in DSpace on 2015-03-26T13:44:29Z (GMT). No. of bitstreams: 1 texto completo.pdf: 8333727 bytes, checksum: 56fcf340c49edd46df75e179a7aa74e6 (MD5) Previous issue date: 2013-03-19
Fundação de Amparo a Pesquisa do Estado de Minas Gerais
In 2007, Fabio Moon and Gabriel Ba published an intersemiotic translation in comic of the O Alienista, Machado de Assis' tale. O Alienista by Moon and Ba shows itself as a comic book, not a magazine comic. It is a work of authorship. The legitimacy of the comics like a book and the idea that the intersemiotic translation is a means of access to the original work evidence the interdiscourse between literature and comics, and raise questions about the discursive identity of the Fabio Moon and Gabriel Ba's work. In this way, the objective of this study is to describe and explain the process of legitimizing of the comic O Alienista within the discursive institution, in order to evidence its discursive identity. It intends to show how the text of the comic book was elaborated and what the effects of meaning that this elaboration has afforded. The theoretical basis of this work is in Discourse Analysis, prominently in the Semiolinguistic Theory, of Charaudeau (2008). This study approaches points as the discursive institution, based on Maingueneau (2006); the enunciative instances of subjects, based on Charaudeau (2008) and Peytard (2007 [1983]); the semiotics of comics of O Alienista, based on Barthes (1964) and McCloud (1995); some questions about narrative comic, based on the work of Costa (2010); the constructing of character Simão Bacamarte, based again on Charaudeau (2007, 2008); and the enunciative heterogeneity in the Moon and Ba s comic book, starting from assumptions Maingueneau (1997) and Mello (2002a) as a way to seek a discursive identity for the O Alienista comic book. The results indicate that Moon and Ba create a new work by working with the language of comics, and how the identity of the O Alienista is formed from interdiscursive relation, a relation of otherness. We conclude that the comics offer many possibilities for research in discourse studies, being a diversified object of study.
Em 2007, Fábio Moon e Gabriel Bá publicaram uma tradução intersemiótica em quadrinhos d O Alienista, conto de Machado de Assis. O Alienista de Moon e Bá se mostra como um livro de quadrinhos, não uma revista de quadrinhos. Trata-se de uma obra autoral. O reconhecimento do quadrinho com o status de livro e a concepção de que a tradução intersemiótica é um meio de acesso à obra original evidenciam o interdiscurso da literatura com os quadrinhos, e suscitam questionamentos sobre a identidade discursiva da obra de Moon e Bá. Diante disso, o objetivo deste trabalho é descrever e explicar o processo de inscrição d O Alienista em quadrinhos na instituição discursiva quadrinística, a fim de evidenciar sua identidade discursiva. Trata-se de mostrar como o texto da história em quadrinhos foi elaborado e quais os efeitos de sentido que tal elaboração proporcionou. A base teórica deste trabalho se encontra na Análise do Discurso, proeminentemente na Teoria Semiolinguística, de Charaudeau (2008). O presente trabalho aborda pontos como a instituição discursiva, com base em Maingueneau (2006); as instâncias enunciativas de sujeitos, com base em Charaudeau (2008) e Peytard (2007 [1983]); a semiótica da história em quadrinhos d O Alienista, a partir de Barthes (1964) e McCloud (1995); algumas questões sobre narrativa em quadrinhos, a partir do trabalho de Costa (2010); a caracterização do personagem Simão Bacamarte, trazendo novamente Charaudeau (2007, 2008); e a heterogeneidade enunciativa na história em quadrinhos de Moon e Bá, partindo de pressupostos de Maingueneau (1997) e Mello (2002a), como forma de buscar uma identidade discursiva para O Alienista em quadrinhos. Os resultados apontam como Moon e Bá engendram uma obra nova através do trabalho com a linguagem dos quadrinhos, e como a identidade d O Alienista se forma a partir da relação interdiscursiva, numa relação de alteridade. Conclui-se que as histórias em quadrinhos oferecem muitas possibilidades de pesquisa nos estudos discursivos, sendo um objeto de estudo diversificado.

Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-20T17:53:20Z No. of bitstreams: 1 DISSERTAÇÃO-MARIANA-FINAL4.pdf: 5737383 bytes, checksum: 2bcb953047225359b3e161535aef4aad (MD5)
Approved for entry into archive by Geisa Drumond (gmdrumond@vm.uff.br) on 2017-03-22T17:09:27Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO-MARIANA-FINAL4.pdf: 5737383 bytes, checksum: 2bcb953047225359b3e161535aef4aad (MD5)
Made available in DSpace on 2017-03-22T17:09:27Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO-MARIANA-FINAL4.pdf: 5737383 bytes, checksum: 2bcb953047225359b3e161535aef4aad (MD5)
Este trabalho analisa a tradução intersemiótica do filme Django Livre (2012) para as histórias em quadrinhos, levando em conta as estratégias envolvidas na adaptação de uma linguagem para outra. Para tanto, nos amparamos nos conceitos da semiótica de linha francesa, em especial da abordagem tensiva, introduzida por Claude Zilberberg e Jacques Fontanille Na dissertação, nos reportamos tanto à linguagem cinematográfica quanto à linguagem das HQs e traçamos algumas morfologias de base de ambas para pensar nas relações de tempo e espaço, nas transições, na montagem e nas demandas que cada uma faz quanto ao preenchimento de lacunas. Entendendo o ritmo como uma alternância entre a lógica implicativa e a lógica concessiva, discutimos quais são as estratégias em jogo para uma gestão rítmica da adaptação em relação à obra original. Nessa linha, a noção de andamento, central à semiótica tensiva, ganha relevo nas análises. Enfim, pensamos em uma estratégia global que direcione certos caminhos de leitura e que compreenda uma gestão do andamento tanto na obra de partida quanto na obra de chegada. Associamos essas análises e a estratégia global delas depreendida a uma lógica mercadológica que compreende o lançamento do filme e da série de histórias em quadrinhos.
This work analyses the intersemiotic translation of Django Unchained (2012) considering the strategies involved in the adaption from cinema to comics. For this purpose, we rely on the concepts of French semiotics, especially the Tensive approach, introduced by Claude Zilberberg and Jacques Fontanille. The thesis deals with the film and the comic book, mapping core morphologies of both languages to address time and space relations, the transitions, the film editing and the gaps that each language leaves for its addressee to fill in. Understanding rhythm as an alternation of the implicative and concessive logic, we discuss how the strategies chosen will contribute to a rhythmic management of the adapted piece in relation to the original. In this sense, the notion of tempo, central to the tensive model, gains particular relevance in the analyses. We shed light on a global strategy that points to some reading paths and uncovers the rhythmic management of both original and adapted pieces. This work associates this global strategy to a business logic that links together the films and the comics releases.

