baŠ -Čelik的多模式改编:从童话故事到漫画和插图书

M. Tasić, Dusan Stamenkovic
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摘要

本文运用多模态、中间性、跨媒体叙事和改编等领域的独特融合理论框架,分析了民间童话《巴什什-Čelik》的媒介转位过程,首先是在Đorđe洛巴耶夫的同名漫画(1939/1989)中转位,然后是在Petar Meseldžija 2008年的绘本《巴什什传说-Čelik》(原)中转位。Legenda o basi -Čeliku)。本文介绍了这些作者在将原始文本从单模态改编为多模态媒体时使用的口头和图形工具,并特别关注三个研究方向。首先是将童话故事的结构转移到漫画和插图书中的方式,目的是评估这些改编的忠实程度。第二个方向与最重要的叙事和风格差异(例如,语言和叙事语气)有关。第三个方向涉及使用某些特定于漫画的技术和资源,例如页面布局,使用颜色来强调,表示速度和运动,以及存在或不存在特定的图形设备(后缀和图形符文)。最后,对这些适应性进行比较,突出它们之间的主要相似点和不同点。
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MULTIMODAL ADAPTATIONS OF BAŠ-ČELIK: FROM A FAIRY TALE TO A COMIC AND ILLUSTRATED BOOK
Employing the theoretical framework that represents a unique amalgam of the domains of multimodality, intermediality, transmedia storytelling and adaptation, the paper analyses the process of medial transposition of the folk fairy tale Baš-Čelik, primarily into Đorđe Lobačev’s comic book of the same name (1939/1989), and then into Petar Meseldžija’s 2008 illustrated book The Legend of Baš-Čelik (orig. Legenda o Baš-Čeliku). The paper presents verbal and graphic tools used by these authors in adapting the original text from a monomodal into multimodal media, with a special focus on three research directions. The first is the manner in which the compositional structure of the fairy tale is transferred into the comic and the illustrated book, with the aim of assessing the level of fidelity in these adaptations. The second direction is related to the most important narrative and stylistic differences (e.g., language and tone of narration). The third direction deals with the use of certain comics-specific techniques and resources, such as page layout, use of colour for emphasis, representation of speed and motion, and the presence or absence of particular graphic devices (upfixes and pictorial runes). Finally, the adaptations themselves are compared to each other, highlighting the major similarities and differences between them.
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