Slanted Translation[s]: An Interview with Artist Rosanna Bruno

IF 0.9 2区 历史学 0 CLASSICS
Gina Prat Lilly
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引用次数: 0

Abstract

In this interview-essay, artist Rosanna Bruno talks with the author about her illustrations of The Trojan Women, a comic-book made in collaboration with Anne Carson. Bruno’s illustrations offer the reader an oblique entry into a devastated Troy: they are translation “at a slant.” The artist speaks on going against what is visually expected or plausible, in her use of surprising imagery to convey and counterpoint suffering, and touches upon the use of humor to bring the tragedy into sharp focus. Bruno explains how the comic-book format can communicate radical ideas in the interdependence of word and image. She talks through creating the feeling of live theater and the emotional tenor brought about by an almost entirely non-human cast: dogs, cows, a huge wave, a turnip-like rootling, a pair of dungarees. The illustrator elucidates the collaborative process between herself and Carson, revealing the various iterations of characters before they settled on their final forms, and the materials and methodologies Bruno employed in its rendering.
倾斜的翻译:艺术家罗珊娜-布鲁诺访谈录
在这篇访谈文章中,艺术家罗珊娜-布鲁诺(Rosanna Bruno)与作者谈论了她与安妮-卡森(Anne Carson)合作创作的漫画书《特洛伊妇女》(The Trojan Women)的插图。布鲁诺的插图为读者提供了一个进入满目疮痍的特洛伊城的斜面:它们是 "倾斜 "的翻译。这位艺术家谈到,她用令人惊奇的意象来传达和反衬苦难,违背了视觉上的预期或合理性,并用幽默的方式让悲剧变得更加鲜明。布鲁诺解释了漫画形式如何通过文字和图像的相互依存来传达激进的思想。她讲述了如何营造现场戏剧的感觉,以及几乎完全非人类的演员阵容所带来的情感基调:狗、牛、巨浪、像萝卜一样的根茎、一条粗布裤子。插图画家阐明了她与卡森之间的合作过程,揭示了角色在确定最终形态之前的各种反复,以及布鲁诺在呈现过程中使用的材料和方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.10
自引率
20.00%
发文量
6
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