Neste trabalho, as histórias em quadrinhos são compreendidas como uma linguagem que, através da justaposição de imagens, transmitem informações que produzem uma resposta no leitor. A proposta é observar as possibilidades de apropriação do conhecimento e da informação cultural presentes em um artefato que se mostra amplo no sentido de interpretação e significação: as histórias em quadrinhos. A metodologia de pesquisa adotada compreende uma abordagem interpretativa e qualitativa que envolve tanto texto verbal como visual. No objeto empírico desta pesquisa, na história em quadrinhos Sandman, de Neil Gaiman, foram percebidas diversas referências culturais, históricas e literárias no conteúdo narrativo. Desta forma, refletiu-se sobre as apropriações culturais, estéticas, cinematográficas, entre outras, que fazem parte da composição da série, observando seus aspectos intertextuais e semióticos. Assim, ao nos debruçarmos sobre a análise da intertextualidade em Sandman, procuramos entender como as informações culturais se articulam na constituição de um campo de conhecimento específico, reunindo referências as mais diversas. Esta análise almejou contribuir para a Ciência da Informação por meio de uma reflexão acerca de como se constituem as mediações da leitura por meio da identificação das camadas intertextuais presentes na obra, os processos sociais de construção de conhecimento e a montagem de \"enciclopédias\" dos leitores na atual sociedade da informação / In this work, comics are understood as a language that, through the juxtaposition of images, transmit information that produces an answer in the reader. The proposal is to observe the possibilities of appropriation of knowledge and cultural information present in an artifact that shows itself broad in the sense of interpretation and meaning: comic books. The adopted research methodology comprises an interpretative and qualitative approach that involves both verbal and visual text. In the empirical object of this research, The Sandman, of Neil Gaiman, diverse cultural, historical and literary references in the narrative content were perceived. In this way, the cultural appropriations, aesthetic, cinematographic, among others, that are part of the composition of the series, were considerate, observing its intertextual and semiotic aspects. Thus, when we look at the analysis of intertextuality in Sandman, we try to understand how cultural information is articulated in the constitution of a specific field of knowledge, bringing together the most diverse references. This case study aimed to contribute to the Information Science through a reflection on how the mediations of reading are constituted through the identification of the intertextual layers present in the work, the social processes of knowledge construction and the assembly of \"encyclopedias\" Of readers in today\'s information society.

O objeto de estudo da presente dissertação é a utilização das histórias em quadrinhos na aula de língua estrangeira, exemplificada a partir da língua alemã. Sua utilização justifica-se por vários motivos: seu caráter motivador e globalizador, a identificação por parte dos aprendizes, sua popularidade e atualidade, a possibilidade de diferentes abordagens, sua capacidade de facilitar os processos de memorização de vocabulário por combinar texto e imagem e porque são autênticos veículos de informações específicas da cultura e do contexto em que se inserem. A didatização das histórias em quadrinhos exige o conhecimento de suas características fundamentais de sistema narrativo composto por dois códigos que interagem (o visual e o verbal) e de uma característica específica: o processo que ocorre na mente do leitor no espaço vazio entre dois quadrinhos, a conclusão. A dissertação apresenta uma introdução a esses conceitos, assim como um procedimento para seleção das histórias em quadrinhos baseado nesses conhecimentos, de forma a otimizar o trabalho do professor de língua estrangeira. O trabalho sugere também um elenco de atividades com histórias em quadrinhos que leva em consideração uma tipologia de exercícios para a aula comunicativa, além de apresentar exemplos de aplicação prática de tais atividades junto a aprendizes brasileiros adultos de alemão como língua estrangeira. / The object of study of this dissertation is the use of comic strips in the foreign language class, exemplified in German language. The use of comic strips is justified for different reasons: its motivating and globalizing aspect, its identification with the learners, its popularity and contemporaneity, the possibility of different language approaches, its ability to facilitate memorization processes of vocabulary by combining text and image, and, finally, because they are authentic media for specific information on the culture and context in which they are inserted. The use of comic strips in class demands knowledge of their fundamental characteristics as a narrative system made up of two codes which interact (both visual and verbal) as well as of a specific characteristic: the process that takes place in the readers mind in the empty space between two panels, the conclusion. The dissertation offers an introduction to these concepts, as well as a procedure for the selection of comic strips based on this knowledge, aiming to optimize the work of the foreign language teacher. Moreover, the work also suggests not only some activities with comics which consider a typology of exercises for the communicative class, but also some instances of practical use of such activities with Brazilian learners of German as a foreign language.

