Visual Communication

Visualhttp://vcj.sagepub.com/ Communication

Fluidity of modes in the translation of manga: the case of Kishimoto's Naruto Cheng-Wen Huang and Arlene Archer Visual Communication 2014 13: 471 DOI: 10.1177/1470357214541746 The online version of this article can be found at: http://vcj.sagepub.com/content/13/4/471

Published by: http://www.sagepublications.com

Additional services and information for Visual Communication can be found at: Email Alerts: http://vcj.sagepub.com/cgi/alerts Subscriptions: http://vcj.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav

>> Version of Record - Oct 13, 2014 What is This?

Downloaded from vcj.sagepub.com at University of Cape Town on October 13, 2014

541746

research-article2014

VCJ0010.1177/1470357214541746Visual CommunicationHuang and Archer

visual communication A rticle

Fluidity of modes in the translation of manga: the case of Kishimoto’s Naruto

C h eng - W en H u ang and A rlene A rc h er University of Cape Town, South Africa

A b stract

This article explores the fluidity of modes in manga where the written mode is often treated as a visual and the visual treated as a written entity. The analysis focuses on a particular text, Naruto, by Masashi Kishimoto (2003). In manga, writing is a visual entity and is often governed by the logics of space where position influences value and sequence of reading. This has implications for the relation between onomatopoeia, typography and translation. The authors explore the affordance of writing and image by comparing two English translations of Naruto (a fan translated edition and an official edition). In the fan translation, sound effects conveyed through writing are left untranslated and the reader conjures up the sound from both the context of the situation and the choice of font. The official translation, in contrast, changes sound and layout in order to accommodate the reading practices of the Western audience. This article analyses what is at stake when publishers change the layout of a comics page in the translation from Japanese writing to English, the lettering systems, and the norms and conventions that govern reading path, layout and punctuation. K e y words

humour • layout • multimodal translation • sound • space • translation of comics • typography

It has been noted that the visual mode and written mode are governed by different logics (Andrews and Smith, 2011; Kress, 2003). By ‘mode’ we mean semiotic resources that are culturally and socially shaped for representation and communication, such as image, gesture, written and spoken language (Kress, 2003). The visual mode is said to be governed by logic of space and the logic of simultaneity, while the written mode is understood to be governed by the logic of time and the logic of sequence. Although scholars have broadly distinguished the modes, they have also noted that the relation between image SAGE Publications (Los Angeles, London, New Delhi, Singapore and Washington DC: http://vcj.sagepub.com) Copyright © The Author(s), 2014. Reprints and permissions: http://www.sagepub.co.uk/journalspermissions.nav/ Vol 13(4): 471–486 DOI 10.1177/1470357214541746 Downloaded from vcj.sagepub.com at University of Cape Town on October 13, 2014

and writing is a complex one (Kress and Van Leeuwen, 2006; McCloud, 1994; Mitchell, 1986). Mitchell (1986: 22), for example, writes that a ‘word is an image of an idea, and an idea is an image of a thing, a change of representation that may be depicted.’ McCloud (1994) visually depicts this in a diagram moving from a ‘realistic’ photo on one side to an abstract sign on the other. The complexity between modes is particularly evident in comics which employ a combination of both visual and verbal language. Comics are images in sequence that function ‘to narrate a story or dramatize an idea’ (Eisner, 1985: 5). While a narrative can be told solely through the visual mode – these comics are referred to as ‘sourds’ (Rommens, 2000) – most comics narrate through both image and writing. This article illustrates the fluidity of modes and their logics by drawing on a particular comic genre, manga. The term ‘manga’ is commonly used to refer to comics from Japan. It should be noted that comics are an art form that is cross-cultural. However, just as languages evolve and are used differently by different social groups, the same is true for comics. Conventions employed in manga are different from American and European comics as the social practices of the East are somewhat different to those of the West (Cohn, 2010; McCloud, 1994; Rommens, 2000). The most notable difference is the reading direction. Panels in manga are read from right to left and top to bottom. Because the conventions which govern manga are different from those of Western comics, they are especially apt in illustrating that uses of modes and their logics are grounded in social practices. This is particularly evident when comparing translations of manga. In the West, readers may access manga by either purchasing an official English language translation distributed by an official publisher or download fan translations online. The fan translations, also known as ‘scanlations’, are generally free and tend to be more up to date since they are translated and uploaded soon after the original releases. In contrast, commercial manga take longer to release due to the translating and repackaging process. Ceglia and Caldesi Valeri (2000) write that enculturation and localization are two translating policies which translators can adhere to when translating comics. Enculturation involves firm devotion to the original text. The aim is to import information as intact as possible so that the translated text will appear close to the original. Localization, in contrast, views translation as a transition towards another language. Concepts are localized and deep structures that are innate to a language are imported so that they conform to the host language. Ceglia and Caldesi Valeri (2000) refer to this as ‘deep translation’. Fan translations align with the practice of enculturation as they keep to the policy of minimal alteration. Commercial manga, on the other hand, align with the practice of localization as, in addition to language, other elements such as typography and layout are adapted to suit the new audience and context. Multimodal translation as a subject of study is relatively under-researched (Jüngst, 2004; Kaindl, 1999, 2004; Lee and Shaw, 2006; Sell, 2011; Zanettin, 2004). By comparing a fan scanlation of the manga, Naruto, with the official English edition,

