Even though there are instances of comics with no text, it usually is present without the imagery, however, it makes little or no sense and vice versa. Nonetheless, the most unique aspect of these texts is their form, which incorporates static visual images organised “in deliberate sequence” (ibid., 7-9) and text. Comics often take on much-debated themes, such as gender, feminism or postcolonial issues that adds to the importance of comics in a current pop-cultural discourse. ![]() Their growing cultural relevance and increasing recognition shift the gravity of choices made by translators working with these texts. The focus of this paper is comics, the non-interactive texts that, nevertheless, need a reader to be vivified (McCloud 1994, 36-37) a flexible platform for new ways of expression which often provides formidable challenges upon translation.Ĭomic books, often referred to as graphic novels, have become a respected literary form often compared to novels rather than pulp fiction which they used to be classified as. These include short or feature films, video games and comic books. written text and elements of design, is a multimodal text (Serafini 2011, 342). A piece of work that requires the interplay of at least two different codes, e.g.
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