Search results

1

O przekładzie komiksu, czyli uwagi teoretyczno‑praktyczne o tłumaczeniu graficznym

100%

Jankowski J.

Między Oryginałem a Przekładem

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2014

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vol. 25

67-85

EN

Comics is a peculiar kind of text and therefore its peculiarity and otherness implies the formulation of theoretical translation determinants. Comics use their language to tell a story and at the same time they become a language. As a peculiar visual language, it forces the translator to deconstruct the units in order to translate given comics due to the graphic meanings of units, the sequence logic of the tale and word/image tension as well as other mutual tensions between components. This article formulates determinants of graphic translation theory on the example of comics and certain practical employment of those rules.

2

Literatura polska w komiksowych planszach

100%

Hajduk-Gawron W.

Postscriptum Polonistyczne

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2012

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issue 1(9)

173-180

EN

Comics as one of the texts of culture becomes a mediating element between cultures. The article attempts to answer the question whether the history of Polish literature presented in a form of a comics can influence the way in which Polish literature is regarded and enlarge its readers’ number that is very limited outside of Poland. The author of the article also at-tempts to study the presence of Polish literary works (mostly novels) in multiple¬ panel com-ics, both in Poland and abroad.

3

Subjetividade e “Deslocamento” na obra homônima de Lucy Knisley

85%

do Carmo Moreira V.

Paidia i Literatura

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2020

|

issue 2

109-114

EN

In certain way, “displacement” refers to the change. It is the action of a body that moves from a certain space to another. In addition to its obvious physical implications, in the case of human displacement, there are also great subjective implications. In this way, displacement can be of other orders, as symbolic, metaphysical and mental, we can also consider even maturation as the displacement from one psychic state to another. In this case, the present work aims to analyze the different figurations of the concept of displacement present in the work: Displacement - A travelogue by Lucy Knisley, as well as the affiliation of the work to a narrative tradition perpetrated by authors who take the daily genre and the trip report as a means of subjective construction of reality, both in literature and in comics. In order to do so, will be used authors who studied the writing of female authors, having the travel narrative as a research horizon, such as Sonia Serrano and Miriam Adelman; as well as authors who focus on the specificities of the comic language that, under the aegis of “graphic novel”, engender an aesthetic construction that privileges the autobiographical narrative (Santiago Garcia and Hilarry Chute). We intend to highlight the richness that the comics bring to the symbolic construction of the genre “travel diary/narrative” through its peculiarities of self-representation.

4

Podmiotowość i „przemieszczenie” w komiksie Lucy Knisley

85%

do Carmo Moreira V.

Paidia i Literatura

|

2020

|

issue 2

115-120

EN

In certain way, “displacement” refers to the change. It is the action of a body that moves from a certain space to another. In addition to its obvious physical implications, in the case of human displacement, there are also great subjective implications. In this way, displacement can be of other orders, as symbolic, metaphysical and mental, we can also consider even maturation as the displacement from one psychic state to another. In this case, the present work aims to analyze the different figurations of the concept of displacement present in the work: Displacement - A travelogue by Lucy Knisley, as well as the affiliation of the work to a narrative tradition perpetrated by authors who take the daily genre and the trip report as a means of subjective construction of reality, both in literature and in comics. In order to do so, will be used authors who studied the writing of female authors, having the travel narrative as a research horizon, such as Sonia Serrano and Miriam Adelman; as well as authors who focus on the specificities of the comic language that, under the aegis of “graphic novel”, engender an aesthetic construction that privileges the autobiographical narrative (Santiago Garcia and Hilarry Chute). We intend to highlight the richness that the comics bring to the symbolic construction of the genre “travel diary/narrative” through its peculiarities of self-representation.

5

O komiksowych panelach translacyjnych, czyli tłumaczenie ustne inaczej

80%

Jankowski J.

Między Oryginałem a Przekładem

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2014

|

vol. 24

21-30

EN

Oral translation can have many faces, mutations and varieties. Some of them may spring out from putting some texts into a new environment. What will happen to the comics if they are forced to speak with the voice of the very one who translated them? What will become of the units which give to the comics the form that we know? How the situation between the emissor and receptor can change while experiencing that kind of audio‑comics? Moreover, is it so that only comics can find themselves in such situation? These problems can be found in the article entitled About comic book translation sessions or oral translation in a different way. We try to prove that border oral translations can be starting points towards brave new areas of scientific interest in the oral translation field.