472

Visual Communication 13(4)


this article demonstrates that modes are not only fluid but also very much embedded in social practices. We have drawn examples from the popular manga, Naruto, by Masashi Kishimoto because of its global popularity. Naruto is an ongoing manga series that was first published in Japan in 1997. Since its availability in the Western market in 2003, the manga has appeared numerous times on manga bestseller lists of The New York Times and USA Today. Naruto is classified as a ‘shonen’ manga, a genre aimed at boys and typically characterized by intense action scenes. Situated in a fantasy world, the narrative centres on an adolescent ninja, Naruto, who overcomes all obstacles to achieve his dream of being acclaimed by his fellow villagers. This text is used as a way of raising questions around multimodal translation, focusing particularly on the relation between typography and translation, and how decisions about layout affect meaning in official and fan translations. The theoretical approach adopted in this analysis is multimodal social semiotics, which provides a useful framework for looking at comics as complex texts (see Baldry and Thibault, 2006; Huang and Archer, 2012; Jacobs, 2007; Kaindl, 2004; Lim, 2004; Rubinstein-Ávila and Schwartz, 2006). Multimodal social semiotics is based on Halliday’s (1978) metafunctional view of text, which relates ideational meaning to the interpersonal, highlighting the concept that we make meaning through social participation. In other words, this approach emphasizes that semiotic resources used to make meaning in any text are always grounded in their context of use – always socially situated, produced in particular cultural and historical contexts. This approach is useful for understanding differences in translations. It also provides a way of looking at modes and their logics, identifying the affordances of modes in particular genres and societal contexts. For instance, the choice of typography and layout to construct meaning in commercial manga can be explained through genre and social context. Rather than looking at semiotic resources as isolated entities and attributing certain phenomena to arbitrariness, multimodal social semiotics places the resources in context (Kress, 2010). This article addresses the question of re-lettering in the translation of manga and how it affects the meaning-making, both ideationally and in terms of the constructed relation with the audience. T h e V is u al D esign of W riting : T ranslation of S o u nd and T y pograp h y

According to Kress (2003: 2): The organisation of writing – still leaning on the logics of speech – is governed by the logic of time, and by the logic sequence of its elements in time, in temporally governed arrangements. The organisation of the image, by contrast, is governed by the logic of space, and the logic of simultaneity of its visual/depicted elements in spatially organised arrangements.