Esta dissertação ocupa-se do estudo da missividade, utilizando como corpus as HQs de Território de bravos, de Luiz Gê. Seu objetivo principal é examinar a emissividade e a remissividade como elementos fundadores de uma gramática tensiva nas narrativas dos quadrinhos. Inicialmente, abordamos a paixão da obstinação como constituidora do éthos do enunciador. Como a obstinação revela a cifra tensiva da continuidade da parada causada pela tonicidade do antissujeito no percurso do sujeito, tornou-se relevante fazer o levantamento de quadrinhos emissivos e remissivos nas HQs. O resultado encontrado de 75,47% de quadrinhos de dominância remissiva endereçou-nos para a teoria da missividade de Zilberberg. Essa teoria dá sustentação às análises empreendidas nesta dissertação e possibilitou-nos a constatação de que é o jogo do fazer missivo que estrutura as HQs. Examinamos comparativamente duas HQs de direções diversas: uma de dominância remissiva e outra de dominância emissiva e verificamos a pertinência do estudo da função do antissujeito, que é de desarranjador da ordem sujeito objeto. Ele seria responsável por impulsionar o percurso narrativo, assim como impulsiona a paixão da obstinação no enunciador. Não houvesse a presença do antissujeito, a relação entre sujeito e objeto caminharia para o exaurimento da narrativa, ou seja, uma harmonia absoluta. Posteriormente, com apoio na teoria da missividade, verificamos a oportunidade de pesquisar o ritmo e a retórica nas HQs como outros fatores tensivos engendradores do sentido. Examinamos, ainda, a aceleração e desaceleração promovedoras desse ritmo das HQs e chegamos ao estabelecimento de um paralelo entre as HQs de Luiz Gê e as estéticas clássica e barroca. Esses conceitos implicaram uma revisão da retórica sob o ponto de vista tensivo. Daí, o interesse deste trabalho pelos tropos metafóricos e metonímicos aqui vistos segundo as cifras tensivas da aceleração e desaceleração, respectivamente. / The purpose of this work is to study the missivity, using as a corpus Luiz Gês Território de bravos comics. The main purpose is to examine emissivity and remissivity as founding elements of a tensive grammar in the narratives present in the comics. Initially, we broach the obstinate passion as constituting the éthos of the enunciator. Once obstinacy reveals the tensive cipher in the continuity of the pause caused by antisubjects tonicity in subjects way, it became relevant to collect emissive and remissive drawings in Gês comics. The conclusion of the survey 75.47% of prevalent remissive drawings has brought us to Zilberbergs missivity theory. This theory supports the analysis undertook in this work and provided the means to us to testify that the missive playing structures comics. We examined in comparative terms two comic stories which go along two diverse ways: one of them in remissive dominance, the other in emissive dominance; we found pertinence in the study of antisubjects function that is, to derange the subject object sequence. This antisubject would account for impelling the narrative way, as well as He impels enunciators obstinate passion. If the antisubject was not present, the subject-object would go to a depletion of the narrative, that is, an absolute harmony. Afterwards, supported by the missivity theory, we could verify the convenience of researching the rhythm and rhetoric in the comics as other tensive factors that originate sense. We still examined the acceleration and deceleration that promote that rhythm in the comics, and this way could establish a comparison between Luiz Gês stories and classic and baroque esthetics. These concepts implied a revision of the rhetoric under a tensive point of view. Thus this work concerns itself with the metaphorical and metonymical tropos here seen in conformity with, respectively, acceleration and deceleration tensive ciphers.