6

Book review. Hardy, Dominic, Gérin, Annie & Carney, Lora S. (Eds.). (2018). Sketches from an Unquiet Country: Canadian Graphic Satire, 1840-1940. Montreal: McGill-Queen’s University Press.

80%

Friesen J.

The European Journal of Humour Research

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2020

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vol. 8

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issue 1

EN

Book review, no abstract included.

7

More than just Iron Man: A Brief History of Comic Books and Graphic Novels

80%

Karczewski K.

Crossroads. A Journal of English Studies

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2013

|

issue 3

47-51

EN

Comic books and graphic novels are a significant part of today’s culture. Popularity of blockbuster movies about superheroes such as "Iron Man" or "The Dark Knight" clearly indicates that stories created for the comic medium can captivate large audiences. Unfortunately, such stories are often considered to be lacking in substance and are often perceived as a very simple form of entertainment. The aim of this article is to briefly show how comic books and graphic novels developed throughout history. While observing how this form evolved, it is much easier to notice that this medium can actually be used to tackle serious subject matter and, contrary to popular belief, even superhero stories can have a significant level of depth.

8

Performing of the Statutory Obligation of Historical Education by the Rzeszow Branch of the Institute of National Remembrance – Commission for the Prosecution of Crimes Against the Polish Nation

80%

Wlaźlak W. P., Leniart E.

Labor et Educatio

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2015

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issue 3

181-190

EN

If we assume that historical education is one of the foundations of moulding a modern democratic and pacifically oriented society, one would admit that it plays an important part in the process. One of the statutory tasks of the Institute of the National Remembrance – Commission for the Prosecution of Crimes Against the Polish Nation is historical education. While performing this task, Rzeszow branch of the Institute uses such innovative methods as: contests, comics, workshops, field games having the elements of historical knowledge, etc. The aim of the historical education realized by the INR is first and foremost popularizing the newest findings of the Polish history of the 20th century and awakening such desirable skills as creativeness and innovativeness among the young people.

9

Aussies, Rogues and Slackers: Simon Hanselmann’s Megg, Mogg and Owl Comics as Contemporary Instances of Rogue Literature

70%

Scott R.

Text Matters: A Journal of Literature, Theory and Culture

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2019

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issue 9

137-152

EN

This paper examines the Megg, Mogg and Owl stories of Simon Hanselmann, an Australian artist whose serialized comics both depict acts of contemporary roguery committed by a group of friends in an inner city sharehouse and test the generic limits of its own storytelling conventions, thereby becoming contemporary instances of “rogue texts.” The paper positions the adventures of Megg, a witch, Mogg, her familiar, Owl, their housemate, and associated characters including Booger and Werewolf Jones as contemporary variations of both the Australian genre of grunge fiction and the broad international tradition of rogue literature. It shows how Megg, Mogg, Owl and their friends use the structure of the sharehouse to make their own rules, undertake illegal behaviour, and respond to the strictures of mainstream society, which alongside legal restrictions include normative restrictions on gender and behaviour. It shows the sharehouse as a response to their economic, as well as cultural and social conditions. The paper then shows how Megg and particularly Owl come up against the limitations of the permissiveness and apparent security of their “rogue” society, and respond by beginning to “go rogue” from the group. Meanwhile, the text itself, rather than advancing through time, goes over the same chronology and reinscribes it from new angles, becoming revisionist and re-creative, perhaps behaving roguishly against the affordances of episodic, vignette form. The paper argues that Simon Hanselmann’s Megg, Mogg and Owl comics can be understood as contemporary rogue texts, showing characters responding to social and generic limits and expressing them through a restless and innovative comics text.

10

Text and Image in Translation

61%

Yablonsky M.

CLEaR

|

2016

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vol. 3

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issue 2

40-51

EN

The primary objective of the following paper is the analysis of selected issues related to the translation of comic books. The paper aims at investigating the relationships between the text and the image and their implications in the process of translation. It reflects on the status of the translation of comics/graphic novels - a still largely unexploited area within Translation Studies and briefly presents a definition and specificity of the genre. Moreover, it discusses Jakobson’s (1971) tripartite distinction into interlinguistic, intralinguistic and intersemiotic translation. The paper concludes with the analysis of certain issues associated with the Polish translation of V like Vendetta by Alan Moore, a text that is copious with intertextual and cultural references.