Esta pesquisa consiste num estudo das três traduções brasileiras de tiras cômicas de Mafalda, criadas pelo quadrinista argentino Joaquín Salvador Lavado Tejón, o Quino, e se insere em duas das perspectivas dos Estudos Descritivos da Tradução (Holmes, 2000 [1972]): estudos de função (contextos) e de produto (textos). As três traduções foram publicadas em diferentes épocas e conjunturas, a saber: (1) as primeiras traduções das tiras de Mafalda no Brasil, realizadas na década de 1970 e publicadas pela Editora Artenova (RJ); (2) as traduções realizadas por Mouzar Benedito, em 1982, editadas por Henfil e publicadas pela Editora Global (SP); e (3) as traduções realizadas por Monica Stahel e sua equipe de tradutores, em 1991, e publicadas pela Editora Martins Fontes (SP). Investigamos esses contextos de produção e aspectos linguísticos das traduções. Ao entendermos que é inerente à linguagem das histórias em quadrinhos a combinação de elementos verbais e visuais (icônicos e pictóricos), procuramos ter em conta nas análises a anatomia relevante para a tradução (translation-relevant anatomy) proposta por Kaindl (2010), que considera, além do contexto social de produção e dos aspectos linguísticos, também elementos pictóricos e tipográficos. Na perspectiva desse autor, a tradução de histórias em quadrinhos pode ser compreendida, em suas numerosas incidências de manipulação, como um resultado das especificidades de sua tradução, bem como de sua condição social de produção e circulação. Com essas linhas diretoras em mente, estruturamos a dissertação. Num primeiro momento, procuramos identificar os elementos constitutivos da linguagem dos quadrinhos inerentes ao gênero tira cômica, no qual se inserem as tiras de Mafalda. Quanto aos aspectos contextuais, traçamos um panorama da criação das tiras da personagem, situando-a em seu contexto de publicação (suportes e datas de publicação, em relação ao momento histórico vivenciado na Argentina), e apresentamos as traduções brasileiras das tiras de Mafalda, focalizando seu contexto de produção, bem como as pessoas envolvidas nas traduções dessas tiras, isto é, as editoras e os editores que as publicaram, e os tradutores que as realizaram. Quanto ao estudo de produto, com base na taxonomia de procedimentos técnicos de tradução que Aubert (1998) adequou para examinar textos traduzidos e distâncias tradutórias entre pares linguísticos, as modalidades de tradução, estabelecemos quatorze modalidades e analisamos as traduções observando a distribuição dessas modalidades em cada uma, a fim de estabelecer um perfil descritivo e comparativo delas. Por fim, perguntamo-nos sobre possíveis vínculos entre os diferentes perfis linguísticos das traduções e dados de contexto de produção, como o perfil de cada tradutor. A presente pesquisa pretende contribuir para a historiografia da tradução espanhol-português no Brasil, bem como para os estudos descritivos de tradução de histórias em quadrinhos, um hipergênero multimodal cujas especificidades vêm recebendo atenção dentro dos Estudos da Tradução há apenas pouco mais de uma década.
This research consists in a study of three Brazilian translations from Mafalda comic strips, created by the Argentinian cartoonist Joaquín Salvador Lavado Tejón, known by his pen name Quino. The present investigation is inserted in two perspectives of Descriptive Translation Studies (DTS) (Holmes, 2000 [1972]): function-oriented (based in the context) and product-oriented (text-focused). The three translations chosen were published in different periods: (1) during 1970s, when the first version of Mafalda in Portuguese was published in Brazil by Editora Artenova (RJ); (2) in 1982, made by Mouzar Benedito and edited by Henfil, published by Editora Global (SP); and (3) in 1991, made by Monica Stahel and her team of translators and published by Editora Martins Fontes (SP). Our purpose was to investigate the contexts of production and the linguistic aspects of the translations. Since it is inherent to comics the combination of verbal and iconic elements, it was considered the analysis and the anatomy relevant for the translation (translation-relevant anatomy) proposed by Kaindl (2010), which considers more than the social background of this sort of work and the linguistic aspects, the pictorial and typographic elements. According to this author, the cartoon translation should be comprehended as a result of the specificities of each translation and its social conditions of production and circulation. The thesis was structured through these guidelines. In a first moment, it was intended to identify the main elements of comics language, the genre where Mafalda belongs. An overview of the historic and publishing settings of the character was presented. Afterwards, the Brazilian versions are listed, as well as their context of production and the professionals involved in it. To study the results, it was used the taxonomy of technical procedures of translation that Aubert (1998) created to examine translated texts and the translational gaps between linguistic pairs and modalities of translation. We established fourteen modalities and analyzed the comic strips selected observing each one of these categories, in order to establish a descriptive and comparative profile of each text studied. One of our goals is to look for links between different linguistic profiles from the translations, its contexts of production and the profile of each of its translators. We intend to contribute for the historiography of Spanish-Portuguese translations in Brazil and for the translational descriptive studies of cartoons as a multimodal genre, which specific characteristics have received attention in this field of study for not much more than a decade.

Manga, or Japanese comic books, are one of the newest popular media imports from Japan to garner a sizable following in the U.S. Shortly before the establishment of an American manga publishing industry and the investment in resources to publish manga legally, fans calling themselves scanslators or scanlators (scan + translators) began translating Japanese manga themselves and distributing it to other fans through the Internet. This dissertation focuses on the manga importation process from several different angles, comparing within each the struggles and similarities between the actions and motives of scanslators and publishers. Comparing and contrasting the practices and norms of scanslators with those of the American manga publishing industry, this case study will provide insight into the ways that fans of transnational texts are involved in a system of global media flows whose paths are determined by legal, cultural, economic, and political forces. This work focuses on three stages in the manga importation process: selection, translation, and distribution. This study is based on the textual analysis of trade journal articles and web sites, informed by interviews with scanslators and manga industry workers. I conducted interviews over a six-month period in 2008, focusing on two groups, the publishing company Tokyopop and the scanslation group "Paradise." I carried out follow-up interviews a year later. I supplemented these interviews with interviews from freelance manga translators. I demonstrate principles influencing the flow of other kinds of media across borders. Manga serves as a prime example of the rise and transformation of a genre in the book market, and more broadly as a form of media. This case also serves as a snapshot of a moment of change within the publishing industries as they move towards increased digitization.

While it has been argued in the past that organisational (re-)production of (foreign) media texts leads to a loss of creative value and that the translation robs the originals of their artistic status, this thesis argues that media are socially constructed entities that carry a multitude of voices encoded in their content and format. It thus does not focus on translation of a media text, in which a translator, re-writer and editors are involved, in terms of a textual comparison but as a practice carried out as integral part of the process of production. So are a multitude of other internal (marketing, public relations and sales) and external (laws, audiences, business environment) factors and voices. The thesis thus employes notions of polysemy to reflect on the different aspects encoded within the medium due the different approaches and interest the various areas of localisation are bound by. It thus breaks down the workflow into three different localisation stages: divided stages, during which specialists focus on singular aspects of production; the recreation of context, both in terms of the physical medium itself and the placement of it in a larger meta text; and finally the active framing and placing of the product in the local marketplace. At the end this internal focus is juxtaposed with those of external stakeholders. This approach will be framed by using organisational localisation of manga in Germany and the USA as an examplar. Following a print medium through production allows the steps to become visible since every step is accompanied by a tangible object reflecting said stage.

