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Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-11-08T20:56:59Z No. of bitstreams: 1 DISS_2012_Tatiane Hirata.pdf: 4994391 bytes, checksum: e488576c3f57263ac5e4845b7091553c (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-12-15T13:44:11Z (GMT) No. of bitstreams: 1 DISS_2012_Tatiane Hirata.pdf: 4994391 bytes, checksum: e488576c3f57263ac5e4845b7091553c (MD5) / Made available in DSpace on 2017-12-15T13:44:11Z (GMT). No. of bitstreams: 1 DISS_2012_Tatiane Hirata.pdf: 4994391 bytes, checksum: e488576c3f57263ac5e4845b7091553c (MD5) Previous issue date: 2012-02-29 / CAPES / A união entre o vitalismo do cotidiano e as práticas colaborativas da cibercultura deu origem à prática midiática do scanlation, empreendida pelos fãs de mangás, as histórias em quadrinhos japonesas. O scanlation, junção dos termos em inglês scan e translation, é o processo de digitalizar mangás impressos com o intuito de traduzi-los do japonês para outro idioma, para então distribui-los gratuitamente através da internet, sem a permissão dos detentores de direitos autorais. Dispostos a fugir da subjetividade capitalista, os participantes dessa atividade buscam subverter o modo tradicional do consumo de mangá. Reunidos sob a prática do scanlation os fãs espalhados pelo mundo reinventam os processos de re-produção, circulação e consumo de mangá neste período marcado pelos processos de convergência midiática e demandas por formas sempre renovadas de rituais de sociabilidade no anonimato urbano. / The union between vitalism of daily life and collaborative practices of ciberculture gave rise to the media practice of scanlation, an activity undertaken by fans of manga, the Japanese comics. Scanlation, contraction of words scan and translation, is the process of scanning printed mangas in order to translate them from Japanese into another language, and distributing them free of charge through internet without permission from the copyright holders. Willing to escape from capitalist subjectivity scanlation members try to subvert the traditional way of consuming manga. Gathered under the media practice of scanlation, fans around the world reinvent the process of reproduction, circulation and manga consuming in this period characterized by the process of mediatic convergence and requests for ever renewed form of rituals of sociability in urban anonymity.

Web 2.0 and the new decentralized, many-to-many technosocial tolls empower consumers and users to reproduce, and distribute content on their own and without permission, shifting the boundaries of participation. Alternative collaborative communities that produce and distribute information, knowledge and culture without seeking profit or operating hierarchically challenge and/or correct commercial entities. This thesis deals with such a variety of collaborative community: the scanlation community. It explores, describes and explains what differences there are in the practices and understandings of scanlators, with a special focus on their attitudes towards legal ownership and profit motives.  The main research question is: How do scanlators understand their cultural production, reproduction and distribution practices; with a special focus on which meanings do they ascribe to copyright infringement and the anti-profit motive? In particular, the study provides answers to the following questions: How do some become scanlators? What are the motives of the scanlators? How is scanlation organized? How is it managed? Which beliefs underpin it? Further impacts on and implications for the cultural industry of manga and the society at the level of politics, economy, and culture are taken into account and disccussed. Bruns' produsage based model of collaborative content production and usage is taken here as the main theoretical tool to analyze the participants, processes and principles of the scanlation community. Other concepts derived from fans studies and the political economy of media and communication complement the theoretical framework. Twenty qualitative interviews with individuals contributors to the collaborative process of content creation in a variety of groups were conducted.  The analysis of the results of the research suggests that scanlators collaborate in competition and cooperation with their open, free, ad hoc and heterarchical alternative model of (unauthorized) manga tranlation, reproduction and distribution to correct the many shortcomings of the traditional model: it is free, faster and universally accessible; whereas the latter is expensive, slow, and geo-locked. Moreover, scanlators recognize author's moral rights and do not a priori disregard copyrights, but criticize licensing and rights handling mechanisms together with economic and political censorship. Finally, although they do not want to be paid for their free affective labour, they are not adverse to commercial approaches to their produsage, if these take place on their own terms. This thesis serves as a contribution for the better understanding of communal produsage practices, by the produsers themselves.

In the field of manga translation there are official translations and translations by fans, so called scanlations. Traditionally, official translations tended to use domesticating strategies, while scanlations tended to be foreignized. This study examined potential recent trends in the usage of foreignization and domestication strategies in the official translation and scanlation of KonoSuba: God’s Blessing on This Wonderful World! to see if there are any changes in these known tendencies. It also attempted to see the connections between the usage of those strategies to the quality of the translations. It did so by collecting cases of onomatopoeia and mimetic words, culture-specific items, honorifics, order of names of people, ateji and dialogue that does not fit these categories from both official and fan translations and compared them to the original Japanese version.It was found that some foreignizing strategies used in official translations can be linked to scanlator’s practices, and that the quality of a translation can sometimes be linked to the usage of foreignizing or domesticating strategies. Finally, a unique strategy of combining transference, translation, and leaving the original onomatopoeia or mimetic word intact was found in the official translation. However, it is not possible to determine the origin of this strategy in a case study alone, suggesting the need for further research.

When comparing official translations and scanlations (fan-translation) the discussion often leads to the method of translation, namely foreignization and domestication. This study seek out to compare the official translation, by Vizmedia, to the scanlation done by Twisted Hel Scans, of the manga Tokyo Ghoul. The translations were compared to see if some different tendencies in their translation choices could be found. As well as looking for differences, the accuracy was also analyzed to see which translation had the higher accuracy. The results showed that the official translation leaned more towards a domesticated approach but did use some foreignizing aspects as well. The scanlation was leaning much heavier towards a foreignizing approach in which the translators tried to keep the original sentence structure and also tried to transfer Japanese cultural terms into the translations. The scanlation overall had a worse flow of the text when compared to the official translation, and it also presented more translation errors.