THE RED SEA. SHARKS. | One evening, at the cinema Did you enjoy the film, Captain? Oh yes ,. 50 - The chap who played the lead is a good actor. The Red Sea Sharks (The Adventures of Tintin 19). Home · The Red Size Report. DOWNLOAD PDF Tintin and the Lake of Sharks Filmbook. Read more . Tintin and the Red Sea Sharks - Download as PDF File .pdf) or read online.
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3 juil. Discover ideas about Comic Covers. Booktopia has The Red Sea Sharks, The Adventures of Tintin Series: Book 19 by Herge. The Red Sea Sharks lifts the veil on the scandal of the modern day slave trade. Hergstayed abreast of current affairs, and as was his style, for this story he wove . Tintin The Complete Companion starts where Tintin and the World of Herge stooped. An overview of the world famous comic character and of his adventures .
Tintin and the Land of Black Gold. Page 1. However, a shift in progress to a less canonized position may be indicated. Because of the pervasive availability of comic books through the Internet, scanlations created by Tintinophiles have appeared online over the past few years.
The analysis of the onomatopoeia used in these books shows that in many cases, such as the sound of a telephone ringing figs , the translator has used a foreignizing strategy. Tintitn and Milou: The Fig.
Tintin and the Fig. Page 4. Middle right. Page 7. These translations made by fans are a valuable resource for investigating the position of the translation of comics in the literary polysystem of Iran. This is due to the fact that fans tend to translate more freely than institutional translators, less encumbered by concerns over copyright, ideology and so on.
Therefore, from these examples, it can be argued that the selection of foreignizing strategies in scanlations entails a canonized position for the translation of comics in the translation literary polysystem of Iran.
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This is due to the new, young and correspondingly weak position of comics in the country. Hence, the translators attempt to import novel and innovative resources into the literary system and thereby to improve the existing repertoire through adding new elements, the result of which has manifested itself in their choice of foreignizing strategies. However, the choice of foreignizing strategies is more frequent in earlier versions of the book than it is in the more recently published versions as well as in the scanlations.
This is an indication of the dynamic position of comics in the Persian literary polysystem. In other words, less frequent foreignizing choices suggest the movement of translated comics towards a more peripheral position in the polysystem. In the example below figs , we can see Captain Haddock and the Thompsons standing on the deck of a ship while seagull droppings fall on the hat of one of the Thompsons.
Page 5. Middle left. Another example of a domesticating strategy is found in Tintin and the Land of Black Gold, translated and published by Tarikh-o Farhang Publications from the English version. In the beginning of the story fig. The honking sound, however, is represented differently in the Persian translation. Top middle. It needs to be noted that these inconsistent choices may originate in a wish by the translators to avoid an extensive importation of foreign elements into the Iranian cultural repertoire.
Supposedly, despite the less frequent use of the foreignized strategies in more recent translations, a canonized position can still be assumed for the translated comics in the Persian literary polysystem at the time when the edition was published in the country. The analysis of the statistics shows that translated literature has been peripherally positioned in the literary polysystem of Iran from c.
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Despite the gap in the literary system, comics and their translations were also not welcomed by publishers and policy makers in the country since they posed a potential ideological threat to the receptor culture as an Islamic community. This situation led to the official termination of the publication of Tintin books in Iran after the Islamic Revolution of , which in turn resulted in the appearance of unauthorized editions that were adapted to the newly founded Islamic structure of the post-Revolution society.
The changes in the preliminary data were observed to be conform to these ideological transformations. The analysis of the onomatopoeia in the corpus of study also corroborated the gap of the comics genre in the translated literature of Iran.
According to Chang, the superiority of a cultural repertoire over the alternative options can be considered as a favourable starting point in predicting its acceptance by a cultural entity As was predicted, although there were cases of localization and domestication albeit more so in recent translations , many of the observed translations of onomatopoeia were retained, borrowed and introduced into the Persian translated literature. With regard to comics, the immature, susceptible, and fragile Persian literary polysystem seems to have given way to foreign stylistic items and welcomed them into its repertoire.
However, this foreignizing tendency appears more consistently in the editions published in the s. Conversely, the books published in the s by Nashr-e Tarikh-o Farhang Publications, Rayehey-e Andishe Publications, as well as the scanlations, were less inclined towards foreignizing strategies, a shift which may be a sign of the dynamic position of literary systems and sub-systems in the translated literary polysystem.
It seems that translated comics in the polysystem of Iran have moved from the canon towards a less central position.
This approach could be attributed to the virtual absence of comics and their translations in Persian literature.