Qu’on la considère comme faisant partie de la langue ou à la limite de celle-ci, l’interjection a toujours attiré l’attention des chercheurs. Aujourd’hui, l’étude de l’interjection relève d’un champ de disciplines vaste, et son rôle crucial dans la communication n’est plus mis en doute : l’interjection est inscrite dans le discours, et ses fonctions y sont nombreuses. Dans ce travail de thèse, nous étudions l’interjection en tant que marque d’oralité dans un texte écrit, sur l’exemple des bandes dessinées francophones et russophones, le but étant d’appliquer les conclusions traductologiques à la théorie de l’interjection. Cette analyse contrastive permet non seulement de définir les techniques de sa traduction, allant de la traduction littérale à l’adaptation ou la compensation, mais également d’enrichir sa théorie linguistique en confirmant son caractère conventionnel, sa polysémie, sa similitude avec la phrase, et son aspect fonctionnel. En complémentarité avec l’approche linguistique et traductologique, nous nous intéressons à l’étude de la plasticité de l’interjection : la visualité étant un facteur déterminant dans la construction du sens de l’interjection qui introduit les interrogations sur la poétique de l’interjection et l’élaboration du style à travers l’interjection dans la bande dessinée. Enfin, ce travail débouche sur d'intéressantes perspectives sur la comparaison de la traduction de l’interjection dans plusieurs paires de langue : cette étude de l’interjection dans un espace traductologique élargi permettant de contribuer à repenser, dans la continuité de notre travail, la définition linguistique de ce phénomène dans les langues
Whether it is considered as part of the language or on its borderline, the interjection has always attracted the scientific attention. Today, the study of interjection includes a vast field of disciplines. Its crucial role in communication is no longer in doubt: interjection is indeed inscribed in the discourse, and its functions are diverse. In this thesis work, we study interjection as one of the marks of orality in a written text, on the example of the French and Russian comics, the aim being also to apply the translatological conclusions to the interjection theory. This contrastive analysis allows not only to define various techniques of its translation, ranging from literal translation to adaptation or compensation, but also to enrich the linguistic theory of interjection by confirming its conventional character, on the one hand, its resemblance to the sentence and its functional aspect. In complementarity with the linguistic and translatological approach, we are particularly interested in the study of the plasticity of the interjection: the visuality being a determining factor in the construction of the meaning of the interjection which introduces the interrogations on the poetics of the interjection and the elaboration of the style through the interjection. Finally, this work leads to some interesting perspectives, especially on the comparison of the translation of the interjection in several language pairs: this study of the interjection in a broader traductological space allowing to contribute to reconsider, in the continuity of our work, the linguistic definition of this phenomenon in languages

This research will seek to map the use and importation of sound symbolic forms, such as ideophones—including onomatopoeia—and interjections, into Italian through Disney comics. It will describe the slow and still on-going linguistic adaptation involved, which has been influencing the Italian language for the past eighty years by encouraging lexical experimentation and spurs of creativity on the part of Italian cartoonists and translators. Scholars tend to dismiss the topic here analysed by affirming that Romance languages have been deeply affected by Anglophonic influences, but these assumptions are rarely backed up by empirical data. Systematic studies on the creative potentials of Italian sound symbolism or on the influence of English ideophones and interjections based on an extended corpus are scarce. Similarly rare are studies on the use and function of ideophones across languages. This is a chance to look at how a single linguistic phenomenon (i.e. sound symbolism) has been moulded into a language through eight decades of assimilation and, more specifically, to study how the Italian language and Disney comics published in Italy have adapted in order to accommodate and successfully employ sound symbolic forms.

This essay discusses the translation of terms in four texts on cricket. The first aim of the essay was to identify the most appropriate translation strategy for each term based on Niska and Frøili’s (1992:361) six translation strategies. Their strategies were complemented by considerations of equivalence and Swedish grammar and language structure. The identified terms were divided into the categories Players, Field & Equipment and Rules & Scoring and the second and third aims of the essay were to investigate if a particular translation strategy was more commonly used for all the cricket terms, as well as if a particular translation strategy was more frequently used for a specific category. This information can aid translators in the decision making when translating new cricket terms. The result showed that direct transfer and translation of an explanation of the source term were more frequently used, sometimes in a combination in the form of a translation doublet. With regards to the three categories, direct transfer was used in the majority of term translations in the category Rules & Scoring, while the strategies were more evenly distributed for the other two categories. No reliable conclusions can be drawn from the results in this essay as a much larger sample would be required. It may, however, be an indication of that certain translation strategies are more applicable in the translation of cricket terms and can be used as a starting point for future studies.

O presente trabalho analisa a formação de identidades culturais a partir da tradução das histórias em quadrinhos. Investigamos como se dá o processo de conhecimento do outro, ou seja, do estrangeiro, no original e na tradução, a partir da relação entre a imagem e o texto presentes na série de quadrinhos francesa Le photographe. A obra, que mescla texto, desenhos e fotografias, foi composta por três autores, a saber: Emmanuel Guibert, quadrinista responsável pelos desenhos, Didier Lefèvre, fotojornalista autor das fotografias, e Frédéric Lemercier, editor encarregado da diagramação das páginas. Dividida em três volumes, a série resulta do trabalho desenvolvido por Lefèvre junto à organização Médicos Sem Fronteiras, que o contratara para cobrir uma missão da instituição no Afeganistão em 1987, durante a guerra desse país contra a U.R.S.S. Publicados na França entre 2003 e 2006 e no Brasil de 2006 a 2010, respectivamente, Le photographe e O fotógrafo constituem um rico material para análise graças à simultaneidade de discursos: o documental e o quadrinístico, tendo em vista a representação da cultura do outro, isto é, do povo afegão, em dois contextos socioculturais distintos: o francês, no original, e o brasileiro, na tradução. Apresentamos algumas características acerca da composição da obra, em que o uso das fotografias em conjunção com os desenhos revela o desenvolvimento de um estilo inovador no contexto da linguagem dos quadrinhos. Isso fica evidente quando analisamos os trabalhos de teóricos que já investigaram a constituição da narrativa quadrinística, como os de Eco ([1965]2008) e McCloud (2005), trabalhos nos quais se destaca a questão da relação de continuidade entre os quadros e as páginas. Nosso trabalho, contudo, expande essas reflexões e propõe uma nova perspectiva de análise da enunciação das histórias em quadrinhos, pois observamos a constituição de uma unidade entre os signos no nível da leitura, que chamamos de unidade plurissemiótica, elemento que influencia o processo de tradução dessa forma de linguagem. Como a representação da cultura do outro se configura a partir da relação de complementaridade entre fotografia, desenho e texto, a análise da tradução dessa obra põe em relevo questões como a alteridade, a identidade, o contraste e a semelhança entre as três culturas envolvidas na criação e leitura da obra: a francesa, a afegã e a brasileira. Nesse sentido, exploramos as contribuições de diversos estudiosos que se dedicaram à investigação da representação cultural na tradução, dentre eles Venuti (1998) e Aubert (2006), para chegarmos à concepção das noções de marcador cultural verbal, icônico e verbo-icônico, tendo em vista a especificidade do processo de tradução dos quadrinhos. As análises realizadas partem da relação de complementaridade entre os códigos verbal e imagético e de como essa relação entre os signos constrói um conhecimento sobre o outro no original, que se transforma na tradução; dessa forma, o desenvolvimento de conceitos específicos relacionados a esse tipo específico de tradução, como a unidade plurissemiótica e os marcadores culturais verbais, icônicos e verboicônicos, coloca em relevo a sua singularidade.
This work analyzes the formation of cultural identities in the translation of comic books. We investigate how the process of knowledge of the other, that is, the foreigner, in the original and in the translation, is created from the relationship between image and text present in the French comic book Le photographe. This graphic novel, which combines text, drawings and photographs, was composed by three authors: Emmanuel Guibert, cartoonist, Didier Lefèvre, photojournalist, and Frédéric Lemercier, editor in charge of the pages layout. Divided into three volumes, the series is a result of the work developed by Lefèvre with the organization Médecins Sans Frontières, that had hired him to cover a mission of the institution in Afghanistan in 1987, during that country\'s war against U.R.S.S. First published in France between 2003 and 2006 and in Brazil from 2006 to 2010 respectively, Le photographe and O fotógrafo constitute a rich material for analysis thanks to the simultaneity of discourses: the documentary and the comics, in view of the representation of the culture of the other, that is, of the Afghan people, in two distinct sociocultural contexts: the French, in the original, and the Brazilian, in the translation. We present some characteristics about the composition of the work, in which the use of photographs in conjunction with drawings reveals the development of an innovative style in the context of comics language. This is evident when we analyze the contributions of theorists who have already investigated the constitution of the comic book narrative, such as those of Eco ([1965] 2008) and McCloud (2005), in which the question of continuity between panels and pages is emphasized. Our work, however, expands these reflections and proposes a new perspective of analysis of comic books enunciation, since we observe the constitution of a unity between the signs at the reading level, which we call plurissemiotic unity, element that influences the translation process this media. Since the representation of the culture of the other is based on the complementary relationship between photography, drawing and text, the analysis of Le photographe translation highlights issues such as alterity, identity, contrast and similarity between the three cultures involved in creation and reading of the graphic novel: the French, the Afghan and the Brazilian. In this sense, we explore the contributions of several scholars dedicated to the research of cultural representation in translation, among them Venuti (1998) and Aubert (2006), to develop the notions of verbal, iconic and verbal-iconic cultural markers, in view of the specificity of comic books translation process. The cases analysed are based on the relationship between the verbal and imagetic codes and on how this relationship between these signs constructs a knowledge about the other in the original, which is transformed in the translation; in this way, the development of specific concepts related to this specific type of translation, such as the plurissemiotic unity and the verbal, iconic and verbal-iconic cultural markers, highlights its uniqueness.