The dissertation examines the field of popular magazines in 1930s Italy, by first examining the broad field of magazine production under Fascism and then undertaking three case studies of individual magazines - L'Avventuroso (1934 - 1943), Omnibus (1937 - 1939), and Grazia (1938 -) - in order to build an in-depth analysis of the production, format and reception of the popular press in this period. In the interwar years, and in particular from 1934 onwards, innovative printing techniques and production methods transformed the periodical press worldwide. The emergence of new forms of illustrated magazines expanded the readership and started a process of standardisation and mass production of periodicals. The dissemination in Italy of the rotocalco, a new product aimed at the masses that was developed in the 1930s, offers a particularly interesting starting point for analysing the development of a modern Italian mass press and culture within the peculiar dynamics of a controlling Fascist regime and the mixed national and international forces that shaped it. Modern Italian magazines developed in dialogue with foreign industries, imitating models from abroad and adapting them to the Italian culture. The development of popular press in the 1930s represented a challenge for the Fascist regime, which approached it both as a threat and an opportunity to shape Italian popular culture. Through the analysis of three case studies, each from a key sector of popular press - comics, general cultural magazines, and women's magazines - and each produced by one of the three main publishing companies in the field - Nerbini, Rizzoli, and Mondadori - the dissertation aims to provide a detailed picture of the development of mass print culture in Italy during Fascism. The analysis provides examples of the impact of and cracks in Fascist censorship and cultural autarchy on the periodical press and argues that the Italian popular press developed in dialogue with European and American culture, which influenced both the form and content of rotocalchi, reinterpreting and adapting these models to Italian standards and to the constrictions of Fascist control.

O objeto de estudo da presente dissertação é a utilização das histórias em quadrinhos na aula de língua estrangeira, exemplificada a partir da língua alemã. Sua utilização justifica-se por vários motivos: seu caráter motivador e globalizador, a identificação por parte dos aprendizes, sua popularidade e atualidade, a possibilidade de diferentes abordagens, sua capacidade de facilitar os processos de memorização de vocabulário por combinar texto e imagem e porque são autênticos veículos de informações específicas da cultura e do contexto em que se inserem. A didatização das histórias em quadrinhos exige o conhecimento de suas características fundamentais de sistema narrativo composto por dois códigos que interagem (o visual e o verbal) e de uma característica específica: o processo que ocorre na mente do leitor no espaço vazio entre dois quadrinhos, a conclusão. A dissertação apresenta uma introdução a esses conceitos, assim como um procedimento para seleção das histórias em quadrinhos baseado nesses conhecimentos, de forma a otimizar o trabalho do professor de língua estrangeira. O trabalho sugere também um elenco de atividades com histórias em quadrinhos que leva em consideração uma tipologia de exercícios para a aula comunicativa, além de apresentar exemplos de aplicação prática de tais atividades junto a aprendizes brasileiros adultos de alemão como língua estrangeira. / The object of study of this dissertation is the use of comic strips in the foreign language class, exemplified in German language. The use of comic strips is justified for different reasons: its motivating and globalizing aspect, its identification with the learners, its popularity and contemporaneity, the possibility of different language approaches, its ability to facilitate memorization processes of vocabulary by combining text and image, and, finally, because they are authentic media for specific information on the culture and context in which they are inserted. The use of comic strips in class demands knowledge of their fundamental characteristics as a narrative system made up of two codes which interact (both visual and verbal) as well as of a specific characteristic: the process that takes place in the readers mind in the empty space between two panels, the conclusion. The dissertation offers an introduction to these concepts, as well as a procedure for the selection of comic strips based on this knowledge, aiming to optimize the work of the foreign language teacher. Moreover, the work also suggests not only some activities with comics which consider a typology of exercises for the communicative class, but also some instances of practical use of such activities with Brazilian learners of German as a foreign language.

