Article

The Painter and the Poet: Olavo Bilac as a Translator of Chidren's Illustrated Stories.

January 2009

Authors:

This article analyzes the translation, made by Olavo Bilac (1865-1918), of the German writer Wilhelm Busch's Max und Moritz - Eine Bubengeschichte in sieben Streichen. Combining rhymed and measured verses to illustrations and forming narrative sequences, Busch developed a means of expression which may be defined as illustrated story, a predecessor form of the current comics. To the translator of this kind of text, the biggest challenge is in comprehending the relationship between the two languages which compose the text - words and images.

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Article

Teaching narrative writing using comics: Delainey and Rasmussen, the creators of Betty, share their...

July 2012 · Literacy

Rhonda Nixon

The author explores how comics texts and writing practices are rich literacy resources for educators. Few studies report on how teachers explore such texts and practices in their classrooms. The author examines how drawing improves students' narrative writing and presents findings from a 7-month case study of Delainey and Rasmussen's collaborative composing routines. Delainey and Rasmussen are ... [Show full abstract] the creators of the daily syndicated comic strip, Betty, an internationally published family comic strip that has been in newspapers for 20 years. The author explores Delainey and Rasmussen's collaborative routines and composing practices and provides parallel suggestions for classroom work.

Article

Translating metaphors that function as characterisation technique in narrative fiction

December 1991 · Journal of Literary Studies

Alet Kruger

If the interdependence of the intratextual components of narrative texts is not taken into account in the translation of metaphorical expressions, the target text characters can become deviant mutants of the characters in the source text. This has important implications for the translated text as such and for the evaluation of the translated novel as a literary work of art.

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Materials for the study of Kejaman - Sekapan oral tradition. Ch.6: Text and translation of the sung...

November 2014

Simon Strickland

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Chexovi Alublis Baghi

October 2018

Nino Mindiashvili

The Georgian narrative of A.P. Chekhov's "The Cherry Orchard" Abstract Chekhov was loved, read and translated in Georgia even until he was alive. This was enhanced by two arrivals of Russian writer in Georgia (1888, 1900 years) and meeting with Georgian intellectual elite. First translations of Chekhov belong to 1889 year. Grigol Volskii (Umtsiparidze) translated the play “Medvedi~. In 1890 M. ... [Show full abstract] Nasidze made theatrical version of “Ivanov~, in 1903 “Diadia Vania~ was translated. At the end of XIX century 24 works were already translated into Georgian. At the first stage of translation and throughout the beginning of XX century theatrical adaptations were predominant. Tradition continues even in XX century. In our article we paid our attention to translations of the last play of A.P. Chekhov “Vishnovii Sad~. Hoping to perform on Georgian stage 4 translations were done: in 1905 by the translator and actress Sofio Tsitsishvili, in 1954 by the writer, actor and producer Shalva Dadiani, in 1990 by the poet Mikhail Qvlividze an in 2004 by the translator Manana Antadze. Studying “Georgian Chekhovina~ it is obligatory to consider translation trend and methodology of the beginning of XX century, 1950-s and the end of century. Georgian translations of “Vishniovii Sad~ reflected the hope to prepare the text for future plays on Georgian stage.

Article

Courtliness and Transgression at Arthur's Court With Emphasis on the Middle High German Poet Neidhar...

December 2010 · Arthuriana

Albrecht Classen

Despite all efforts by courtly poets to maintain the impression of stability and continuity within the courtly world, by the early thirteenth century individual texts such as the poems by Neidhart and the anonymous verse narrative Mauritius von Craûn signal transgression of the ideal of courtly love. These texts undermine traditional courtly values, thus illustrating how much the Arthurian world ... [Show full abstract] lacked any real strategies to combat moral and ethical threats affecting aristocracy at large.

Article

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Reconsidering adaptation as translation: The comic in between

April 2013 · Studies in Comics

According to Linda Hutcheon, adaptation needs to be viewed both as a process and its result. Adaptations do not simply repeat a creative process, they ‘affirm and reinforce [its] basic cultural assumptions’. This article looks at the comic as a central medium in an accelerating ‘convergence culture’, placed between traditional literature and film. Adaptations of novels, poems, even of songs have ... [Show full abstract] become a substantial part within the field of the so-called ‘graphic novel’ or ‘graphic literature’. And of course, the almost countless adaptations of comics to films provide an important source of revenue for both the comic publishers and the film industry, not just in Hollywood. To address the aesthetic uncertainties this may raise, and to sharpen the concept of adaptation, we are reconsidering the concept of translation. Drawing upon Walter Benjamin’s ‘The task of the translator’, translation can be thought of both as a mode of aesthetic transformation and its result: It appears neither as replacement nor as retelling, but as a sovereign artefact supplementing the original text. As such, the translation mediates between different ways of expression without overcoming their respective differences. This article takes a closer look at two translation processes: one from literature into comic and one from comic into film. Starting with Paul Karasik and David Mazzucchelli’s classic City of Glass (2004) and Dri Chinisin (2011) by Sascha Hommer, the visual aesthetics of the comic are examined as an ideal place of exchange between textual and pictorial culture. Frank Miller and Robert Rodriguez’ iconic Sin City and Tatsumi (2011) by Eric Khoo are employed to illustrate how the translation into moving images can offer an acoustic and narrative supplement to the original comic, while also drawing attention to the aesthetic differences between these two media.

