Although several noteworthy studies concerning the translation of comic books have been published to date (notably Kaindl, 1999; Zanettin, 2008), it still remains an under-investigated topic within Translation Studies. The present article adopts a multimodal perspective on the translation of comics, demonstrating how the relationship between the verbal and the visual modes may be exploited in the translation process. It focuses on the ways in which the two modes interact and contribute to the creation of meaning on a multimodal page, and on the transformations their relationship may undergo in translation. The article is illustrated with examples from a classic, Franco-Belgian comic book series, Thorgal, and the Polish translations of it. The multimodal approach to investigating translated comics may be another step towards a more complete understanding of the character of this still largely unexplored sphere of translation.

https://www.tandfonline.com/doi/pdf/10.1080/0907676X.2013.876057

Multimodality, translation and comics

Translation is usually thought of as being about the printed word, but in today’s multimodal environment translators must take account of other signifying elements too. Words may interact with still and moving images, diagrams, music, typography or page layout. Multimodal meaning-making is deployed for promotional, political, expressive and informative purposes which must be understood and accounted for by technical translators, literary translators, copywriters, subtitlers, localisers, publishers and other professionals working with language and text.

/pdf/introduction-multimodality-as-challenge-and-resource-for-fbyuicy3u8.pdf

Introduction: Multimodality as challenge and resource for translation

Notre travail porte sur les difficultes de traduction de l'interjection dans la bande dessinee. Apres en avoir fait l'inventaire a partir de notre corpus, nous en analysons les causes et nous proposons au fur et a mesure des solutions pour ameliorer la traduction.

L'interjection dans la BD: réflexions sur sa traduction: réflexions sur sa traduction

This article analyzes the solutions given in Spanish translations to the morphological creativity shown in the names of Marvel comic book characters. The English versions almost invariably provide a full description of the hero (or villain) by means of a wide variety of word-formation mechanisms leading to highly expressive charactonyms. Indeed, examples shall be listed of names of comic book heroes created through compounding, derivation, including prefixation or suffixation (both classical and Anglo-Saxon but also from other origins), lexical blending, abbreviation, clipping, onomatopoeia, and borrowings from Spanish or from other languages. Early translations into Spanish seemed to be slightly less expressive than the original, even when the same word-formation mechanism was used, usually due to either problems of transparency mainly in some of the word parts or to translation constraints. In later periods, a number of factors, including the influence from other media featuring the same characters and the general trend towards globalization through English, have led translators to choose repetition as the most frequent strategy, which has almost eliminated the creative power of wordformation mechanisms in Spanish and their ability to convey the stylistic effects found in the English versions.

/pdf/word-formation-and-the-translation-of-marvel-comic-book-4n5pp8yqy7.pdf

Word-formation and the translation of Marvel comic book charactonyms

This article addresses the role of translation in the construction of cultural identities in multicultural and host settings. Approaching migration as a form of translation in terms of relexification, cannibalism and hybridization, the essay discusses the example of a new English variety which was developed by Asian immigrants who moved to Sicily. It is suggested that this Indian-Anglo-Italian hybrid variety has been built upon a process of relexification during which Asian immigrants translate their local language into English by keeping the syntactic structure of their native language in the English sentence and by adding a mixture of Sicilian-Italian words. In this context, immigrants are viewed as translators of their own culture and language. This type of hybridity is also approached as a cannibalistic practice which devours the host culture and transforms the target language. The article argues that both relexification and cannibalism constitute resistive practices against a monolingual society, all...

Translation and Language Contact in Multicultural Settings. The Case of Asian Migrants in Sicily

This paper is about the translation of comic books from an “importing” country like Italy to an “exporting” country, the USA. Our analysis focuses on the publication by Dark Horse, a major USA “independent” comic books publisher (as opposed to “mainstream” publishers such as Marvel and DC comics) of a number of comic books featuring Dylan Dog, the main character and title bearer of a monthly series of considerable success in Italy. First of all we introduce the original series against the background of the Italian comics market and readership, highlighting the elements that make Dylan Dog a unique cultural product. We then proceed to discuss the general publishing strategies which characterize the North American edition. In the light of this discussion, we analyse the content of the comic books using the “anatomy of comics” proposed by Kaindl (1999), who distinguishes between linguistic, typographic and pictorial signs. Through a comparative analysis of original and translated elements we wish to account ...

Dylan dog goes to the usa: a north- american translation of an italian comic book series

Alterity, Creolization and Guavas: Translating Caribbean Women Writers into Italian

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Dylan dog goes to the usa: a north- american translation of an italian comic book series

Alterity, Creolization and Guavas: Translating Caribbean Women Writers into Italian