Huang and Archer: Fluidity of modes in the translation of manga


473

That is to say, writing is understood to be characterized by sequentiality as words have to be read and written with one unit following another. As such, they are also understood to be governed by time as reading/writing one word after another requires reading in sequence and reading in time. The image, on the other hand, is characterized by simultaneity as components of an image appear as a whole and are read as a complete unit. Images appear as a spatial unit and are thus understood to be governed by the logic of space. Of course, this distinction is not clear (Archer, 2010) and, in manga, writing is often treated as a visual entity and therefore governed by the logic of space (Huang, 2009). Writing occupies space, and its position in this space determines its value and the sequence in which it will be read. It is evident that typography transmits more than the written word and is a ‘communicative mode in its own right’ drawing on colour, texture and movement (Van Leeuwen, 2004: 14). This is particularly evident in manga and comic art in general where the written text is often treated as an extension of the imagery. Drawing from Lim (2004), Unsworth (2006: 61) refers to this as ‘homospatiality’. According to Unsworth, homospatiality ‘refers to texts where two different semiotic modes cooccur in one spatially bonded homogenous entity’. For example, in Figure 1, the words ‘drip drip’ function both as a sound effect and a visual effect. The sound of the blood dripping is conveyed in the linguistic representation; the visual representation of dripping is constructed through the typography. Japanese writing is composed of three writing systems: kanji, hiragana and katakana. Kanji is a pictographic writing system that is borrowed from Chinese writing. Each kanji letter represents a word. Hiragana and katakana, in contrast, are Japanese syllabaries which represent sound. Hiragana is used to write out Japanese words while katakana is used mostly for onomatopoeia and the transcription of foreign words (Power, 2009). All three writing systems are used in manga. Onomatopoeia ‘are words that imitate or represent sounds made by animate or inanimate objects’ (Sell, 2011: 98). They bring to the visual–verbal medium the dimension of sound. Japanese is noted to have a far greater vocabulary for onomatopoeic expression than English (Kodansha, 1993, in Lee and Shaw, 2006; Sell, 2011). This poses a problem when it comes to translation. For example, in images B, C and D of Figure 3, the sounds ONNG, SRRRFF and KRAAAK are not common onomatopoeic expressions in English, so it takes some effort to imagine the sound. Because the sounds are not common, context becomes important in interpreting these expressions. In addition, onomatopoeic expressions in Japanese can be divided into two kinds: giseigo/giongo and gitaigo. Giseigo/giongo are words that mimic the actual sound of something. Giseigo expresses sounds that are made by animate objects while giongo expresses sounds made by inanimate objects. Gitaigo, on the other hand, ‘conveys the sense of a state, abstract

474



Figure 1. ‘Homospatiality’ (Kishimoto, 2003: 50). © VIZ Media LLC.

quality, or condition’ (Lee and Shaw, 2006: 35). In Figure 2 image C ‘ザザザザ (ZAZAZAZA)’, the sound of coming to a stop on gravel, and image D ‘ ドドガガガ (DODOGAGAGA)’, the sound of a hard fall, are examples of giongo. In contrast, image A is an example of gitaigo. サッ is an expression used to describe the state ‘quickly’. The translation of the sound ‘giggle’ in image B is worth noting. In Japanese, the sound is more akin to that of a moan and is commonly used in manga and anime to indicate seduction. The fact that this has been translated as a giggle instead of a moan suggests that sound as signifier is culturally specific. Lee and Shaw (2006) note that in translations of manga into Chinese, sometimes onomatopoeic expressions are left untranslated and treated as part of the illustration. In that case, the written sound effect becomes part of the visual effect and evokes the ‘Japanese’ feeling of the text. This is also the case in the English edition of the fan-translated manga where sound effects are mostly left untranslated. It is interesting to note how, despite not being able to read the onomatopoeia, the reader can conjure the sound from the context of the situation and from the choice of font. While the meaning is subjective



475

Figure 2. Typography as an important resource to conjure up the sound effect (Scanlations of Kishimoto, 1999: 9, 14, 45). © SHUEISHA Inc.

to the individual reader, he or she is encouraged to associate it with particular sounds from the typography. For example, examine the sound effects in Figure 2. In example A, the puffs of cloud besides the written text suggests that the sound is along the lines of ‘poof ’, either the sound of the pipe or in reading the frame in context, the sound of a hat being placed on the head. In example B, the squiggles evoke the sense of something ‘girly’, so the sound suggests something along the lines of ‘mwah’, the sound of a kiss. In example C, the jagged edges of the letters and the thick bold font express force. The vertical lines, one long, one short, pointing towards the boy give the impression of a sharp sound, like daggers stabbing into something. One can imagine the sound along the lines of ‘Ktzzzzzz’. The lines created by the letters, pointing towards the boy, centre the energy on the boy. Likewise, the jagged edges and bold font in image D are used to express force. The position of the letters, however, gives the impression that the sound and the line of action are moving away from the reader. The sound begins on the top left-hand corner, a loud ‘Krrrk’. As the letters slide across the page with the character, they get smaller and smaller, thus giving the impression of the sound getting fainter and fainter as it moves away from the reader. One can almost imagine the sound going ‘KKKrrrkkk’ – loud to soft. Compare these to the English edition in Figure 3 where the typography appears slightly different. While the change in typography in images A and B of Figure 3 do not seem to affect the meaning too much, we suggest this is not the same with images C and D. In image C, the sound has been translated as ‘SRRRFF’. While image C in the Japanese version evokes the notion of daggers because of the sharp lettering system, the lettering system and the typography in the English version bring to mind a spiked wheel. The notion of roundness, smoothness, is reflected in the curve in which the letters have been presented. The sound ‘SRRRFF’ also has a rounder feel. Unlike the Japanese version, where the energy seems to be centred on the boy, here the energy feels more spread out