With comic books living a period of unparalleled appreciation, finally being recognized as a valid medium and not just as an entertainment outlet of little value, this dissertation sets to analyze and translate one of the major comic books in Italian history: Cocco Bill by Benito Jacovitti. With his inventive mind, the author gave birth to an extraordinary work that was never published abroad due to its multiple translation challenges.

Les silences d’une œuvre musico-littéraire telle que Coming Through Slaughter participent à l’esthétique jazzistique du roman tout en représentant un défi de taille pour les traducteurs vers le français. Cette thèse a pour objet l’étude du traitement, par les deux traducteurs du roman ondaatjien, d’une part des silences rythmiques qui fragmentent le texte pour lui conférer une mélodie et un rythme textuels et, d’autre part, des silences sémantiques au service de l’esthétique jazzistique qui, au moyen de la parataxe, de l’ellipse et du gérondif, figurent textuellement, non seulement le jazz, mais aussi un de ses pères, le célèbre cornettiste Charles « Buddy » Bolden. En usant d’un métalangage musical pour décrire les stratégies traductives des deux traducteurs francophones du premier roman ondaatjien, Robert Paquin, d’abord, au Québec, en 1987, puis Michel Lederer, en France, en 1999, cette analyse examinera le rapport entretenu par l’interprétation herméneutique des deux professionnels avec leur interprétation musicale du texte. Ce faisant, l’objectif sera de démontrer les propriétés performatives de l’acte traductif lorsque le texte traduit se rattache aux œuvres musico-littéraires en général et aux romans jazzistiques en particulier
Silences of such a musico-literary work as Coming Through Slaughter contribute to the jazzistic aesthetics of the novel while representing quite a challenge for the French translators. This thesis aims at studying how the two translators of the Ondaatjian novel dealt on one hand with the rhythmical silences which fragment the text and create its melody and its rhythm and, on the other hand, with the semantic silences of the text, part of its jazzistic aesthetics which by use of parataxis, ellipsis and gerund, recreate on a textual level, not only jazz, but also one of his fathers, famous cornet player Charles “Buddy” Bolden. By using a musical metalanguage in order to describe the translation strategies that both Francophone translators of the first Ondaatjian novel, Robert Paquin, in Québec, in 1987, and then Michel Lederer, in France, in 1999, used, this analysis will look at the relationship between the two professionals’ hermeneutic interpretation and their musical interpretation (in a performative sense) of the text. In so doing, the objective will consist in proving the performative characteristics of the translation act when the translated text belongs to musico-literary works in general and to jazzistic novels in particular

A presente pesquisa tem por objetivo investigar estratégias para a formação do leitor literário a partir da leitura de obras literárias adaptadas em quadrinhos. O enfoque desse estudo está na recepção da Literatura em Quadrinhos por leitores/alunos dos primeiros anos do Ensino Fundamental II, tendo por objeto a leitura da obra Sr. William Shakespeare teatro, de Marcia Williams. Considerando as atuais pesquisas no campo do ensino da língua materna, verifica-se que inúmeros têm sido os desafios e dilemas na formação de leitores proficientes. As práticas sociais de leitura na sociedade contemporânea demandam do leitor habilidades e competências sobre variadas linguagens, códigos e formas de expressão reunidas, muitas vezes, em um único texto, veiculado sob os mais variados suportes e mídias. Em um cenário composto por textos e linguagens híbridas e múltiplas, cabe o questionamento sobre quais são os saberes e competências necessários para que o aluno alcance efetivamente o objetivo da leitura, isto é, a construção de sentidos. Imbricadas na mesma obra, a Literatura, arte da palavra, e a História em Quadrinhos, arte sequencial, formam um texto intersemiótico rico em possibilidades de percursos para o leitor em formação, além de constituírem um campo propício à iniciação estética. Partindo dessas reflexões e hipóteses, este estudo pretende investigar a interação do leitor com a(s)obra e o(s) autor(es) a fim de refletir sobre aspectos sócio e metacognitivos da leitura. Pretende-se contribuir com as discussões sobre formação do leitor literário e a relevância de determinadas obras e linguagens nesse processo. Para tanto, neste estudo de caso, propõe-se a investigação por meio de questionários, diário de leitura e protocolo verbal para subsidiar o conhecimento e a reflexão sobre o processo de leitura da literatura em quadrinhos.
The purpose of this research is to investigate strategies to promote the formation of literary readers through the reading of literary works adapted into Comic Books. This study focus on the readers/students first contact with Literature in Comic Books at the beginning of their secondary school, aiming at reading the book Sr. William Shakespeare teatro, by Marcia Williams. Considering present researches in the field of mother tongue teaching, its been verified that there are many challenges and dilemmas in the formation of proficient readers. Reading social practices in contemporary society demand abilities and competences from the reader on various fields, codes and means of expression all together, many times, in only one text, in the most varied formats and media. In a scenario formed by texts and multiple hybrid means of expression, there is space for the questioning about which knowledge and competences are needed for the student to effectively achieve the aim of reading, in other words, the building of meaning. Interwoven in the same piece of work, the literature, the art of vocabulary usage, and the Comic Books, sequential art, create an inter-semiotic text, rich in possibilities to the developing reader, besides being a propitious field to the esthetic initiation. Starting from these considerations and hypothesis, this study intends to investigate the interaction between the reader, the work and its authors in order to reflect upon socio and meta-cognitive reading aspects. It is intended to contribute to the discussions about the literary reader formation and the relevance of specific works and forms of expression in this process. To do so, this case study has proposed the investigation through the use of questionnaires, reading diaries and verbal protocol to subsidize the knowledge and thought about the Literature in Comic Books reading process.

