Academic literature on the topic 'Scanlation'

O objetivo deste artigo é apresentar reflexões sobre linguagem e tradução em contextos de scanlation e fanfic. Para tanto foi realizada uma pesquisa qualitativa de cunho etnográfico, cujo instrumento de geração de dados foi a entrevista semiestruturada realizada com um acadêmico do curso superior de Letras a respeito de práticas de scanlation e fanfic. Os dados foram analisados à luz dos Estudos dos Letramentos articulados às tecnologias de informação e comunicação. Os dados sugerem que, os scanlations e as fanfics são novas formas de agir e interagir em meio a práticas vernaculares de leitura e escrita em suporte digital, demonstrando que o sujeito consome, produz e (re)produz. Essas práticas de letramentos vernaculares são vinculadas à literatura, na concepção do participante de pesquisa. Apesar de representarem práticas vernaculares, são concretizadas com cuidados no que toca a tradução dos textos, dentre outras normas.PALAVRAS-CHAVE: Linguagem. Tradução. Scanlation. Fanfic.

O presente trabalho propõe uma reflexão inicial acerca da scanlation, prática tradutória exercida por fãs de mangá de forma não profissional. Em se tratando de uma atividade motivada por interesses pessoais ou coletivos de grupos de leitores que se inserem em um contexto específico, interessa-nos observar as características e estratégias utilizadas em tais traduções e no que elas se diferenciam em relação às traduções publicadas pelas editoras. Para tanto, analisaremos o décimo volume do mangá Fairy Tail, de Hiro Mashima, com as respectivas scanlations feitas por fãs brasileiros e as traduções publicadas pela editora JBC. Atentaremos, ainda, para questões de identidade em tradução, tendo em vista os aspectos próprios dos mangás e seu público leitor.

This article investigates the use of translation notes to deal with translation problems. In Translation Studies, the presence of translation notes in a translation is considered particularly significant because they clearly indicate what features of the source text the translator considered important for the comprehension of the text and therefore necessary to retain or explain. In the field of comics in translation, the use of T/N is rather uncommon, and can be considered the main translation strategy that distinguishes scanlation from other types of translations. In the first part of this article, the structure of the English-language manga scanlation communities is examined; following this, the way culture-specific items are dealt with by manga scanlators is analysed; and finally, an explanatory hypothesis linking the broader structure of participation to individual translation strategies is presented. The argument put forward in this article is that translation notes are used in scanlation both to solve translation problems and as a way for scanlators to communicate directly with their readers, thereby foregrounding their mediating presence directly on the pages of scanlated manga.

Most conspicuous initially with Japanese anime fansubs, fan-based translation has been developing since the 1980s. In the advent of widespread availability of Web 2.0 platforms, fan translation has become a global phenomenon despite its dubious legal status. Extending the emerging interest in fansubs and scanlation in translation studies to the little discussed translation hacking by video game fans, this article brings readers‘ attention to participatory culture manifest in user-generated content in the field of translation and localisation. The article describes the evolution from unsolicited fan translation to solicited community translation now called crowdsourcing and considers them in the framework of user-generated translation (UGT). The article provides interdisciplinary perspectives, drawing on insights from media and game studies to address UGT which could profoundly impact the profession of translation and localisation as new technological environments unleash the technical competence, genre-knowledge and unparalleled devotion of the otherwise untrained Internet crowd as translators.

The purpose of this paper is to investigate how the knowledge of fan-made translations (scanlations) of Japanese comics (manga) influence the perception of official translations of volumes published in Poland. An analysis is performed on readers’ comments regarding the Polish translation of the Dragon Ball Super series and can be seen as a multiple-case study, showing how readers’ attitudes can be biased by their knowledge of scanlations (in both English and Polish). Criticism is analyzed using existing translation theories and explained accordingly.

Despite the popularity of comics, the subject of their translation has remained notably underexplored. Comics swept into the market of Iran in the 1970s; however, they were a new and unfamiliar genre in the country. One of the earliest comic series to appear in Iran was Les Aventures de Tintin, translated by Khosro Sami’i and published by Universal Publications before the Islamic Revolution of Iran in 1979. Following the Revolution, Universal discontinued the series in Iran and other publishers briefly took it up; after a few years, publication of the books was discontinued. It was not until 2000 that the series was re-introduced by Tarikh-o Farhang and Andishe-ye No Publications. Moreover, as a result of the ubiquitous availability of comic books on the Internet, scanlations made by Tintinophiles have burgeoned recently. This study examines the translations into Persian of Les Aventures de Tintin from these three groups (the early editions of the 1970s and 1980s, the revived publications of 2000, and the Internet scanlations) and attempts to shed light on the position of comics in the translated polysystem of Iran. For this purpose, Even-Zohar’s Polysystem theory (“Polysystem Studies” 9-26) and Tamaki’s approach (119-146) are employed. The synthetic model of translation description proposed by Lambert and Van Gorp (42-53) is used to examine the translations in three layers: 1) preliminary data, 2) macro-level, and 3) micro-level. Onomatopoeic representations are analysed at the micro-level to investigate the extent to which their translations have broken target culture norms and conventions. The results of the study reveal a gap for comics, an empty niche to be filled, in the translated polysystem of Iran and, accordingly, a canonized position for this genre and its translations. This position, however, has migrated to a less central place in more recent translations.