476



Figure 3. English translations of the Japanese sound effects (Kishimoto, 2003: 9, 14, 45). © VIZ Media LLC.

as a result of the curved letters. Likewise, the slightly different typography in D seems to affect the sound. The typography in D appears to be more curved and droopy, presenting the sound ‘KRAAAK’. It may be that the intended letters were ‘KRRRRK’ but this is not clear as a result of the typography. Since English letters are read from left to right, this alters the manner in which the sound is produced. Instead of loud to soft, here we have soft to loud. From these examples, it is clear that typography, position and even reading path play an important role in the reader’s interpretation of sound. T ranslation of H u m o u r

Mitchell (1986) argues that images need to be situated in the world of convention. Similarly, in talking about the translation of humour in comics, Kaindl (2004: 174) points to the cultural specificity of images and the loss of humour that occurs without sufficient cultural knowledge of the pictorial traditions. He notes that studies of translation in multimodal texts tend to focus on the linguistic features, ignoring the fact that translation is a ‘cultural, rather than linguistic, phenomenon’ and that non-verbal elements are just as important in the construction of meaning. Manga employ highly stylized images that are specific to the visual culture of Japan. These images, which Cohn (2010: 192) calls ‘graphic emblems’, are conventional and represent emotions or motions metaphorically. In Figure 4, for example, the humour in the sequence lies in understanding the graphic emblems being employed. After seeing the main protagonist Naruto turn into a naked woman, the teacher (the ninja in Frame 2) reacts by turning ‘cartoony’ which is taken as him ‘turning pale with shock’ or ‘gagging with shock’. The cartoony emblem is an indication of ‘a spontaneous general lack of seriousness’. The secretion from the nose, which is carried into Frame 3, suggests a nose bleed. This, according to Cohn, is a graphic emblem for lust. After some time has passed, as suggested by the window and cloud in Frame 5, the teacher reacts to Naruto’s joke by exploding with anger. The cartoony emblem here captures the burst of emotion as well as the humour. It is as if the character is letting the inner Huang and Archer: Fluidity of modes in the translation of manga


477

Figure 4. Images as conventional: the visual language of manga (Kishimoto, 2003: 14). © Viz Media LLC.

devil out. In the example here, emotion and humour are carried in the images and not in the writing. Without knowledge of the visual conventions, it would be difficult to understand the meaning and humour behind the images, thus making the translation of these multimodal texts more complex. T e m poral and S patial L ogics of F ra m es in Manga

In comics, the boundaries between modes and their logics are blurred as narrative is told through panels which not only have a spatial but also a temporal 478



relation. Groensteen (2007) explains this through what he calls principles of ‘spatio-topia’ and ‘arthrology’. Spatio-topia is the principle that is concerned with the spatial layout of a page. It brings together the idea of space and place. The panel, which Groensteen considers to be the basic unit of comics, necessarily occupies a space and is positioned in a place in relation to other panels on a page. Arthrology is the principle which is concerned with the relation between panels. Whether the panels are linearly or non-linearly related, it is the principle of arthrology, the linking of panels, that turns a sequence of images into a visual narrative. As Ryan (2004: 141) explains: The reader … constructs a story line by assuming that similar shapes on different frames represent common referents (objects, characters, or setting); by interpreting spatial relations as temporal sequence (adjacent frames represent subsequent moments); and by inferring causal relations between the states depicted in the frames.