碩士
輔仁大學
翻譯學研究所在職專班
98
Conventional approaches to translation performance assessment often focus on the fidelity and fluency of translations. The results of these assessments are drawn from assessors’ subjectivity and may lack significance in the practical field. This study aimed at assessing comic translation performances from readers’ points of view in order to provide translators with practical knowledge of readers’ preferences. The corpus consisted of ten randomly selected volumes of the 2006 bilingual edition of Garfield comics published by Shuang Da publishing house, translated into Chinese by Ding-Qi Zhang. The comic strips were classified into categories of universal, cultural, and linguistic humor, and were examined for the translation strategies used, namely direct translation, annotation, and paraphrasing. One comic strip from each category of humor was then selected and translated into three versions using the above translation strategies. These translated versions of comic strips were made into questionnaires and participants were asked to provide a score for these comic strips according to their reading pleasure preferences. The quantitative data of preference scores were examined for their correlations with the humor categories and translation strategies. The relationships between the three were also inspected. The major findings were as follow: 1. From the present corpus, 86% of the universal humor is translated directly, while only 18% of the cultural and linguistic humor is directly translated. 2. A significant effect of humor categories on reader preferences was found, showing that readers hold a stronger preference towards universal humor. 3. A significant effect of translation strategies on reader preferences was found, showing that readers hold a stronger preference towards paraphrasing and direct translation. 4. A significant interaction between humor categories and translation strategies was found, showing that readers prefer direct translation for universal humor, paraphrasing for cultural and linguistic humor. 5. Comprehension was found to be the top priority factor that governs readers’ reading preferences and that excessive interpretation from the translator was found unnecessary. 6. Direct translation was sufficient to translate universal humor in terms of humor comprehension, but insufficient to translate cultural or linguistic humor.

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.

The thesis contributes to the theory of translation of comics. In the first part, it outlines the development of both German and Czech comics and defines individual aspects of comics translation, taking into account not only language but also images and typography. Regarding language, the thesis looks specifically at balloons, captions, and other characteristics playing an important role in translation, such as interjections, inscriptions etc. The thesis also addresses the interdependence of language and visual messages in comics, which is the typical source of comic effects. Apart from the requirements on comics translations set within translation studies, the thesis also presents the attitudes of publishers and their editorial practices. Based on questionnaires distributed among publishers, we can conclude that they adopt a comprehensive attitude to translation of comics, not only taking into consideration balloons and captions, but also creating favourable conditions to meet the translation studies requirements. Based on the general findings, the thesis analyzes two translations of German comics into Czech. The analysis of their language aspects employs Katharina Reiß's model, images and typographic aspects are analyzed using Delabastita's model. The analyses show considerable differences in...

This paper addresses the issues inherent in comics translation, with specific regard to the translation of Japanese manga into English. In North America, the norms of manga translation have undergone several radical shifts in the past few decades, with strong preference being shown alternately for domesticating and foreignizing translations. Such paradigm shifts suggest differences between readerships, which have a strong influence on translators’ and publishers’ decisions. This understanding of the current translation situation then provides the backdrop for a novel method of translation that is centered around an initial textual analysis, which is itself rooted in a form-focused understanding of the comics medium. This understanding of the medium also sheds light on some of the translation issues specific to the Japanese context, particularly those of flopping and treatment of onomatopoeia. At all points in the translation process, the translator must keep in mind that comics is a medium that utilizes multiple overlapping, intertwining sign-systems, which can only be translated effectively when considered in relation to one another. The paper concludes with two short manga translations, which represent the culmination of these ideas.

Este trabalho de projecto teve como objectivo criar uma pequena estrutura que me permitisse realizar, de forma autónoma, a tradução de obras de mangá para português, de maneira a oferecer aos leitores portugueses um modo de usufruir deste género na sua própria língua. A mangá é um género de banda desenhada de origem japonesa que desperta o interesse de milhões de pessoas em todo o mundo. A tradução de obras de mangá obedece a regras próprias e implica conhecimentos aprofundados de cultura japonesa, das particularidades do género e de técnicas de tradução de banda desenhada. Numa primeira fase, planeei e concretizei um website dedicado ao género. O website recebeu a visita de muitos leitores de mangá e foi a base para a segunda fase do projecto, que implicou um inquérito para saber os gostos e interesses dos leitores, para melhor adaptar a escolha das traduções a realizar ao mercado português. A terceira fase consistiu na recolha de informações sobre como adquirir licenças para tradução e publicação de mangá e como recriar graficamente a banda desenhada em português. Investiguei ainda os problemas comuns da tradução deste género. Por fim, apliquei os conhecimentos adquiridos para realizar a tradução de uma obra de mangá de inglês para português: Magical Mirage, de António Lopes. Este trabalho de projecto pôs-me em contacto com editoras japonesas e portuguesas, com autores de várias nacionalidades e com muitos leitores, para lá de ter implicado a criação de um website dedicado à mangá e à cultura japonesa que será útil e interessante para todos os leitores portugueses interessados no tema. Desta forma, obtive não só os conhecimentos necessários, como tenho uma importante ligação aos futuros leitores das traduções que irei realizar. Este trabalho de projecto deixa-me, assim, preparada para trabalhar de forma autónoma e produtiva na tradução de mangá para português.
The objective of this project was to create a small framework that would allow me to carry out, autonomously, the translation of manga works into Portuguese, in order to offer Portuguese readers the opportunity to enjoy this genre in their own language. Manga is a type of comic strip of Japanese origin that is popular with millions of people all over the world. The translation of manga works follows its own set of rules and involves an in-depth understanding of Japanese culture, of the specific characteristics of the genre, and of techniques for the translation of comic strips. In the first phase of the project, I planned and created a website dedicated to the genre. The website was visited by many manga readers and was the basis of the second phase of the project, which involved a questionnaire to find out the tastes and interests of the readers, to better adapt my translation choices to the Portuguese market. The third phase involved gathering information on how to obtain authorisation for the translation and publication of manga, and how to recreate the comic strip graphically in Portuguese. I also researched the common problems encountered in the translation of this genre. Finally, I applied the knowledge I had gained, in order to carry out the translation of a manga work from English to Portuguese: Magical Mirage, by António Lopes. This project put me in touch with Japanese and Portuguese editors, with authors of various nationalities and with many readers, besides having led to the creation of a website dedicated to manga and Japanese culture, which will be useful and interesting for all the Portuguese readers interested in this topic. Consequently, not only have I obtained the required knowledge, but I have also gained an important connection with the future readers of the translations that I will create. This project, therefore, has prepared me to work autonomously and productively in the translation of manga into Portuguese.

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.

(in English): The present thesis titled Translation of francophone comics deals with the subject matter of comics translation, while applying both a theoretical and an empirical approach. Particular attention is paid especially to translations from French into Czech. Regarded the fact that Czech science has only scarcely studied the subject so far, the present thesis is conceived as a global introduction to the subject matter with particular focus on some of its partial aspects. The introduction to the theoretical part of the present study defines the main characteristic features of comics as a medium, as these features are closely linked to the particular challenges raised by its translations. The key chapters of the theoretical part go further to the core of the principal subject and focus on setting a general theoretical framework for translation analysis of specific problems linked with comics translations. The most common challenges faced by a comics translator are identified based on the defined characteristics of the Ninth Art and systemized in three main groups defined as technical, cultural and linguistic aspects of translation. While translating comics from French into Czech, the translator's work is also influenced by the radical differences in approaches to the Ninth Art in the Czech...

