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Asimakoulas, Dimitris. Rewriting Humour in Comic Books: Cultural Transfer and Translation of Aristophanic Adaptations[u]. Palgrave Studies in Translating and Interpreting. New York [etc.]: Palgrave Macmillan, 2019. 
Added by: joachim (4/12/20, 1:04 PM)   Last edited by: joachim (4/12/20, 5:44 PM)
Resource type: Book
Language: en: English
DOI: 10.1007/978-3-030-19527-4
ID no. (ISBN etc.): 978-3-030-19526-7
BibTeX citation key: Asimakoulas2019
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 Categories: General
Keywords: Adaptation, Aristophanes, Classical antiquity, Greece, Humor, Literature, Translation
Creators: Asimakoulas
Publisher: Palgrave Macmillan (New York [etc.])		 Views: 8/1145
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Abstract
This book examines comic book adaptations of Aristophanes’ plays in order to shed light on how and why humour travels across cultures and time. Forging links between modern languages, translation and the study of comics, it analyses the Greek originals and their English translations and offers a unique, language-led research agenda for cultural flows, and the systematic analysis of textual norms in a multimodal environment.

Table of Contents

1. Introduction (1)
References (6)

2. Rewriting (7)
2.1 The Art of Rewriting Aristophanes (9)
2.2 Establishing the Rewriting Chain: Aristophanes in Modern Greek (16)
2.3 Post-translation Multimodal Rewritings: Aristophanes for Children (and Not Only) (22)
2.4 Professionals: Creators and Publishers (30)
2.5 Professionals: Translators (41)
2.6 Conclusion (49)
References (51)

3. Transition to Comic Book Text: A Different Mode of Engagement (55)
3.1 What is Rewritten and How (56)
3.2 Acharnians (61)
3.3 Peace (64)
3.4 Women at the Thesmophoria (66)
3.5 Frogs (69)
3.6 Assembly of Women (71)
3.7 Conclusion (74)
References (75)

4. Poetics of Humour and Translation (77)
4.1 A Humour Studies Approach to Comedy (78)
4.2 Translating Comic Books as Narratives (85)
4.2.1 The Effects of Graphic Style (87)
4.2.2 Suspenseful Surprises and Characters (93)
4.3 Translating War in Peace (Haritos) and Acharnians (Pougouras) (97)
4.4 Translating Underworld Theatrics in Frogs (Pougouras) (112)
4.5 Conclusion (121)
References (123)

5. Repeated Logic Offenders: Comic Characters (125)
5.1 The Flatness of Comic Heroes That Aren’t (126)
5.2 Male and Female Rascals: Mnesilochus and Praxagora (131)
5.3 Simply the Best, or Inverse Character Focus: Dionysus and the Poets (143)
5.4 The Prototypical Comic Hero: Dikaiopolis (155)
5.5 Performing Comic Heroes: The Trygaeus-Aristophanes Dyad (164)
5.6 Conclusion (171)
References (174)

6. Concluding Remarks (177)

Appendix (183)
Index (187)


  
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