Dentro da área de Ensino de Ciências é possível identificar a existência da linha de trabalho que advoga o ensino de uma Física detentora de valor Cultural dentro de sala de aula. Trabalhos como os de Zanetic (1989) sugerem que a Física, por não ser desprovida de conteúdo ideológico e político seja ensinada nas escolas públicas dentro de um contexto sociocultural. Neste caminho, pretendemos contribuir para o diálogo entre a Física e a Cultura, em especial a Cultura de Massas, apresentando uma análise do potencial didático apresentado pela Leitura de Histórias em Quadrinhos de Ficção Científica dentro da sala de aula em um curso de Física. Utilizamos como referenciais para a relação entre Física e Cultura os trabalhos de George Snyders (1988) C.P. Snow (1959) e do próprio Zanetic (1989). A relação entre História em Quadrinhos e Educação foi analisada a partir dos trabalhos do prof. Waldomiro Vergueiro (2009) da ECA-USP e de outros estudiosos da área. Para iluminar o laço entre a Ficção Científica e o Ensino de Física, nos baseamos na teoria de análise dos pólos temáticos desenvolvida por Piassi (2007). Como demonstraremos adiante, o diálogo entre a Física, as Histórias em Quadrinhos de Ficção Científica e o período histórico-social que as produz é profundo, fazendo com que a leitura deste material em sala de aula possa fornecer o ponto de partida para o estudo de uma Física detentora de um perfil cultural, cujo domínio é capaz de levar o aluno ao questionamento, resultando em uma ação de mudança social. O recorte temático para estudo adotou as histórias do título em quadrinhos \"Quarteto Fantástico\", publicado originalmente desde 1962 e cujo lançamento pode ser considerado uma resposta cultural as sucessivas derrotas enfrentadas pela sociedade norte-americana no campo da corrida espacial. Exploraremos o panorama geral delineado pelos três números iniciais da publicação, responsáveis pela definição de uma matriz narrativa publicada de forma ininterrupta até os dias de hoje. Para fins de comparação adotamos as três primeiras aventuras de sua versão reformulada para o Século XXI após os eventos de 11 de Setembro de 2001, o chamado \"Quarteto Fantástico Ultimate\". Nosso objetivo é apresentar as relações entre a expressão artística da Ciência e os anseios sociais relacionados às descobertas científicas, apresentadas nos dois títulos. O resultado obtido evidencia que discutir uma História em Quadrinhos de Ficção Científica em sala de aula significa discutir a sociedade que as criou, fazendo com que a leitura crítica de um título possibilite ao aluno o contato com uma Física fruto da construção humana e detentora de um papel cultural. / Within the area of Science Education it is possible to identify a line of work where several studies advocate the teaching of a Cultural Physics in the classroom. Authors such as Zanetic (1989) suggests that physics can be taught in public schools within a sociocultural context, because it is not devoid of ideological and political content. In this way, we intend to contribute to the dialogue between physics and culture, especially the mass culture, presenting an analysis of the didactic potential represented by reading Sci Fi comics during physics class. We used works such as George Snyders (1988) C.P. Snow (1959) and the very own Zanetic (1989) as references for the relationship between physics and culture. The relationship between Comics and Education was analyzed based on the studies of prof. Waldomiro Vergueiro (2009), ECA-USP and other scholars in the field. To illuminate the link between science fiction and physics teaching, we rely on the theory developed by Piassi (2007) for exploration of thematic poles. As we intend to demonstrate further, the dialogue between physics, sci fi comics and the socialhistorical period which produces it is deep, making the reading material in the classroom provide a starting point for the studies of physics with a cultural profile. This domain leads to questioning the student, which may result in an action for social change. The cutout theme adopted for the stories study is the comic book title \"Fantastic Four\", originally published in 1962 and whose release can be considered as a cultural response to the successive defeats faced by the American society throughout the space race, as will be demonstrated below. We explore the big picture outlined by the first three numbers of the publication, responsible for the definition of a matrix narrative published uninterruptedly up until the present day. For comparison purposes we will adopt the first three adventures of a reformulated version for the twenty-first century after the events of September 11, 2001, called \"Ultimate Fantastic Four\". Our goal is to demonstrate the relationship between expressive artistic science and social expectations related scientific findings, presented in both titles. As a result, we expect to demonstrate that discussing a sci fi comic book in the classroom means discussing the society that created them, making the critical reading of a title possible for the students to make contact with detaining physics that hold a cultural result of the human construction.