La présente recherche porte sur la traduction de la bande dessinée. Ce sujet, auparavant négligé par les traductologes, commence à susciter l’intérêt des chercheurs à partir les années 80. Toutefois, la plupart des travaux se sont concentrés sur l’aspect linguistique des BD. Ce mémoire, par contre, aborde la bande dessinée comme un texte multimodal. Il s’inscrit ainsi à la croisée des domaines de la traduction et de la multimodalité telle que proposée dans les travaux de Gunther Kress et Theo Van Leeuwen (2001). L’objectif de cette recherche est d’implanter un outil d’analyse pour la bande dessinée qui permettrait de rendre compte des différents modes intervenant dans le texte. Cet outil, conçu pour la présente recherche, a été développé à partir des travaux de Hatim et Mason (1990, 1997) sur les trois dimensions de la situation de communication : transaction communicative, action pragmatique et interaction sémiotique. L’analyse menée ici porte sur la traduction vers le français de la bande dessinée argentine Mujeres alteradas de Maitena Burundarena, parue sous le titre de Les déjantées.
The present research deals with the translation of comics. This topic, long time neglected by translation scholars, has started to attract researchers from the 80s. The research on the subject, however, has focused mainly in the linguistic aspect of comics. This paper, on the other hand, deals with comics as multimodal texts. It is thus at the cross-roads of both Translation Studies and Multimodality as defined by Gunther Kress and Theo Van Leeuwen (2001). The aim of this research is to apply a tool which allows to describe the different modes contained in the text. This tool, created for this research, is based on Hatim and Mason’s (1990, 1997) Three Dimensions of Context : Communicative Transaction, Pragmatic Action and Semiotic Interaction. This paper studies the French translation of Mujeres alteradas, an Argentinian comics created by Maitena Burundarena and published in France as Les déjantées.

碩士
東吳大學
日本語文學系
93
Abstract After it enters the 20th century, the translation becomes more important for the globalization of the world. Therefore, the research of the translation is valued more than old times, and has been expected. A lot of Japanese comics are published in Taiwan. Most of Taiwanese sees a Japanese comic and a Japanese animated cartoon about once. Especially, Japanese comics win large support in young person's layer. The influence of Japanese comics on Taiwanese society is large. I make the best use of the experience of the current comic translation, and submit four "Policy of the comic translation". It is "Do not stick to formalities", "Value the characteristic of the character", "Value fluency", and "Value the relation between the picture and the sentence”. Moreover, I thought about the cause of the mistranslation. I think that there are five causes. "Translator's Japanese ability is insufficient", "Translator's translation ability is insufficient", "Information is insufficient", "Careless mistake", and "The translator changes the content without permission". When the translator translates the comic, I think that the most difficult one is "How to express the feature of the character". There are too a lot of losses of information about peculiar tone etc. when the translator translates. Because the story of the comic is composed by the character ,so the feature of the character is equal also to the soul of the story. However, there is a loss in case of almost., so the translator should make an effort more.

碩士
國立高雄第一科技大學
應用英語所
94
ABSTRACT The overall purpose of this study is to understand the challenges of translating humorous texts in comic strips. First, I used the skopos theory and the concept of communicative translation to check whether comics translations in The China Post have met with these requirements. After that, Attardo’s (2002) General Theory of Verbal Humor (GTVH) is adopted to assess the translations of comic strips gathered from The China Post and examine the joke similarity between the source language (SL) and the target language (TL) texts. GTVH is a theory that allows us to relate joke differences between SL and TL to six hierarchically ordered Knowledge Resources (parameters); namely, Language, Narrative Strategies, Target(s), Situation, Logical Mechanism(s), and Script Opposition(s). Based on this metric of joke similarity, we evaluate how much a translated joke differs from the source joke. A combination of qualitative and quantitative analyses is adopted in this study. The qualitative analysis aims to investigate erroneous translations, loss of integrated verbal messages, loss of nonverbal messages, faulty translations of onomatopoeic words, and technical problems and errors. The results of the analysis show that there are a variety of challenges confronting the translators of comic strips, such as insufficient background knowledge of socio-cultural issues, onomatopoeia problems, as well as the technical problems of space limitations and time constraints. Examples are given to illustrate the problems derived from these challenges and solutions are raised to exemplify the model of dynamic (or functional) equivalence and communicative translation. iv The quantitative analysis is conducted to compare the joke similarity between the source language text and the target language text. Schmitz’s (2002) classification of humorous discourse and Attardo’s (2002) General Theory of Verbal Humour are applied in this analysis. The result of the quantitative analysis indicates that comic strips like Dilbert, Peanuts frequently use universal and cultural jokes, and their translations show a higher accuracy, compared to the translations of other types of comic strips. The SL and TL text of the these two comic strips also show higher joke similarity, compared to those of other comic strips. In addition, the highest percentage of the good quality translations of lingusitc jokes is found in BC and Mother Goose. Thus, the translation instructor could extract the good translation samples from Dilbert, Peanuts, BC, Beetle Bailey, and Mother Goose when they want to teach students the translation of jokes. In short, this study, though limited to its subjects and size of samples, has shed some light on the evaluation of the translation of comic strips in the newspaper. The tentative findings of this study are expected to provide inspirations for future researchers to conduct similar studies or find more refined and more generalized results. Key words: comic strips, translation of humor, dynamic equivalence, functional equivalence, communicative translation, Skopos Theory, General Theory of Verbal Humour

碩士
國立臺灣師範大學
翻譯研究所
94
Based on the commentary of the published Chinese translation of The Coming of the Book, which was in turn translated from L’Apparition du livre by Lucien Febvre and Henri-Jean Martin, the thesis provides a general review of all peer translations available in Taiwan and originating from other writings by either Febvre or his fellow historians belonging to the Annales School, and focuses on the methods and ideal results of translating Latin nouns and Catholic names into Chinese phrases. The explicitation and coherence-shifting arising from the English-Chinese translations of conjunctive expressions are also discussed, preceding an overall self-reflection on the translator’s working strategy, which may serve as preliminary advice for those about to translate Annales-styled historical texts into Chinese.

碩士
輔仁大學
跨文化研究所翻譯學碩士在職專班
105
The purpose of this study was to investigate the phenomena of pun translation in comic strips in the China Post and examine their translation strategies. Because comic translation is the combination of text and pictures, both non-verbal signs（pictures）and verbal（puns）are essential factors that need to be considered when translating. In consideration of the constraints, the translation approaches applied for pun translation in comic strips to achieve the function of entertaining the readers are worth investigating. Pun-related samples were extracted from comic strips together with Chinese translations posted every day in the China Post dated from April 1, 2015 to March 31, 2016（160 tokens）.The study was organized into three perspectives, including homophones, homonyms, and footnotes（translator’s notes）. The aim was to observe the difficulties in the translation process and the factors that affect the translators’ decisions in adopting different strategies. It is concluded that probably due to the English-Chinese format of the comic strips, translators mostly adopt literal translation to be faithful to the source text. Pictures of the comic strips are often ignored and therefore the humorous effects sometimes vanish. In addition, footnotes（translator’s notes）were added to explain or compensate for the ambiguity, which the target texts could not present. Finally, the study concludes with some workable suggestions of translation strategies, and possible future research related to pun translation of comics.