11

The Weeping Woman in the Graphic Memoir: A Derridean Inquiry into the Traces/Trait(s)

61%

de la Cruz N. L.

Estetyka i Krytyka

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2016

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issue 2(41)

33-50

EN

In this paper, I examine how women graphic memoirists – Marjane Satrapi, Alison Bechdel, and Roz Chast in particular – attempt to draw that which remains fleeting, absent, and abyssal: the so-called “self.” I thus extend Jacques Derrida’s critique of what he has called the “metaphysics of presence” in philosophy to autobiographical comics, a popular medium that is heavily prefigured by his analysis of the self-portrait as a ruin. I believe this endeavor will help fill the gap in studies about the gendered aspects of Derrida’s work Memoirs of the Blind, as well as the potential of autobiographical comics to illuminate philosophical issues concerning the self. Finally, through my analysis of women’s graphic narratives, I hope to point to the possibility of a larger project, that of a feminist Derridean critique of sequential art.

12

The Kind Millionaire, Lemonade Joe and Superman. On Czech Film Parodies

61%

Mareš P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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vol. 14

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issue 23

15-24

PL

The article deals with Czech film parodies that were produced primarily during the period of the state-directed cinema (1945–1989). Their development was connected to a campaign against trash literature, which attempted in the 1930s and 1940s to suppress different popular genres that were considered worthless and harmful. Parodies caricatured conventions of disapproved genres (romance, western, detective story), but at the same time, maintained an awareness of them and eventually also functioned as a substitute for them. The construction of parodies was often based on the accumulation of motifs of a given genre and their escalation to absurdity. The technique of confrontation of disparate elements was also repeatedly used: the conventionality and artificiality of the world of the parodied genre was unveiled as an encounter with the world, which was presented as real and ordinary.

13

Patrzenie poprzez fragmenty. Komiksowy dziennik Aleksandra Zografa "Pozdrowienia z Serbii"

61%

Czaja J.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2012

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vol. 10

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issue 19

57-65

EN

n his comic Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia, Aleksander Zograf’s choice of form is associated with the periodical form of the diary in drawings kept by the author. By means of a series of episodes, Zograf shows selected fragments of daily life in Serbia: the realities of living in a country under sanctions, being bombed by NATO aircraft, and struggling with post-war chaos. A characteristic feature of the anthology Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia is – in the words of the author – “observation through fragments”. The poetics of the fragment, the autonomization of the individual elements that comprise the open composition, and the breaking up of the plot’s cohesion are all associated with the worldview that emerges from Zograf’s comics. The reality observed turns out to be chaotic, incoherent and irrational. It becomes impossible to fully embrace or provide any overarching sense to the events, and thus fictionalize and express them by means of a traditional narrative form. By choosing the form of the comic book, and abandoning a comprehensive, ordered point of view, the author attempts to describe the whole by means of fragments.

PL

In his comic Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia, Aleksander Zograf’s choice of form is associated with the periodical form of the diary in drawings kept by the author. By means of a series of episodes, Zograf shows selected fragments of daily life in Serbia: the realities of living in a country under sanctions, being bombed by NATO aircraft, and struggling with post-war chaos. A characteristic feature of the anthology Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia is – in the words of the author – “observation through fragments”. The poetics of the fragment, the autonomization of the individual elements that comprise the open composition, and the breaking up of the plot’s cohesion are all associated with the worldview that emerges from Zograf’s comics. The reality observed turns out to be chaotic, incoherent and irrational. It becomes impossible to fully embrace or provide any overarching sense to the events, and thus fictionalize and express them by means of a traditional narrative form. By choosing the form of the comic book, and abandoning a comprehensive, ordered point of view, the author attempts to describe the whole by means of fragments.

14

"Games in frames - between comics and video games"

61%

Sęk-Iwanek M.