The void of this particular literary genre in its modern sense seems to have led translators to consider a canonized position for the source comic books and accordingly, to retain certain foreign cultural elements in their translations.
However, it must be noted that this central position is more salient in the earlier translations of the s. Looking at the translations produced by two recent publishers in as well as translations provided by fans on the Internet indicates a lessening tendency to employ foreignizing strategies. This suggests that a translation polysystem is a naturally dynamic phenomenon.
Tintin et le Lac aux Requins.
Tournai: Casterman, Le Lotus Bleu. English Greg. Tintin and the Lake of Sharks. London: Mammoth, Tintin and the Red Sea Sharks. London: Methuen, ——-. Prisoners of the Sun. London: Methuen, The Blue Lotus. Persian Greg.
Tehran: Original, -. Tehran: Universal, Tehran: Venus, ——-. Tehran: arikh-o Farhang Publications, Tehran: Rayeh-e Andishe, Lachin, Mohammad Hossein. Secondary Works Ahadi, Shahram. Retrieved on January 20, Constructing Cultures: Essays on Literary Translation.
Clevedon: Multilingual Matters, Bazzazzadegan, Faraz. Casas-Tost, Helena. Chang, Nam Fung.
D'Arcangelo, Adele and Federico Zanettin. Federico Zanettin. Manchester: St. Jerome, Dollerup, Cay. Esfandiary, Shahab. Bristol: Intellect, Even-Zohar, Itmar. Essays in Honour of Hendrik Van Gorp. Dirk De Geest. Leuven: Leuven UP, Kaindl, Klaus.
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Amsterdam: John Benjamins, Gerard Delanty and Krishan Kumar. Essays on Translated Literature.
The Red Sea Sharks lifts the veil on the scandal of the modern day slave trade. Hergstayed abreast of current affairs, and as was his style, for this story he wove real-life news into action-packed adventure. Beginning at the end In classic literature a story does not usually start at the end, and nor do comic strips usually begin with the words HE END And yet this is exactly how Herglaunches the story of The Red Sea Sharks.
Tintin and the Red Sea Sharks
Cover story The front cover brings a dramatic scene up close to the reader. The choppy green and white water is in stark contrast with the wide black area that frames the central picture. The white letters of the title further accentuate the drama. This unique and striking Tintin front cover stands out; it is a bold success. To the heart of the action The title-page illustration plunges us straight into the heart of the action.
The Red Sea Sharks
There is no mistaking the situation: the S. Ramona is a target.
Hergchose to put the reader behind binoculars and a periscope for the first two pictures of the book, evoking naval combat and torpedoes. Things look desperate from the outset!
Luckily, as always with Tintin, there is a happy ending The force of walking straight into the Captain knocks Alcazar's wallet out of his pocket. A shark swallowing a mine is not going to go by unnoticed. Especially when it explodes. The red speech bubble, taking up almost all the available space at the top of the frame, says it all. Question marks are dotted all around.
The question marks could practically be the cardinal points, located at the four directions of the compass. In the s the general public could not get enough of real-life adventure stories; magazines and newspapers published articles about popular scientific endeavours. Hergread about the journey of Doctor Alain Bombard across the oceans of the world in a small boat. This website requires cookies to provide all of its features.
More information. Your e-mail:. Forgotten your password? Enter your email below and we will send you your password:. Vous allez recevoir votre mot de passe dans quelques instants. Sorry, invalid login or password. The Red Sea Sharks - p. The Red Sea Sharks. Story Captain Haddock simply cannot believe it, but human trafficking really is still going on, even in the twentieth century and today in the twenty-first century. Beginning at the end In classic literature a story does not usually start at the end, and nor do comic strips usually begin with the words HE END And yet this is exactly how Herglaunches the story of The Red Sea Sharks.
Cover story The front cover brings a dramatic scene up close to the reader. To the heart of the action The title-page illustration plunges us straight into the heart of the action.
Luckily, as always with Tintin, there is a happy endingTintin, Snowy and the Captain are back in Khemed and you have the usual betrayal, smuggling, rat-tat-tat etc.
Re-introduced to the beauty of Herge's Tintin and his friends - inspired after I watched the motion-animation capture movie, Tintin and resolved to go back and finish the series once again. Tournai: Casterman, Micro-level Analysis: Onomatopoeia On the micro-level, onomatopoeic sounds have been selected for analysis since they have particular features of interest to this discussion. Tintin and the Land of Black Gold. The short period in Marlinspike is simply farcical, with all of the Marlinspike jokes coming thick and fast, as well as all of the annoying practical jokes that Abdullah plays.