碩士
輔仁大學
跨文化研究所翻譯學碩士班
100
Abstract The thesis studies the translation of political texts and explores how translation is shaped and influenced by the ideology of the target society, especially when the ideology of the source text conflicts with that of the target society. The text chosen for research is The Coming Conflict with China by two journalists, Richard Bernstein and Ross H. Munro. The book advocates a tough stance towards China and is widely accepted as reflecting the essence of the China Threat Theory. The book was translated separately in China and Taiwan, and published by Xinhua and Rye Field respectively. Given the different or even contradicting ideologies of the source text and the target societies, the source text and the two Chinese translated texts serve as an interesting case, revealing how ideological differences are dealt with in translation activities. The thesis begins with a comparative analysis of the content of the three texts. In translating paragraphs regarding human rights, Taiwan, Tibet, Hong Kong and the Chinese Communist Party, the Xinhua version uses omissions and revisions, while the Rye Field version keeps close to the source text. The different treatment highlights the ideological divergence between the two societies. The thesis then proceeds to analyze the elements of paratext in the translated texts. The analysis suggests that paratext plays an important role in reconciling the foreign ideologies and reinforcing the dominating ideologies of the target society. The thesis also uses the concept of semiotics to analyze how the rising China, as a sign, has been constructed in the source and translated texts. The Xinhua version projects a more rational and peaceful China, whereas the Rye Field version depicts a more aggressive and dangerous China. The thesis concludes that in the translation of political texts, political correctness takes priority over any other considerations. In the case of The Coming Conflict with China, the dominating ideology of the target societies actually has a powerful influence on the translation.

Dissertação de Mestrado em Tradução apresentada à Faculdade de Letras
Se hoje a banda desenhada é reconhecida e valorizada, foi considerada durante muito tempo como uma literatura marginal que não despertava o interesse dos críticos literários. Mas aos poucos tornou-se num objeto de estudo bastante interessante na área da cultura, da tradução, da semiologia.... Começaram-se a organizar exposições, reuniões de humoristas, festivais, conferências, à volta da banda desenhada o que permitiu valorizá-la. A banda desenhada tem a vantagem de conseguir atingir qualquer geração. Todos nós já tivemos oportunidade de ler uma, não obrigatoriamente um álbum completo, mas pode ter sido apenas uns quadradinhos num jornal qualquer. Hoje em dia, está presente na maior parte das casas pelo mundo fora. A banda desenhada é um suporte que permite tratar de qualquer tema, desde o desporto à política passando pela guerra. Também cria personagens, heróis, que o público gosta de acompanhar ao longo das suas aventuras tal como Tintim, Astérix, Lucky Luke e tantos outros. Para conseguir dar uma definição de banda desenhada, Eric Dacheux cita Benoît Marchard, diretor artístico do ‘Festival da banda desenhada’ de Angoulême em França. As suas palavras são as seguintes: dans la civilisation de l’image qui est la nôtre, [la bande dessinée est] l’un des moyens les plus sûrs de déchiffrer le monde (...) (Dacheux, 2009 :2). Se permite decifrar o mundo, também necessita ser decifrada, e traduzida, para ser percebida por todos. Porém, Celotti refere que só a partir dos anos 2000 a banda desenhada entra nas enciclopédias de tradução; em 2008 é publicado o primeiro volume dedicado à tradução da banda desenhada e ao contexto sociocultural em que é produzida. Na verdade, a banda desenhada é um material de estudo bastante amplo para quem se interessa pela tradução porque levanta uma multiplicidade de questões e apresenta diversos problemas. Durante muito tempo apenas eram publicados artigos, estudos, etc, que tratavam dos aspetos linguísticos como as referências culturais, o humor, os trocadilhos, os nomes próprios, etc. Mas, tal como refere Celotti, traduzir bandas desenhadas também cria problemas causados pelas especificidades da sua construção, não só linguística como até formal e material: desenho, cor, elipse, forma dos quadradinhos, dos balões, da formatação... fazem parte das dificuldades com as quais o tradutor tem que lidar (Celotti, 2012 :4). Tal como explica Yuste Friás: [quand] on traduit, on vit toujours dans le monde des images. Le traducteur ne traduit jamais des langues ni des mots mais toujours les imaginaires véhiculés non seulement par les images mentales implicites dans le texte, mais aussi par les images matérialisées dans le péritexte iconique, qu’il soit fixe ou animé (Yuste Friás, in Le tour du monde d'Astérix, 2011 :255).A imagem faz parte integrante da banda desenhada; por conseguinte, o trabalho do tradutor não se limita apenas a passar um texto de uma língua para outra, mas também a interpretar e traduzir os elementos paratextuais que compõem o imaginário presente em cada quadradinho. O tradutor tem, por isso, que compreender e conhecer as referências culturais ou linguísticas que se manifestam nos desenhos, sejam elas nomes de pratos, de personagens ou outra coisa qualquer. Terá também de escolher as técnicas que lhe vão permitir realizar uma tradução que considera a mais adequada. É nesse contexto que o conhecimento teórico serve de grande apoio para o tradutor que pode recorrer e fundamentar o seu trabalho nos diferentes pensamentos dos grandes nomes que fizeram evoluir a teoria da tradução. Quando aparecem as teorias funcionalistas, a maneira como a tradução era pensada muda. O livro Stylistique comparée du français et de l’anglais, de Jean-Paul Vinay e Jean Darbelnet, teve um grande impacto no estudo da tradução e serviu de base para numerosos estudos nesta área. Este modelo refere duas estratégias: a tradução direta e a tradução oblíqua. Mas também sete procedimentos: o empréstimo, o decalque, a tradução literal, a transposição, a modulação, a equivalência e a adaptação. Ambos servem para perceber e justificar as escolhas do tradutor quando passa de uma língua para outra. Vinay e Darbelnet realçaram também a diferença entre obrigação e opção. A obrigação corresponde às transposições ou modulações que são obrigatórias por causa de uma diferença entre os dois sistemas de línguas. A opção refere-se às modificações opcionais que podem ser causadas pelo estilo e a preferência do tradutor que pode decidir amplificar ou explicitar um termo ou mudar a ordem das palavras quando traduz. Segundo a opinião dos dois autores, a opção tem que ser a principal preocupação do tradutor. Os procedimentos e as estratégias apresentadas por Vinay e Darbelnet fundamentaram a análise das escolhas tradutivas observadas na tradução dos álbuns que compõem o corpus deste trabalho. Um outro grande nome no estudo da tradução é o de Friedrich Schleiermächer que salientou a importância da cultura na tradução.
If today the comic book is recognized and valued, it was considered for a long time as a marginal literature that didn't wake up the literary critics' interest. But gradually it became a quite interesting object of study in the cultural field, translation, semiology… Exhibitions of comic books started to be organized, humourists’ meetings, festivals, conferences, which led to its valorisation. Comic books have the advantage of being able to reach any generation. We’ve all had the opportunity to read one, not necessarily a complete album, or even just a strip on a newspaper. Nowadays, it is present in most houses all around the world. The comic book is a format that allows one to address any subject matter, from sports to politics and even war. it also creates characters, heroes, that the public loves to follow alongside in their adventures just as Tintim, Astérix, Lucky Luke and so many others. To be able to give a definition of comic book, Eric Dacheux mentions Benoît Marchard, artistic director of the “Comic Book Festival” of Angoulême in France. Quoting his words: dans la civilisation de l’image qui est la nôtre, [la bande dessinée est] l’un des moyens les plus sûrs de déchiffrer le monde (...) (Dacheux, 2009 :2). If it allows one to decipher the world, it also needs to be deciphered, and translated, so it can be understood by all. However, Celotti states that only in the 2000s comic books entered in the translation encyclopedias; In 2008 is published the first volume dedicated to the translation of the comic book and the sociocultural context in which it is produced. Actually, the comic book is a fairly broad study material for those who are interested in translation because it raises multiple questions and presents several problems.For a long time only articles, studies, etc. were published that handled its linguistic aspects such as the cultural references, the humour, the puns, the proper names, etc. But, just as Celotti refers, translating comics also raises problems caused by the specifics of their construction, not only linguistic but also formal and material: drawings, colour, ellipse, forms of the panels, of the balloons, of the formatting... they are part of the difficulties that the translator has to deal with (Celotti, 2012 :4). Just as Yuste Friás explains, [quand] on traduit, on vit toujours dans le monde des images. Le traducteur ne traduit jamais des langues ni des mots mais toujours les imaginaires véhiculés non seulement par les images mentales implicites dans le texte, mais aussi par les images matérialisées dans le péritexte iconique, qu’il soit fixe ou animé (Yuste Friás, in Le tour du monde d'Astérix, 2011 :255). The image is an integral part of the comic book; consequently, the translator’s work is not limited to changing a text from a language to another, but also to interpret and to translate the paratextual elements that make up the imaginary present in each panel. The translator must, therefore, understand and to know the cultural or linguistic references that are showed in the drawings, whether they are names of plates, of characters or any other thing. Translators will also have to choose the techniques that will allow them to accomplish a translation that is considered to be the most appropriate. It is in this context that theoretical knowledge serves as a great support to the translator who can appeal and base his work in the different thoughts of the great names that evolved the theory of translation.When the functional theories appear, the way the translation was thought changes. The book Stylistique comparée du français et de l’anglais, of Jean-Paul Vinay and Jean Darbelnet, had a great impact in the study of translation and it served as base for numerous studies in this area. This model refers two strategies: the direct translation and the oblique translation. But also seven procedures: Loan, decal, literal translation, transposition, modulation, equivalence and adaptation. They both serve to perceive and justify the translator's choices when he goes from one language to another. Vinay and Darbelnet also enhanced the difference between obligation and option. Obligation corresponds to the transpositions or modulations which are mandatory because of a difference among the two language systems. Option refers to the optional modifications that can be caused by the style and the translator’s preference who can decide to amplify or clarify a term or change the words order when translating. According to the two authors' opinion, option has to be the translator's main concern. The procedures and the strategies presented by Vinay and Darbelnet They substantiated the analysis of the translation choices observed in translating the albums that compose the corpus of this work.