Studia Humanistyczne AGH

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2021

|

issue 2

41-56

EN

In the last few years, we can see a growing interest in both comic book and video game research. As new means of expression, the period of visual communication, and as cultural texts, these media increasingly come together. In this text, I would like to look at three types of overlapping areas between comics and video games: two types of games in the form of comics and the adaptation of a comic book to a game. The dominant research perspective in this text is comic studies. The games will be analyzed in the light of the theory of comics and the definition of comics. The purpose of this analysis is to investigate tropes in these games at the stylistic and structural level, and to identify semantic differences between a comic book and a game.

15

Postpamięć jako marzenie senne – Achtung Zelig! Druga wojna Krzysztofa Gawronkiewicza i Krystiana Rosenberga

61%

Gajewska G.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2011

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vol. 9

|

issue 17-18

69-82

EN

The comic book is a product of popculture. It got deeply rooted in American and Western European popular culture in the 1970s. In France, this type of sequential art told in pictorial stories was presented in daily papers and developed humorously-told threads of the plot. In the UK it won juvenile audience with its simple jokes, genre scenes and shortened and abridged versions of fables. In the United States, in turn, crude science fiction, horror or joke graphic stories were most popular. However, in the late 1990s these depictions increasingly started to develop into something of much different nature. On the one hand, popular culture embraced more and more different creative areas, wrestled with subject and themes that so far had been tackled only by more sophisticated literature (for example, war themes). On the other hand, the Polish reader had a better chance to experience new titles and pictorial stories from the West or other far-away cultures that represented high artistic skills and offered original and remarkable stories. This, in turn, created a new situation in which adult readers turned to comic books. Moreover, comic books became a subject of interests for academics beyond those who were professionally involved in documenting and understanding popular culture, i.e. for methodologists of history, modern culture anthropologists, researchers in literature and art historians. A particular type of comics is the one that presents historical and memory contents. Works of brilliant artists from different cultures such as, for example: Maus by Art Spiegelman, Persepolis by Mariane Satrapi, Achtung Zelig! by Krzysztof Gawronkiewicz and Krystian Rosenberg or Marzi by Marzena Sowa and Sylvain Savoia have become available on the Polish publishing market and have been widely reviewed and discussed academically. In the present article I am concentrating on the phenomenon postmemory. Analysing Achtung Zelig! by Gawronkiewicz and Rosenberg I am trying to show main trademarks postmemory: borrowing another person’s stories, phenomen of secondary memory, fetishization of the past.

PL

Postmemory in the popular culture on the example of the comic novel “Achtung Zelig! The Second War” by Krzysztof Gawronkiewicz & Krystian Rosenberg The comic book is a product of popculture. It got deeply rooted in American and Western European popular culture in the 1970s. In France, this type of sequential art told in pictorial stories was presented in daily papers and developed humorously-told threads of the plot. In the UK it won juvenile audience with its simple jokes, genre scenes and shortened and abridged versions of fables. In the United States, in turn, crude science fiction, horror or joke graphic stories were most popular. However, in the late 1990s these depictions increasingly started to develop into something of much different nature. On the one hand, popular culture embraced more and more different creative areas, wrestled with subject and themes that so far had been tackled only by more sophisticated literature (for example, war themes). On the other hand, the Polish reader had a better chance to experience new titles and pictorial stories from the West or other far-away cultures that represented high artistic skills and offered original and remarkable stories. This, in turn, created a new situation in which adult readers turned to comic books. Moreover, comic books became a subject of interests for academics beyond those who were professionally involved in documenting and understanding popular culture, i.e. for methodologists of history, modern culture anthropologists, researchers in literature and art historians. A particular type of comics is the one that presents historical and memory contents. Works of brilliant artists from different cultures such as, for example: Maus by Art Spiegelman, Persepolis by Mariane Satrapi, Achtung Zelig! by Krzysztof Gawronkiewicz and Krystian Rosenberg or Marzi by Marzena Sowa and Sylvain Savoia have become available on the Polish publishing market and have been widely reviewed and discussed academically. In the present article I am concentrating on the phenomenon postmemory. Analysing Achtung Zelig! by Gawronkiewicz and Rosenberg I am trying to show main trademarks postmemory: borrowing another person’s stories, phenomen of secondary memory, fetishization of the past.