O objetivo deste artigo é apresentar reflexões sobre linguagem e tradução em contextos de scanlation e fanfic. Para tal foi realizada uma pesquisa qualitativa de cunho etnográfico, cujo instrumento de geração de dados foi a entrevista semiestruturada realizada com um acadêmico do curso superior de Letras a respeito de práticas de scanlation e fanfic. Os dados foram analisados à luz dos Estudos dos Letramentos, articulados às tecnologias de informação e comunicação. Os dados sugerem que, os scanlations e as fanfics são novas formas de agir e interagir em meio a práticas vernaculares de leitura e escrita em suporte digital, demonstrando que o sujeito consome, produz e (re)produz. Essas práticas de letramentos vernaculares são vinculadas à literatura, na concepção do sujeito de pesquisa. Apesar de representarem práticas vernaculares, são concretizadas com cuidados no que toca a tradução dos textos, dentre outras normas.

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CAPES
A união entre o vitalismo do cotidiano e as práticas colaborativas da cibercultura deu origem à prática midiática do scanlation, empreendida pelos fãs de mangás, as histórias em quadrinhos japonesas. O scanlation, junção dos termos em inglês scan e translation, é o processo de digitalizar mangás impressos com o intuito de traduzi-los do japonês para outro idioma, para então distribui-los gratuitamente através da internet, sem a permissão dos detentores de direitos autorais. Dispostos a fugir da subjetividade capitalista, os participantes dessa atividade buscam subverter o modo tradicional do consumo de mangá. Reunidos sob a prática do scanlation os fãs espalhados pelo mundo reinventam os processos de re-produção, circulação e consumo de mangá neste período marcado pelos processos de convergência midiática e demandas por formas sempre renovadas de rituais de sociabilidade no anonimato urbano.
The union between vitalism of daily life and collaborative practices of ciberculture gave rise to the media practice of scanlation, an activity undertaken by fans of manga, the Japanese comics. Scanlation, contraction of words scan and translation, is the process of scanning printed mangas in order to translate them from Japanese into another language, and distributing them free of charge through internet without permission from the copyright holders. Willing to escape from capitalist subjectivity scanlation members try to subvert the traditional way of consuming manga. Gathered under the media practice of scanlation, fans around the world reinvent the process of reproduction, circulation and manga consuming in this period characterized by the process of mediatic convergence and requests for ever renewed form of rituals of sociability in urban anonymity.

Web 2.0 and the new decentralized, many-to-many technosocial tolls empower consumers and users to reproduce, and distribute content on their own and without permission, shifting the boundaries of participation. Alternative collaborative communities that produce and distribute information, knowledge and culture without seeking profit or operating hierarchically challenge and/or correct commercial entities. This thesis deals with such a variety of collaborative community: the scanlation community. It explores, describes and explains what differences there are in the practices and understandings of scanlators, with a special focus on their attitudes towards legal ownership and profit motives.  The main research question is: How do scanlators understand their cultural production, reproduction and distribution practices; with a special focus on which meanings do they ascribe to copyright infringement and the anti-profit motive? In particular, the study provides answers to the following questions: How do some become scanlators? What are the motives of the scanlators? How is scanlation organized? How is it managed? Which beliefs underpin it? Further impacts on and implications for the cultural industry of manga and the society at the level of politics, economy, and culture are taken into account and disccussed. Bruns' produsage based model of collaborative content production and usage is taken here as the main theoretical tool to analyze the participants, processes and principles of the scanlation community. Other concepts derived from fans studies and the political economy of media and communication complement the theoretical framework. Twenty qualitative interviews with individuals contributors to the collaborative process of content creation in a variety of groups were conducted.  The analysis of the results of the research suggests that scanlators collaborate in competition and cooperation with their open, free, ad hoc and heterarchical alternative model of (unauthorized) manga tranlation, reproduction and distribution to correct the many shortcomings of the traditional model: it is free, faster and universally accessible; whereas the latter is expensive, slow, and geo-locked. Moreover, scanlators recognize author's moral rights and do not a priori disregard copyrights, but criticize licensing and rights handling mechanisms together with economic and political censorship. Finally, although they do not want to be paid for their free affective labour, they are not adverse to commercial approaches to their produsage, if these take place on their own terms. This thesis serves as a contribution for the better understanding of communal produsage practices, by the produsers themselves.