Ce travail s’attache à étudier la profession de dessinateur-illustrateur en France et en Belgique francophone de 1945 à 1968. La profession a longtemps été étudiée sous le seul prisme de la bande dessinée ou du dessin de presse politique. Grâce à une approche prosopographique et à l’étude de 400 trajectoires professionnelles, nous montrons que le métier de dessinateur est polyvalent dans les années 1950 et 1960, touchant autant à l’illustration qu’au dessin politique ou à la bande dessinée. Les dessinateurs sont dépendants du marché et multiplient les lieux depublication comme les pratiques graphiques, en particulier au sein des illustrés. Nous avons privilégié ce support pour appréhender la pratique professionnelle des dessinateurs du corpus. La polyvalence des dessinateurs et leur dépendance vis-à-vis du marché a des conséquences directes sur la manière dont ils construisent et définissent leur métier, en termes d’auto-représentation, de sociabilités comme de revendications. Le statut de journaliste devient unpoint d’ancrage pour nombre d’entre eux, apparaissant comme le meilleur moyen de bénéficier des acquis sociaux qui concernent la société salariale de la France et la Belgique des Trente Glorieuses. Dans le même temps, certains aspirent malgré tout au statut d’indépendant. Les dessinateurs endossent également leur rôle de journalistes dans leurs productions graphiques : leur travail pour la presse et les ouvrages à grand tirage fait d’eux des observateurs visuels de la société des Trente Glorieuses, dont ils transmettent les valeurs, les innovations et les questionnements. C’est dans ce contexte que s’imposent, parfois conjointement, le dessin absurde et la bande dessinée, sans pour autant qu’il s’agisse déjà de spécialisations professionnelles. / This dissertation documents the cartoonist’s trade in France and francophone Belgium from 1945 to 1968. Although this career has been traditionally addressed through the prism of comic art or political cartooning, this study based on a prosopographic approach and the analysis of 400 professional trajectories demonstrates that in the 1950s and 1960s, the trade was a multi-faceted one, in so far as cartoonists were equally likely to produce illustration art, political cartoons, or comics. Their dependence on the market typically brought them to rely upon multiple accounts and graphic techniques, particularly in comic magazines—the medium most closely analyzed in this study to comprehend their professional practices.The cartoonists’ versatility and dependence on the market directly conditioned how they perceived and defined their jobs in social, political, and legal terms. For most of them beingidentified as journalists became a recurring goal as the best means to take advantage of the same benefits and rights as wage-earners in post-World War II France and Belgium. Yet a minorityvalued self-employment. In their graphic productions many cartoonists fulfilled functions similar to those of journalists.Both in the mainstream press and mass-produced books they observed and recorded the values, innovations, and collective interrogations of their national societies in the postwar decades. It was against this background that comics and nonsense cartooning became established graphicforms, although they were often practiced by the same individuals.