Reading comics thus involves reading spatially organized arrangements in temporal sequences. This special characteristic of comic art encourages one to think beyond the usual usage of modes and their logics; to explore the potential play between space and place, image and writing. Manga, in particular, are notable for playing with spatial and temporal relations to add a sense of duration and tempo to a narrative. In Figure 5, Kishimoto adds duration and tempo to the narrative by playing with panel size and border. The large panel in Frame 1 establishes the setting of the narrative. A sense of timelessness is evoked with the frame protruding off the page, a technique which McCloud (1994) refers to as ‘bleeds’. In contrast, a sense of urgency is inferred in Frames 2 and 3 through the use of smaller and more or less uniform frames. These frames create a staccato in the narrative tempo and build tension in the narrative. Frame 4 prolongs the narrative tension as the frame is slightly larger. The tension is reinforced by the represented elements inside the frame. In Frame 5, as the tension boils over, the size of the frame expands to match the action inside the frame. The larger frame also suggests a brief pause in narrative pace. This pace is speeded up again in the last two frames. The spatial and temporal dimension of the comics panel thus enable one not only to establish temporality and causality but also duration and tempo. Kishimoto’s example above demonstrates how frames, space and place can add suspense and tension to a narrative. While comics are cross-cultural, different cultures and societies have different ways of employing resources and constructing meaning. This becomes evident in translations where resources are reconfigured to account for a different audience, which is the case in the next section. T ranslation and L a y o u t : S patial and L inear L ogics

Spatial and linear arrangements are two approaches to layout design. A spatial layout is governed by the logics of space such as the case in centre/margin



479

Figure 5. Frames establish duration and tempo (Kishimoto, 2003: 29). © VIZ Media LLC.

compositions. A linear composition, on the other hand, is governed by a linear approach such as moving from right to left or top to bottom. Spatial and linear compositions are two different approaches to layout with each design offering different meanings (Kress and Van Leeuwen, 2006). However, we will show in the following analysis that the boundaries are, in fact, rather blurred. Figures 6 and 7 are prologues to Naruto. Figure 6 presents the original Japanese version with the English translation from a fan edition on the right. Here, the layout can be said to be governed by a spatial arrangement. Figure 7 is the prologue to the official English edition of the same narrative. The layout can be described as linear. Kress and Van Leeuwen (2006) note that the centre/margin composition is a common layout design in the East. This type of design displays a sense of harmony and balance that is reflective of Eastern culture. The image enclosed inside the frame in Figure 6 is governed by spatial arrangement, by a centre/margin composition. This arrangement places emphasis on the image at the centre and sidelines the writing on the margins. The result of the layout is that the reader enters the narrative through the image. The image is enigmatic, composed of mystical swirls and symbols evoking a sense of fantasy and wonder. The structured pattern suggests design

480



Figure 6. The original Naruto and the fan English translated version (Kishimoto, 1999: 4). © SHUEISHA Inc.

rather than chance. What do the patterns mean? The reader is led into the narrative filled with curiosity and uncertainty. The image comes to take on a specific meaning when read in conjunction with the written text. Spread out on four corners as if to anchor the page, the written mode pins down the meaning to the otherwise abstract image. As the ‘voice’ to the narrative, the written text appears to belong to that of an omniscient narrator. This is suggested by the lack of frames binding the words to a specific speaker. Despite being spread out spatially from corner to corner, the reader has to follow a linear reading path in order to read the narrative. Therefore, while the design of the page is governed by a spatial logic, the written text follows a linear logic, from left to right and top to bottom. A spatial layout can easily be adapted into a linear layout by rearrangement of the semiotic resources as seen in the official English edition in Figure 7. This, however, alters the mood of the narrative somewhat. The layout in the official English edition is divided into top/bottom and therefore can be described as ‘linear’. According to Kress and Van Leeuwen (2006), it is a common practice in Western composition to polarize elements into either top/bottom or left/right. A top/bottom layout, in particular, evokes a sense of structure and hierarchy. The changed layout detracts attention from the image despite its position at the centre and instead encourages one to read the written text first. In addition to reading from top to bottom being common Western practice, the reader’s attention is guided to the writing by a number of compositional elements such as the use of bold font, placing the writing in box frames superimposed over the visual image and printing the image in a lighter shade in comparison to the written text. The effect is that the image seems to



481

Figure 7. The official English edition of Naruto (Kishimoto, 2003: 4). © VIZ Media LLC.