16

Superbohaterki w kinie przed powstaniem Marvel Cinematic Universe. Historia adaptacji kobiecych kostiumów superbohaterskich

61%

Srul K.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2021

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vol. 29

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issue 38

274-282

EN

The article focuses on changes within superhero comic book movie adaptations from 1941 (Adventures of Captain Marvel premiere) to 2008 (the creation of Marvel Cinematic Universe) in the aspect of designing female characters’ costumes. Author’s refelections are based on the article From the Top of the Cowl to the Tip of the Cape. The Cinematic Superhero Costume as Impossible by Dru H. Jeffries published in 2013 in „Cinephile: The Univesity of British Columbia’s Film Journal”. The author of the cited paper focuses on the topic of adapting male comic book characters’ costumes which is a starting point for the author of this article for in-depth analysis of this phenomenon including female superhero images.

17

London’s Suffragettes, Votes for Women, and Fashion

61%

Kociołek K.

Anglica. An International Journal of English Studies

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2018

|

issue 27/1

81-95

XX

Suffragettes’ militant campaigns for voting rights are commonly dissociated from fashion, yet, in fact clothing and accessories were widely used by Emmeline Pankhurst and her fellow activists to gain visibility and increase public support for the suffrage movement. As commented by Katrina Rolley (1990), the suffragettes were frequently confronted with unfavourable representation of themselves in the press. Yet, thanks to their distinctive use of fashion, as observed by Paula Bartley (2002), the so called “Coronation Procession” held on 17 June 1911 in London was “one of the most colourful and spectacular of all the women’s suffrage demonstrations” (122‒123). Because there is little research on the importance of fashion in public space and the relationship between fashion and the women’s movement, the objective of the article is to show how sartorial practices of suffragettes countered their negative representation in the press. By applying elements of Cognitive Metaphor Theory to selected political cartoons by William Kerridge Haselden in the Daily Mirror, and fashion advertisements in Votes for Women magazine, the article demonstrates that the suffragettes used fashion in order to both increase their public visibility and to conform to normative femininity.

18

Hentai – erotyka z mangi i anime

61%

Burdzik T.

Kultura i Edukacja

|

2014

|

issue 3(103)

340-353

EN

The aim of this paper is to present Japanese comics (manga) and cartoons (anime) with sexual content called hentai. I briefly review some history of Japanese art and culture, in which sexuality has always been a legitimate subject for art and which forms the cultural underpinnings of manga. I summarize the erotic themes and visions of manga with sexual content, including female and male homosexuality (yuri, yaoi), heterosexuality (ecchi, bakunyū/kyonyuu), BDSM (kinbari), transvestitism (futanari), children (lolicon, shotakon). In conclusion, I pose the question of the need to adopt the right perspective to understand the often surprising manifestations of Japanese sexuality.

19

Il possessivo e gli avverbi di luogo nel fumetto italiano: dal progetto di ricerca all’uso pedagogico

61%

Saffi S., Culoma Sauva V.

Italica Wratislaviensia

|

2018

|

issue 9.2

219-237

EN

Since 2013, within the CAER Research Unit, we have been producing corpus of Disney comics (Topolino) and Italian Graphic Novels. A longitudinal study (30s, 90s, 21st Century) allows us to compare the Italian standard and the various regional achievements. The comic introduces a new class of written language that reproduces the speech and alters the classic dichotomy written vs. spoken. Dialogue in comics is enriched with oral representations rarely present in literary or print texts. We suggest the results of a diachronic, synchronous and contrastive study of the use of possessive and place adverbs related to demonstrative in the standard systems of Italian and French, validating the hypotheses considered in previous studies. The aim is to propose the physiognomy of the Italian in relation to the explicit and implicit brand of ownership and the most recurring substitution strategies, including the reflexive solution. In fact, what is distinguished is the part of activity that is opposite to passivity: the power of animation will then be at the center of our interest. We also look at the results of the use of place adverbs for demonstrative and propose the hypothesis of an evolutionary movement of the conception of person and space in contemporary Italian. Finally, we present the use of comic book as an inverse pedagogy tool in our Italian language instruction addressed to three-year graduate.