Article

'Ethics-less' Theories and 'Ethical' Practices On Ethical Relativity in Translation

March 2011 · The Interpreter and Translator Trainer

Georgios Floros

This paper discusses the issue of ethical responsibility on the part of the translator, specifically the need to act ethically and make responsible translation-related decisions about politically sensitive texts, focusing on practices that emerge in the context of translator training. The underlying premise of the discussion is that a contradiction between theoretical ideals and actual contexts ... [Show full abstract] of practice hampers students' ability to negotiate an ethical decision. In an attempt to enable students to arrive at well-thought out, responsible decisions, this paper outlines a potential framework for exploring the ethical implications of textual choices in translation. The notion of ethical relativity is introduced as a by-product of the dynamism and partiality of norms, narratives and values, and used to highlight the factors that have a bearing on decision making. The ultimate aim is to demonstrate that an ethical framework must be sought that allows students to question and negotiate norms and narratives in order to arrive at sound ethical decisions. This framework must also offer students the possibility to act responsibly as agents of political change. Two translation exercises of politically sensitive texts from the Greek context are discussed as case studies.

Article

Translating Metaphors In Narrative Fiction

January 1993 · Perspectives

Alet Kruger

In the translation of fiction it is necessary to take into account the interdependence of intra‐textual components. This is particularly important in the case of metaphors that function as a characterisation tool If translators fail to do this the target text characters may become mutants of those in the source text Should this happen, the translated novel as a literary work can be affected.

Article

Una mostra de la traducció de còmics al català: El cas de Maus. Relat d'un supervivent

July 2012 · Zeitschrift für Katalanistik

Eduard Baile López

Apart from some isolated examples, most comics published in Spain are usually done so in Spanish. However, because of the success of the graphic novel, a concept which has expanded the core readership beyond the usual fans, some of the most popular works have recently been published in Catalan, a fact which, as we have stated, is not very common in a comic publishing market almost exclusively ... [Show full abstract] limited to editions in Spanish. Accordingly, our aim is to take a look at the linguistic guidelines and models used to translate these cultural artifacts into our language. More specifically, we have chosen Maus by Art Spiegelman, since it is considered to be a key example of the expressive possibilities the comic medium may aspire to as a narrative tool.

Article

Ilse Aichingers Poetik des Verschwindens 1

August 2009 · Symposium A Quarterly Journal in Modern Literatures

Christine Ivanovic

In the last sixty years Ilse Aichinger has created a body of work that has only recently been recognized for its original qualities and inner consistency, as the guiding precepts behind German postwar literature have gradually been recanted. The article aims to show that Aichinger makes language the subject matter of her texts, moving beyond the coincidence of narrative history and its discursive ... [Show full abstract] contradictions to focus on the imaginative power of words and meaning. Her style of writing proves not to be an example of the absurd but is closely linked to cultural debates in the aftermath of the linguistic turn.

Article

Expatriation and translation: Chester Himes translated into the French detective novel field (1957-1...

January 2011

J.-M. Gouanvic

The work of the American writer Chester Himes includes seven detective novels that are distinct in that they were first written in American English, then translated and pubhshed in French, and finally published in American English in the United States for the first time in a different version from the original source text. This article attempts to analyze the determining factors that gave rise to ... [Show full abstract] Himes' deep interest in detective fiction, contextualizing the conditions that drove him to the genre. We examine Himes' habitus, the essential role played by Marcel Duhamel (the director of the Série Noire), the French field of detective fiction and the translation (Minnie Danzas, translator), as well as the specific illusio of his detective novels, particularly The Five-Cornered Square and its translation, La reine des pommes. Finally, we see how the success of La reine des pommes in 1958 considerably broadened the range of narrative possibilities in the French field of detective fiction.

Article

'Loss' and 'gain' in comics (Translation, Danish, Watterson, Donald-Duck)

January 2003 · Perspectives

This article discusses translations of comics, a topic rarely dealt with in Translation Studies, with specific reference to 'loss' and 'gain'. It is suggested that--for the purpose of a cogent discussion--we may distinguish between gain with loss' and 'gain without loss'. Translations of comics represent a special challenge in that, in order to be successful, they have to actively interplay with ... [Show full abstract] illustrations as well as genre elements, i.e. 'humour'. The article discusses some of these elements and then focuses on successful renditions into Danish of the American daily strip Calvin and Hobbes and a Donald Duck ten-page comic narrative. The latter, in particular, reveals that subtle forces influence the translation of a comic. This opens for a discussion of the ways comics allow--or make it hard for--a translator to wend her way between 'gain' and 'loss'. These forces involve an interplay not only between pictures and text, but also the people who do lettering, add colours, and the like.