function as ‘wallpaper’, a decorative element to the narrative, while the writing is the primary source which draws the reader into the story. The layout offers the narrator a strong authorial voice; the linearity establishes authority and certainty by presenting facts first. Although the semiotic resources in the official English edition follow a linear pattern from top to bottom, it can also be argued that a spatial arrangement governs the composition. If the image is viewed as background ‘wallpaper’, then the writing is in fact divided by space and arranged in space. This notion is reinforced by the frames that divide the writing into blocks. The pace

482



in narration established by the frames and the spaces in between contribute to the spatial arrangement. In sum, spatial and linear layouts offer different meanings, but the boundaries do not appear to be clearcut. The layout in the fan translation places emphasis on the image due to its spatial positioning at the centre. The effect is that the mood of the narrative is established first before the content. In this case, the image functions as a ‘hooking device’ and is used to draw the reader into the narrative. Although governed by a spatial logic, there appears to be some blurring when the linear reading path is taken into account. In the case of the official translation, the linear layout creates a hierarchal structure, affording the narrator a strong authorial voice. The image, on the other hand, functions as an ambience to the narration. While the layout is governed by a linear logic, the use of framing devices and space to separate sentences suggests that the resources are also governed by the logics of space. The different translations use the affordances of space to create very different reading experiences. C oncl u sion

What transpires from this analysis is that the affordances of the visual and written modes are not strictly governed by the logic of space and time respectively. Rather the affordances of the modes are governed by their ‘functional specialization’ (Archer, 2006; Kress, 2010). That is, individual users of a sign decide which mode is appropriate in representing the characteristics of a particular meaning and whether that mode is the most effective for capturing the attention of the audience. This has implications for the translation of manga from Japanese to English. The translation of Naruto reveals the importance of layout as the juxtaposition of time and space, written characters and graphic images. It is important to consider the blurring of modes and their logics when exploring the translation of other multimodal texts and other kinds of visual narratives, especially in terms of reading path, typography, lettering systems and layout. Different cultural groupings have different ways of constructing space and place. This transpires in translations where layout has been reconfigured to account for a different audience. Thus Zanettin (2004: 94) writes that the translation of comics should be regarded as ‘intercultural translation between semiotic environments which are culturally determined, along dimensions of space and time’. That is, translation of comics is not only about translating image and words but also semiotic systems that are embedded in social practices that change over time. Thus, translation is particularly well accounted for through multimodal social semiotic theory which grounds modes and their uses in the social. By exploring the nature of multimodal translation, this article has sought to raise awareness of embedded reading practices that have been conventionalized to become the ‘norm’.



483

F u nding This research received no specific grant from any funding agency in the public, commercial, or not-for profit sectors. R eferences

Andrews, A. and Smith, A. (2011) Developing Writers: Teaching and Learning in the Digital Age. Maidenhead: McGraw Hill/Open University Press. Archer, A. (2006) A multimodal approach to academic ‘literacies’: Problematizing the visual/verbal divide. Language and Education 20(6): 449–462. Archer, A. (2010) Multimodal texts in higher education and the implications for writing pedagogy. English in Education 44(3): 201–213. Baldry, A.P. and Thibault, P.J. (2006) Multimodal Transcription and Text Analysis: A Multimedia Toolkit and Coursebook. London: Equinox. Ceglia, S. and Caldesi Valeri, V. (2000) Maison Ikkoku. Image [&] Narrative 1(1). Available at: http://www.imageandnarrative.be/inarchive/ narratology/cegliavaleri.htm (June 2014). Cohn, N. (2010) Japanese visual language: The structure of manga. In: Johnson-Woods, T. (ed.) Manga: An Anthology of Global and Cultural Perspectives. Continuum Books, 187–203. Eisner, W. (1985) Comics and Sequential Art. Tamarac, FL: Poorhouse Press. Groensteen, T. (2007) The System of Comics, trans. B Beaty and N Nguyen. Jackson: University Press of Mississippi. Halliday, M.A.K. (1978) Language as Social Semiotic: The Social Interpretation of Language and Meaning. London: Arnold. Huang, C-W. (2009) A multimodal social semiotic approach to the analysis of manga: A metalanguage for sequential visual narratives. Unpublished Masters dissertation, University of Cape Town. Huang, C-W. and Archer, A. (2012) Uncovering the multimodal literacy practices in reading manga and the implications for pedagogy. In: Williams, B. and Zenger, A. (eds) New Media Literacies and Participatory Popular Culture across Borders. New York: Routledge, 44–60. Jacobs, D. (2007) Marveling at ‘the man called Nova’: Comics as sponsors or multimodal literacy. College Composition and Communication 59(2): 180–205. Jüngst, E.H. (2004) Japanese comics in Germany. Perspectives 12(2): 83–105. Kaindl, K. (1999) Thump, Whizz, Poom: A framework for the study of comics under translation. Target 11: 263–288. Kaindl, K. (2004) Multimodality in the translation of humour in comics. In: Ventola, E., et al. (eds) Perspectives on Multimodality. Amsterdam: John Benjamins, 173–192. Kodansha (1993) Japan: An Illustrated Encyclopaedia. Tokyo: Kodansha. Kress, G. (2003) Literacy in the New Media Age. London: Routledge.