Il presente elaborato offre una proposta di traduzione verso l'italiano dei primi 30 capitoli del webcomic cinese Xie Wendong. Il lavoro svolto vuole sottolineare l'importanza dei recenti sviluppi tecnologici per il panorama mondiale del fumetto e porre l'attenzione sulle scelte traduttive operate nella resa dell'opera citata. A questo proposito, la proposta di traduzione è preceduta da una descrizione delle caratteristiche del fumetto e un excursus storico sulla nascita e lo sviluppo della nona arte (capitolo 1) e da un approfondimento sulla sua evoluzione con riferimento alle tecnologie digitali e alla comunicazione via Internet (capitolo 2). I capitoli 3 e 4 si concentrano sulla traduzione del fumetto, rispettivamente descrivendone le principali sfide e le diverse strategie adottabili per la sua resa, e proponendo un'analisi dettagliata del lavoro svolto, in cui verranno evidenziati gli aspetti più importanti e le scelte traduttive compiute, influenzate dalle caratteristiche del medium e dettate dalla volontà di riportare nella versione italiana gli elementi salienti dell'originale.

Las culturas fan digitales (ciberfandoms) han dado lugar a nuevas maneras de socialización y comunicación debido a que: a) se organizan en torno a textos y discursos de la cultura popular producidos en cualquier punto del globo que viajan a través de la red; b) facilitan el contacto y el establecimiento de vínculos sociales entre personas de diversos orígenes étnicos, culturales y lingüísticos unidos por un centro de interés, y c) permiten la articulación de nuevas identidades y su representación a través de textos multimodales. En este estudio de caso de orientación etnográfica exploramos el modo en el que Shiro, una fan de los cómics manga, construye y representa su identidad de aficionada a dichos productos en las actividades en línea que comparte con otros fans. Para ello, describimos las prácticas letradas digitales en las que participa, identificamos y analizamos los distintos recursos semióticos (lingüísticos, gráficos y tipográficos) de los que se apropia, y examinamos cómo los reutiliza en sus propias actuaciones para construir una imagen positiva y relevante en el seno de la comunidad. Nuestros resultados muestran que Shiro participa en prácticas de traducción y edición colaborativa de mangas (scanlation), cuida su perfil de fan en Facebook y en Blogger y mantiene conversaciones digitales con otros fans. En estas prácticas se apropia de recursos asociados a varias lenguas (español, inglés, japonés, chino y coreano) y a varios modos semióticos (ej.: fuentes tipográficas, kaomoji, imágenes de personajes manga, etc.) y los recontextualiza en diversas situaciones de comunicación según sus propios intereses retóricos y los valores, las normas y las convenciones de la comunidad. El análisis revela que los fans del manga han desarrollado maneras culturalmente específicas de construir significados que reflejan su ideología y que desafían visiones tradicionales de las lenguas como sistemas abstractos y autónomos. Argumentamos que las prácticas del fandom son un ejemplo de la creciente complejidad y fluidez semióticas de la comunicación contemporánea y extraemos algunas implicaciones para la educación lingüística.
Digital fan cultures (cyberfandoms) have generated new forms of socialization and communication because: a) they revolve around texts and discourses of popular culture which circulate through the internet; b) they foster social links among people from diverse ethnic, cultural and linguistic origins united by a common interest; and c) they enable the articulation of new identities and their representation in multimodal texts. In this ethnographically-oriented case study, we explore how Shiro, a fan of manga comics, constructs and represents her identity in the online activities she shares with other fans. To this aim, we describe the digital literacy practices in which she participates; we identify and analyze the different semiotic resources (linguistic, graphic and typographic) she appropriates in these practices; and we examine how she reuses these semiotic resources in her own performances to construct a positive and relevant self-image in the community. Our results show that Shiro takes part in practices of collaborative translation and editing of manga comics (scanlation), she maintains a profile as a fan in Facebook and Blogger, and she participates in digital conversations with other fans. In these practices, she appropriates resources associated with several languages (Spanish, English, Japanese, Chinese and Korean) and several semiotic modes (e.g. typographic fonts, kaomoji, pictures of manga comics, etc.) and she recontextualizes them in different communicative situations according to her own rhetorical interests and the community’s values, norms and conventions. Our analysis reveals that manga fans have developed culturally specific ways of meaning-making which reflect their ideology and challenge traditional views of languages as abstract and autonomous systems. We argue that these fan practices illustrate the growing semiotic complexity and fluidity of contemporary communication and we draw some implications for language education.