The Revisionist comics of the 1980s to present represent an effort to literally revise the existing conventions of mainstream comics. The most prominent and common device employed by the Revisionists was self-reflexivity; thus, they created metacomics. The Revisionists make a spectacle of critically interrogating the conventions of mainstream comics, but do so using those same conventions: formal, generic, stylistic, etc. At their most practical level, Revisionist metacomics denaturalise the dominant genres of the American mainstream and therefore also denaturalise the ideological underpinnings of those genres. At their most abstract level, they destabilise the concepts of "fiction," "reality," "realism," and "fantasy," and even collapse them into each other. Chapter 1 explains my methodological approach to metacomics: formal (sequence and hybridity), self-reflexive (metafiction, metapictures, metacomics), and finally denaturalising (articulation and myth). Chapter 2 analyses two metacomic cycles in the mainstream (the Crisis and Squadron Supreme cycles) and surveys the self-reflexive elements of Underground comix (specifically with regard to gender and feminist concerns). Chapter 3 presents three motifs in Revisionist comics by which they denaturalise the superhero: the dictator-hero, postmodern historiography, and fantasy genres. Finally, Chapter 4 analyses three major Revisionist comic-book seriesTransmetropolitan, Promethea, and Sandmanall of which comment on contemporary culture and the nature of representation using the dominant genres of American comics (science fiction, superhero, and fantasy, respectively). / English

Dass Comics nicht nur Unterhaltungswert besitzen, sondern durchaus auch von wissenschaftlich-theoretischem Interesse sind, beweisen zahlreiche Arbeiten mit den unterschiedlichsten Schwerpunkten. Neben den Beiträgen, die auf einer allgemeineren Ebene einen Überblick über die Geschichte, die verschiedenen Publikations- und Herstellungsformen, die einzelnen Bestandteile, die Funktionsweise und die stilistischen und thematischen Varianten des Comics vermitteln (z.B. Fuchs/Reitberger, 1971 und 1978, Havas/Habarta, 1992 und 1993 und McCloud, 1995), gibt es auch Untersuchungen, die sich speziell mit einzelnen Aspekten der Textsorte beschäftigen. Dazu gehören bspw. semiotische Ansätze wie die von Krafft (1978) und Fresnault-Deruelle (1972), die erziehungswissenschaftlich orientierte Auseinandersetzung mit dem Gegenstand (z.B. Grünewald, 1991 und 2000) und die Arbeiten aus Literaturwissenschaft (z.B. Stoll, 1974) und Sprachwissenschaft (z.B. Rothe, 1974 und Krieger, 2003). Auch die Translatologie hat sich mit dem Thema Comic auseinandergesetzt. Eine Übersicht über generelle Probleme bei der Übersetzung dieser Textsorte bietet Schmitt (1997a). Einen ähnlich allgemeinen Anspruch haben die Arbeiten von Spillner (1980) und Schwarz (1989). Mit Sprachspielen als Teilaspekt der Comic-Übersetzung am Beispiel der französischen „Astérix“-Serie haben sich Grassegger (1985) und Schmitt (1997) beschäftigt. Praktische Relevanz bekommen derartige Untersuchungen durch die Situation auf dem deutschen Comic-Markt, der bis heute von ausländischen Lizenzausgaben beherrscht wird (vgl. Grünewald, 2000:2 und Schmitt, 1999:266). Der größte Anteil liegt dabei auf Übersetzungen aus dem Französischen (vgl. Schmitt, 1999:267) und inzwischen, bedingt durch den „Manga-Boom“ (vgl. DER SPIEGEL 10/2001), auch aus dem Japanischen. Von grundlegendem theoretischen Interesse ist die translatologische Auseinandersetzung mit dem Phänomen Comic deshalb, weil sie im Zusammenhang mit der charakteristischen Wort-Bild-Einheit dieser Textsorte die generelle Frage danach berührt, welche konstitutiven Merkmale einen Text als solchen kennzeichnen und inwieweit auch nonverbale Elemente im Übersetzungsprozess Berücksichtigung finden müssen (vgl. dazu auch Schmitt, 1997a:619). Mit der vorliegenden Arbeit soll eine weitere Annäherung an die