484



Kress, G. (2010) A Social Semiotic Approach to Contemporary Communication. Oxford: Routledge. Kress, G. and Van Leeuwen, T. (2006) Reading Images: The Grammar of Visual Design. London: Routledge. Kishimoto, M. (1999) Naruto. Weekly Shōnen Jump 43. Japan: Shueisha Inc. Kishimoto, M. (2003) Naruto, 1. San Francisco: VIZ Media. Lee, W.H. and Shaw, Y. (2006) A textual comparison of Japanese and Chinese editions of manga: Translation as cultural hybridization. International Journal of Comic Art 8(2): 34–55. Lim, V.F. (2004) Developing an integrative multi-semiotic model. In: O’Halloran, K. (ed.) Multimodal Discourse Analysis: Systemic Functional Perspectives. London: Continuum, 220–246. McCloud, S. (1994) Understanding Comics: The Invisible Art. New York: HarperPerennia. Mitchell, W.J.T. (1986) Iconology: Image, Text, Ideology. Chicago: University of Chicago Press. Power, N.O. (2009) God of Comics: Ozamu Tezuka and the Creation of PostWorld War II Manga. Jackson: University Press of Mississippi. Rommens, A. (2000) Manga story-telling/showing. Image [&] Narrative 1(1). Available at: http://www.imageandnarrative.be/inarchive/narratology/ aarnoudrommens.htm (September 2012). Ryan, M. (ed.) (2004) Narrative across Media: The Language of Storytelling. Lincoln: University of Nebraska Press. Rubinstein-Ávila, E. and Schwartz, A. (2006) Understanding the manga hype: Uncovering the multimodality of comic-book literacies. Journal of Adolescent & Adult Literacy 50(1): 40–49. Sell, C. (2011) Manga translation and interculture. Mechademia 6: 93–108. Unsworth, L. (2006) Towards a metalanguage for multiliteracies education: Describing the meaning-making resources of language–image interaction. English Teaching: Practice and Critique 5(1): 55–76. Van Leeuwen, T. (2004) Ten reasons why linguists should pay attention to visual communication. In: LeVine, P. and Scollon, R. (eds) Discourse and Technology: Multimodal Discourse Analysis. Washington DC: Georgetown University Press, 7–20. Zanettin, F. (2004) Comics in translation studies: An overview and suggestions for research. Paper presented at Traduction et Interculturalisme. VIIe Séminaire de Traduction Scientifique et Technique en Langue, Lisbon, November, 93–98. Biograp h ical N otes

CHENG-WEN HUANG is a PhD student at the University of Cape Town. Her research explores the possibilities of a multimodal approach to academic argument in Media Studies. Her research interests include social semiotics, multimodality, academic literacies and digital media.



485

Address: Writing Centre, Academic Development Programme, Centre for Higher Education Development, Hlanganani Building, University of Cape Town, Private Bag Rondebosch, 7700, South Africa. [email: chengwen. [email protected]] ARLENE ARCHER is the co-ordinator of the Writing Centre at the University of Cape Town. She teaches in Applied Language Studies, Higher Education Studies, Film and Media. Her research explores aspects of multimodality and access to different disciplinary sites in Higher Education. She has published in journals such as Language and Education, Teaching in Higher Education, English in Education, British Journal of Educational Technology, English for Specific Purposes and Visual Communication. Address: As Cheng-Wen Huang. [email: [email protected]]

486



Visual Communication

Visual Communication

Suggest Documents