Literary narratology has rightly devoted much attention to analysing the source(s) of verbal information about the story world, usually discussed under the label “narration”, and to any agent(s) that present(s) non-verbalized perspectives on it, usually discussed under the label “focalization”. Assessing the identity of narrators and focalizers is crucial for understanding what is going on in the story world. Which narrative agent is in charge? Is the narration and/or focalization layered? If the latter, is there any “colouring” by the higher-level narrative agent of anything said, thought, or experienced by the lower-level agent? Is the information provided trustworthy? Nuanced? Prejudiced? Narration and focalization have supra-medial as well as medium-specific dimensions. Over the past years, the issue of how these concepts function in the medium of comics, which combines visuals and language, has begun to be systematically addressed. This paper aims to show how the visual mode can, on its own or combined with the written-language mode, signal the sources of narration, focalization, and joint narration-and-focalization, as well as distinguish between different levels at which these take place.

中文翻译：

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在漫画和图画小说中以视觉和视觉语言进行叙述和聚焦

文学叙事学正确地致力于分析有关故事世界的言语信息的来源（通常在“叙事”标签下讨论），以及任何呈现非言语化观点的主体，通常在“聚焦”标签下讨论。评估叙述者和聚焦者的身份对于理解故事世界中正在发生的事情至关重要。哪个叙述者负责？叙述和/或焦点是否分层？如果是后者，较高级别的叙事主体是否对较低级别主体的所说、所想或所经历的事情进行了“着色”？所提供的信息是否可信？细致入微？有偏见吗？叙事和聚焦具有超媒体和媒体特定的维度。在过去的几年里，这些概念如何在结合了视觉和语言的漫画媒介中发挥作用的问题已经开始得到系统的解决。本文旨在展示视觉模式如何单独或与书面语言模式相结合，表明叙述、聚焦以及联合叙述和聚焦的来源，以及区分这些方式的不同层次。地方。