IT

Dal 2013, nel quadro dell’unità di ricerca CAER, elaboriamo corpora di fumetti Disney (Topolino) e Graphic Novel italiani. Uno studio longitudinale (anni ‘30, ‘90, XXI° sec.) ci permette di confrontare l’italiano standard e le varie realizzazioni regionali. Il fumetto introduce una nuova categoria di lingua scritta che riproduce il parlato ed altera la classica dicotomia scritto vs. parlato. I dialoghi nei fumetti sono arricchiti di rappresentazioni delle disfluenze orali raramente presenti in testi letterari o di stampa. Suggeriamo i risultati di uno studio diacronico, sincronico e contrastivo dell’uso del possessivo e degli avverbi di luogo afferenti ai dimostrativi nei sistemi standard dell’italiano e del francese, che convalidano le ipotesi considerate in studi precedenti. L’obiettivo è quello di proporre la fisionomia dell’italiano rispetto al marchio esplicito e implicito della possessione e le strategie di sostituzione più ricorrenti, tra cui la soluzione riflessiva. Infatti, ciò che si distingue è la parte di attività opposta alla passività: il potere di animazione sarà quindi al centro del nostro interesse. Esaminiamo anche i risultati relativi all’uso degli avverbi di luogo afferenti ai dimostrativi e proponiamo l’ipotesi di un movimento evolutivo della concezione della persona e dello spazio in italiano contemporaneo. Infine presentiamo l’uso del fumetto come strumento in classe capovolta nel nostro insegnamento di linguistica italiana indirizzato a studenti di laurea triennale.

20

„Opera mleczana”: Między teatralnym komiksem a musicalem

61%

Regiewicz A.

Pamiętnik Teatralny

|

2023

|

issue 2(285)

85-102

EN

This article offers an analysis of the performance Opera mleczana (Milk Opera), directed by Mikołaj Grabowski, which premiered on 9 March 2003 at Narodowy Stary Teatr im. Heleny Modrzejewskiej (Helena Modrzejewska National Old Theatre) in Kraków. Its libretto and music by Stanisław Radwan were based on satirical drawings by Andrzej Mleczko. Using the theory of intermediality, the author interprets not only the content of the performance, but also the various forms and means of expression it employs, borrowed from opera, musical, film, soap opera, and comic strips. It is argued that the show’s hybridity contributed to its popularity, as it made it easier for the actors to connect with a multigenerational audience.

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O przekładzie komiksu, czyli uwagi teoretyczno‑praktyczne o tłumaczeniu graficznym

Literatura polska w komiksowych planszach

Subjetividade e “Deslocamento” na obra homônima de Lucy Knisley

Podmiotowość i „przemieszczenie” w komiksie Lucy Knisley

O komiksowych panelach translacyjnych, czyli tłumaczenie ustne inaczej

Book review. Hardy, Dominic, Gérin, Annie & Carney, Lora S. (Eds.). (2018). Sketches from an Unquiet Country: Canadian Graphic Satire, 1840-1940. Montreal: McGill-Queen’s University Press.

More than just Iron Man: A Brief History of Comic Books and Graphic Novels

Performing of the Statutory Obligation of Historical Education by the Rzeszow Branch of the Institute of National Remembrance – Commission for the Prosecution of Crimes Against the Polish Nation

Aussies, Rogues and Slackers: Simon Hanselmann’s Megg, Mogg and Owl Comics as Contemporary Instances of Rogue Literature

Text and Image in Translation

The Weeping Woman in the Graphic Memoir: A Derridean Inquiry into the Traces/Trait(s)

The Kind Millionaire, Lemonade Joe and Superman. On Czech Film Parodies

Patrzenie poprzez fragmenty. Komiksowy dziennik Aleksandra Zografa "Pozdrowienia z Serbii"

"Games in frames - between comics and video games"

Postpamięć jako marzenie senne – Achtung Zelig! Druga wojna Krzysztofa Gawronkiewicza i Krystiana Rosenberga

Superbohaterki w kinie przed powstaniem Marvel Cinematic Universe. Historia adaptacji kobiecych kostiumów superbohaterskich

London’s Suffragettes, Votes for Women, and Fashion

Hentai – erotyka z mangi i anime

Il possessivo e gli avverbi di luogo nel fumetto italiano: dal progetto di ricerca all’uso pedagogico

„Opera mleczana”: Między teatralnym komiksem a musicalem