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Linguopragmatic Features of “Marvel” Trans-media Discourse Translation (With Special Reference to “Wanda/Vision” Mini-Series and Its Prequel Comic Books).
Abstract
The article focuses on the study of trans-media in the aspect of linguistic pragmatics and translation studies. The main emphasis of the study is on the Wanda/ Vision line of the multimodal fictional MARVEL universe, represented by comics and TV series. The authors come to the conclusion that the key strategy of translating texts included in the trans-media system should be recognized as adherence to the canon, which guarantees the character and narrative framework recognizability, creates the impression of the wholeness of the trans-media project, and provides the depth of aesthetic experience for the viewer, reader, and fan of the trans-media universe. On the pragmalinguistic plane, the canon definitely includes the semantic and stylistic dominants of the transmedia discourse, formed from the intersections of the dominants of the texts and discourses that form the elements of the project. In the tactical aspect, the translator should be guided by the rules of translation of audiovisual works of the genres that form the trans-media project. Thus, in the context of translating content related to the Wanda/ Vision line, these are, first of all, the rules of translating comics and feature film text.
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The paper assesses and evaluates the performance of the ProseRhythmDetector (PRD) Text Rhythm Analysis Tool. The research is a case study of 50 English and 50 Russian fictional texts (approximately 88,000 words each) from the 19th to the 21st century. The paper assesses the PRD tool accuracy in detecting stylistic devices containing repetition in their structure such as diacope, epanalepsis, anaphora, epiphora, symploce, epizeuxis, anadiplosis, and polysyndeton. The article ends by discussing common errors, analysing disputable cases and highlighting the use of the tool for author and idiolect identification.
Transmedia Storytelling has lately become a buzzword, but the concept is still highly debated; as the media landscape is changing fast and radically, we are not yet fully able to grasp its potential and limitations. There are different groups that take part in the process of producing and consuming a transmedia story—mainly the media industry, the creators, and the public, each with its own goals and stakes in the matter. But, how do these different stakes diverge and converge? When divergent, could they be reconciled? This chapter aims to investigate the practical implications of producing and consuming transmedia narratives, from the diverse perspectives of each of those groups. We propose that, more than a buzzword often used inappropriately, transmedia could be better profited if the principles of transmedia storytelling are truly employed. Transmedia might be the perfect nest for creativity, participation, and fandom, as well as for economic and creative benefits. If media industries and creators learn how to capitalize it, it will become a more—in every sense—profitable experience for anyone embarking on this great new adventure. As a result, we might become better prepared to fully embrace the new media possibilities, as much as inspire a more creative society.
This article first builds on the semiotics of culture approach and argues that the increasingly widespread transmedia practices may be valuable for contributing to the dynamics of how modern cultures are innovated. Transmedia practices facilitate inter- semiotic translations at all levels of cultures, which conditions increased dialogism and the feasible evolution of these cultures. In the second part of the article, we demonstrate that there are hindrances in the existing media systems that may prevent this potential being fulfilled. It is often argued that transmedia can empower micro-sized content providers to participate in such dialogues and in the production of culture. However, recent studies demonstrate that in a European context the transmedia era may instead enforce the oligopolistic structures of media markets.
Henry Jenkins, former professor of humanities, MIT, is one of the leading science authorities in the analysis of New Media. Today, he is Professor of Communication, Journalism, and Cinematic Arts at USC. In this dialogue, Jenkins explains how technology is transforming the traditional view of humanities. He outlines his vision of convergence culture in his book, Convergence Culture: Where Old and New Media Collide . He explains why he thinks the idea of copyright is an aberration. He goes on to relate the causes for conglomerates losing control of media flows and how to deal with this situation. He describes the new logic framework under which our current participatory culture is run. He defines himself in this dialogue as a critical utopian trying to demonstrate how to harness the great power that changes taking place in new media have on people. Emphasizing the ‘new social skills’, which bring about new forms of ethics, interactions, politics, types of economic activities and legal culture, in the clash between the new digital media and the old mass media.
The article analyzes some modern media communications and practice of user interaction where the “participatory discourse” appears, when the viewers can influence the process of creation of new films, series, and network projects. The users appropriate and transform different elements of the media content and collectively take part in creation of the “participatory discourse” as a form of social-productive relations which generate a special type of culture. This type bases on the concepts of “participatory culture” and “collective intelligence”.
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