Comics In Translation

Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'. Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit. The volume features illustrations from the works discussed and an extensive annotated bibliography. Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.

Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'. Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit. The volume features illustrations from the works discussed and an extensive annotated bibliography. Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.

European comic authors produced a steady stream of comic material throughout the twentieth century, but gained the world's notice in 1975 when the French magazine Metal Hurlant was founded. A new generation of artists and writers had begun. Soon publishers were producing translations of the new comics into other languages, including English, and comics creators everywhere were inspired to innovation.This is a reference work, arranged by artist or writer, to European comics from the last quarter of the twentieth century that have been translated from any European language into English. It contains a variety of material, from the innocent imperialism of Herge's Tintin to the sadistic murder for hire in Bernet's Torpedo. Albums by a single creator or artist-and-writer team of European origin are the focus; comics in periodicals and anthologies with multiple contributors are excluded. Each entry provides a plot abstract and various notes about the original comic. An author index provides brief biographical information. There is a comprehensive general index.

This book examines comic book adaptations of Aristophanes’ plays in order to shed light on how and why humour travels across cultures and time. Forging links between modern languages, translation and the study of comics, it analyses the Greek originals and their English translations and offers a unique, language-led research agenda for cultural flows, and the systematic analysis of textual norms in a multimodal environment. It will appeal to students and scholars of Modern Languages, Translation Studies, Comics Studies, Cultural Studies and Comparative Literature.

Engages with comics as sites of struggle over representation by developing a new methodology of reading for difference in transnational contexts.

Appeared on best of the year lists from The New York Times, The Guardian, and more! Winner of The Cartoonist Studio Prize for Best Print Comic of the Year! Grass is a powerful antiwar graphic novel, telling the life story of a Korean girl named Okseon Lee who was forced into sexual slavery for the Japanese Imperial Army during the Second World War—a disputed chapter in twentieth-century Asian history. Beginning in Lee’s childhood, Grass shows the lead-up to the war from a child’s vulnerable perspective, detailing how one person experienced the Japanese occupation and the widespread suffering it entailed for ordinary Koreans. Keum Suk Gendry-Kim emphasizes Lee’s strength in overcoming the many forms of adversity she experienced. Grass is painted in a black ink that flows with lavish details of the beautiful fields and farmland of Korea and uses heavy brushwork on the somber interiors of Lee’s memories. The cartoonist Gendry-Kim’s interviews with Lee become an integral part of Grass, forming the heart and architecture of this powerful nonfiction graphic novel and offering a holistic view of how Lee’s wartime suffering changed her. Grass is a landmark graphic novel that makes personal the desperate cost of war and the importance of peace.

This book adopts an intermedial, translational, and transnational approach to the study of the Western genre in European Francophone comics and their English and Spanish translations, offering an innovative form of analysis with potential applications in future research on the translation of comics. Martinez takes the application of Bourdieu’s work on the sociology of culture to translation studies to explore the role of diverse social agents in shaping the products, processes, and reception of translations of Western comics. The book focuses on Jean-Michel Charlier and Jean Giraud’s iconic Blueberry Western comic book series as a lens through which to examine agency and sociocultural norms that influence translations and the degrees to which cartoonists, editors, translators, and censors frame the genre on a global scale. The volume both extends the borders of translation studies research beyond interlingual translation and showcases the study of comics and graphic narratives as an area of inquiry in its own right within the field. This book will be of interest to scholars in translation studies, comics studies, visual culture, and cultural studies.

Seminar paper from the year 2015 in the subject Literature - Modern Literature, grade: 2,3, RWTH Aachen University (Anglistik), course: Translation Studies, language: English, abstract: Comics are “texts organised into sequential units, graphically separated from each other” (Saraceni 2003: 5) and “employ [...] both words and pictures” (ibid.). First, American comics were translated and pirated versions of works done by Rodolphe Töpffer, a Swiss illustrator (cf. Duncan, Smith 2009: 25). In 1895, Richard F. Outcault published funny illustrations in the Sunday edition of Pulitzer’s New York World, focusing on the New York Slums (cf. Schröder 1982: 12). “Hogan’s Alley” soon became a popular weekly series featuring a little boy as the protagonist: The Yellow Kid, named after the accidentally “new” color of its nightgown (cf. ibid.). Outcault experimented with panels and word balloons, switching “back and forth from Victorian to modern comic styles” (Petersen 2011: 98). The Yellow Kid polarized the newspaper audience: on the one hand, people started anti-comic campaigns; on the other hand, it became a huge success for Pulitzer (cf. Schröder 1982: 12-13). However, Pulitzer’s success through The Yellow Kid led to a war between him and William R.