ABSTRACT Framed by the experiences of the creation process of Coming To, this study aims to articulate the integral role of the performer’s personal archive within Physical Theatre practice. As such it investigates the notion of Physical Intelligence and its role in the engagement of the performer’s experiences and history within improvisational processes. This investigation constructs a theoretical frame that allows for a reformulation of the understanding of the mind - body relationship. With reference to the areas of phenomenology, somatics and somatic body work this research argues for an integrated body-mind that recasts ‘thought’ and ‘memory’ as embodied processes. It interrogates the notion of the ‘body as archive’ by exploring the bodily roots of memory, examining the central role of Physical Intelligence in the way memory is inscribed into the body-mind. It sutures this body-mind integration perspective with a constructionist perspective to explore the ways in which memory, or experience, is layered in and manifest through the body in complex ways. Weaving together the scholarly and experiential voice, the study explores the way in which Physical Theatre processes rely on and harness the performer’s Physical Intelligence and in so doing inherently enable the ‘excavation’ of personal archives. Through an analysis of the multiple layers of embodied inscription in Coming To and their relationship to ‘technique’, the research makes explicit the principles that implicitly underscore the creation of Physical Theatre works and reveals the extent to which personal archives determine the unfolding of such devised work.

碩士
銘傳大學
應用日語學系碩士班
99
To begin with, Taiwan and Japan are not only located close to each other but have frequent intercultural exchange. Taiwan has been influenced deeply by Japanese subculture. onomatopia is considered of a distinguished feature of the Japanese language. There is rich onomatopia in Japanese comics. For the reasons mentioned above, we are going to take comic dairy <<uchi no 3 shimai>> for an example. In this thesis, we examine the author''s ways of using, it''s frequency, the translation skills and some disputes in Chinese version. At first, we summarize the forms of onomatopia in <<chi no 3 shimai>>, and the number of each onomatopia been used and it''s frequency etc. After that, sort the onomatopia by its meaning, and analyze which onomatopia is best representing the author’s personal features. And then, find some translation disputes in the Chinese translation. At last, have a survey of the opinions of the advanced Japanese learners about the Chinese translation. The result of the survey is that Chinese learners prefer to choose the type of “ABB” when translating the onomatopia. When it comes to emphasizing repetition , most people choose the type “A來A去”. One the other hand, when the Chinese translate the onomatopia, they are prefer to transliterate it into Chinese characters

碩士
國立高雄師範大學
華語文教學研究所
107
Abstract 　　Onomatopoeia is one of the most important elements in Japanese. It can make the article more lifelike and can describe the sound or state of the thing very concretely. The onomatopoeia and mimetic words in Japanese are particularly abundant and are one of the unique features of Japanese. Japanese-speaking people can learn this usage without special education and use it in their own way, which is more difficult for non-native Japanese speakers. Each mimetic word has its own unique meaning, and although there are onomatopoeia in Chinese (such as "汪汪", "喵喵", "咚咚"). However, there are very few mimetic words describing the state of an action or object, and there is no vocabulary corresponding to a Japanese mimetic word. Therefore, for Japanese-speaking learners, it is difficult to express subtle feelings when speaking Chinese. In the daily communication of Japanese people, mimetic words are very common, and they are also indispensable part of speech usage. So if you do not use those words to communicate, you will feel a little helpless. 　　Therefore, it is very important for Japanese-speaking Chinese learners that how to convert Japanese mimetic words into Chinese. Because it involves how to accurately express one's own meaning, the main purpose of this study is to explore the expression of Japanese mimetic words in Chinese from the perspective of grammar. This study will focus on word-class conversion, and then analyze which word-class is appropriate for Chinese when the Japanese mimetic word is translated into Chinese. The source of the corpus is the following three comic books with very abundant mimetic words; Fujiko F. Fujio “DORAEMON” , Osamu Tezuka “The Three-Eyed One” , Natsuki Takaya “Tsubasa: Those with Wings”, and prepare three versions comics of the Chinese and Japanese, a total of eighteen comics. The Japanese original and the comic book translated into Chinese are used for comparative analysis, and select the mimetic words for the corpus. In addition, it will find a systematic translation method to help Japanese learners who learn Chinese to express the mimetic words, and also help Chinese learners who learn Japanese to learn Japanese mimetic words. Key words：Mimetic words，Translation，Teaching of Chinese as a Second language

This graduation thesis with title Interpretations of Josef Švejk in The Contexts of Czech and International Literary Science has an aim doucment and analyze interpretation models of Josef Švejk in the novel The Good Solider Švejk by Jaroslav Hašek. In base the materials gain the figure of Josef Švejk will be assess in context of Czech esthetic and ideal discourse. In graduation thesis will be put big emphasis on sence of language. From this reason is a part of this thesis dedicate to liguistic analysis.