Documents found
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3071.
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3072.
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3073.
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3074.More information
AbstractHumour is an important aspect of many comics. Nevertheless, the vast majority of contributions to the translation of comics make no attempt to categorize or to define humour and its function for the genre. A first step in discussing comics and translation should be to identify various sub-genres of comics and to specify the categories and interrelations of “humour” and “comic.” In the few works on the translation of comics, the examination of the humorous dimension tend to be limited to verbal humour, i.e., playing with names and puns. The examples are almost always taken from “linguistically demanding” comics such as Astérix or Tintin. After a detailed review of the few aspects treated in linguistic, semiotic and literary articles on the translation of comics, the author evinces an approach which encompasses not only the verbal but also the non-verbal dimension of humour in comics. With the help of semiotic theories, the concept of humour is extended to the graphical and visual dimensions to provide a comprehensive account of humour in comics.
Keywords: visuelle Komik, Zeichenspiele, Comics, Typographie, Onomatopoien
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3075.
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3076.
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3077.
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3078.
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3079.
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3080.More information
In the 20th century, the history of Quebecois youth publishing developed according to the will of legislative initiatives, social transformations, and ministerial programs. The Choquette law, promulgated in 1925 and abolished in 1965, the obligatory schooling law of 1943, the curricula of 1979, 1994, and 2001, and the Policy on reading and on books of 1998 all had, in their own way, repercussions for the development of publishing. At the heart of these changes, nourished by the discourse on reading that regularly punctuated the last century, there emerges, in the course of the eight decades studied, an editorial image of youth. The publishing world generally reacted rapidly to the evolution of the public since, unlike the schools, it lacks a captive audience and constantly find readers. With a few slight variations, the ideas that go through the 20th century reappear in the collections and series created for a diversified readership between 0 and 16 years of age.