semiotisch komplexe Textsorte Comic aus translatorischer Perspektive erfolgen. Da zum Comic aus allgemein künstlerisch-ästhetischer Sicht bereits zahlreiche Arbeiten vorliegen und das Thema, wie oben festgestellt, auch schon Gegenstand übersetzungswissenschaftlicher Beiträge war, wird hier der Analyse konkreter Fallbeispiele aus der Serie „Astérix“ von René Goscinny und Albert Uderzo und der jeweiligen deutschen Übersetzungslösungen besonderes Gewicht verliehen. Einzelne „Astérix“-Bände wurden in der Sekundärliteratur bislang hauptsächlich im Hinblick auf die Problematik der Sprachspiele untersucht (s. oben), während die für das Comic-Übersetzen ebenfalls relevanten typografischen und grafischen Besonderheiten und expliziten Bezüge auf die Ausgangskultur kaum Erwähnung fanden. Nach einer allgemeinen Einführung in das Thema, in der das grafisch-literarische Phänomen Comic definitorisch eingegrenzt und seine Entwicklungsgeschichte, die verschiedenen inhaltlichen und formalen Varianten sowie die herstellungstechnischen Abläufe grob umrissen werden sollen (Abschnitt 2), geht es im Abschnitt 3 der Arbeit um eine übersetzungswissenschaftlich ausgerichtete Betrachtung der charakteristischen Merkmale und typischen Bestandteile der Textsorte Comic. Dabei wird zunächst der Versuch unternommen, zu einer dem Gegenstand angemessenen Textdefinition zu gelangen und die damit eng verbundene Frage nach dem Texttyp zu beantworten (3.1). Unter 3.2 sollen die wesentlichen Konstituenten von Comic-Texten sowie die besonderen Bedingungen ihres Zusammenspiels herausgearbeitet und die sich daraus ergebenden translatorischen Herausforderungen besprochen werden. Die so gewonnenen theoretischen Einsichten werden dann im 4. Abschnitt anhand konkreter Beispiele aus einer umfangreichen Auswahl von „Astérix“-Bänden und ihren Übertragungen ins Deutsche auf ihre praktische Relevanz hin überprüft. Die Serie eignet sich für derartige Untersuchungen in besonderem Maße, weil sie erstens einen großen Umfang aufweist (bisher sind 31 Bände erschienen), zweitens einen hohen Bekanntheitsgrad genießt und deshalb leicht zugänglich ist und drittens im Hinblick auf die mit der Textsorte Comic verbundenen Übersetzungsprobleme insbesondere aufgrund ihrer engen kulturellen Einbettung sowie der bemerkenswerten Quantität und Qualität der enthaltenen Sprachspiele ausgesprochen ergiebig ist. Dass „Astérix“ unter den Comics eine herausragende Stellung einnimmt und deshalb immer wieder Gegenstand theoretischer Betrachtungen ist, bemerken auch Havas/Habarta (1993): „Asterix künstlerisch gesehen, Asterix historisch gesehen, Asterix als Parodie der Geschichte, Asterix als Kinderlektüre auf der einen Seite, Asterix als Erwachsenenlektüre durch versteckte Hinweise und Anspielungen auf der anderen, Asterix in Latein, Asterix in Esperanto, (...) lebende Persönlichkeiten als Nebenfiguren in Asterix und so weiter, und so fort – kaum ein anderer Comic hat so viele interessante Aspekte aufzuweisen, über die zu berichten es sich lohnen würde.“ (ebd., S. 156/158). Nach einer Vorstellung der Serie sowie ihrer deutschen Übersetzungen (4.1) und einer formalen und inhaltlichen Einordnung in die Textsorte Comic mit Blick auf die anzuwendende Übersetzungsmethode (4.2) werden unter 4.3 spezielle translatorische Probleme, nach thematischen Feldern geordnet, in drei verschiedenen Abschnitten behandelt: Umgang mit typografischen und grafischen Besonderheiten (4.3.1), Kulturspezifik (4.3.2) und Sprachspiele (4.3.3). Neben der Analyse von Belegstellen für Anspielungen und intertextuelle Bezüge im Ausgangstext und den entsprechenden Zieltextlösungen geht es unter der Überschrift „Kulturspezifik“ auch um den Vergleich der Arbeiten von drei verschiedenen „Astérix“-Übersetzern, die in ihrer grundsätzlichen Herangehensweise starke Unterschiede aufweisen (4.3.2.2. und 4.3.2.3). Eine Zusammenfassung der Ergebnisse erfolgt im Abschnitt 5.

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