Journal articles: 'Comics in translation'

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Borodo, Michał. "Exploring the Links Between Comics Translation and AVT." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 68. http://dx.doi.org/10.21992/t9xk9x.

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For a very young but steadily developing subfield of Translation Studies such as the translation of comics it seems only natural to look to other research areas within the discipline for inspiration and research methods. This is also one of the aims of the present article, which will attempt to point to certain similarities between comics translation and the subdiscipline of Translation Studies known as AVT (Audiovisual Translation) and the field of subtitling in particular. Both films and comic books are multimodal texts based on the interplay between the verbal and the visual. What is more, both films and comic books are primarily based on dialogue, which is nevertheless transcribed and communicated in writing in both subtitled films and translated comics. Text will, in both cases, usually appear in clearly specified areas, that is at the bottom of the screen (with some exceptions) in subtitled films, and in speech balloons (with some exceptions) in the case of comics. Furthermore, text may be condensed due to the existence of spatial and technical constraints, such as the limited number of characters that may appear at the bottom of the screen or the size of speech balloons and the type of the lettering employed in the case of comics. It is particularly the latter aspect, that is textual condensation related to both spatial constraints and the multimodal character of comics, that the article will focus on, investigating the first Polish translations of Calvin and Hobbes comic strips created by the American cartoonist Bill Watterson.

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Molés-Cases, Teresa. "On the translation of Manner-of-motion in comics." Languages in Contrast 20, no. 1 (September 10, 2019): 141–65. http://dx.doi.org/10.1075/lic.19007.mol.

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Abstract This paper focuses on the translation of Manner-of-motion in comics, a genre in which information is conveyed in both verbal and visual language. The study draws on Slobin’s Thinking-for-translating hypothesis, according to which translators tend to distance themselves from the source text in order to conform to the rhetorical style of the target language. Special attention is devoted to the role of visual language within this framework, with the ultimate aim of identifying translation techniques adapted to the issue of translating Manner-of-motion in comics, in both inter- and intratypological translation scenarios. This paper analyses a corpus that includes a selection from the Belgian comic series Les aventures de Tintin and its translation into two satellite-framed languages (English and German) and two verb-framed languages (Spanish and Catalan). Overall, the results highlight the key role of visual language in the translation of Manner-of-motion in comics, since this can compensate for alterations in the verbal code of target texts, by comparison with originals, and thus minimize the consequences of Thinking-for-translating. Moreover, the (limited) space in the balloons and the respective stylistic conventions of comic books in each language are shown to constrain translation to some extent.

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Öztürk, Göksel, and Aslı Özlem Tarakçıoğlu. "Comics and Translation with a Multimodal Perspective in the Early Republican Era." Border Crossing 10, no. 2 (July 17, 2020): 129–42. http://dx.doi.org/10.33182/bc.v10i2.1061.

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Comics has a “hybrid” interaction emerging from the “interplay” between pictorial and textual elements. However; many studies on comics translation focus on texts but disregarding pictures. Analyses performed by focusing on textual elements disregard pictorial and textual interactions, which is a kind of regression of the multimodal aspect of comics. One of the aims of this article is to treat comics on its own autonomy since comics is generally considered as a tool of other research areas. The present study investigates the functions of pictures and texts in the context of “pictorial turn” by keeping multimodal approach in perspective. Translated comics to be analysed are the first translated comic strips into Turkish after the alphabet reform. The very first concealed translations of comics during the Early Republican Era are analysed with a multimodal perspective considering historical context as well as cross-media interactions of pictures and texts. As the first Turkish translations of comics were published in children’s periodicals in the early Republican era, this article practices on multiple layers such as transformation of media, culture planning, and manipulation.

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Umiyati, Mirsa, and I. Gusti Ayu Agung Dian Susanthi. "Translation of Weiman Kou’s ‘Corona Virus’ Comic into Indonesian: Covid-19 Prevention Educational Strategy." RETORIKA: Jurnal Ilmu Bahasa 6, no. 2 (October 29, 2020): 91–97. http://dx.doi.org/10.22225/jr.6.2.2211.91-97.

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The Covid-19 pandemic having been spreading throughout the world has resulted in the emergence of various literary works with the aim of educating the wider community on how to anticipate it. One form of literary work helping educate and is well responded to by the community, especially school-aged children, is comics. Comics are very effective in attracting people to listen and read since the information is conveyed in attractive pictures and in easily digestible language. The comics written are translated into various languages so that people in the regions and speakers of other languages can receive the messages conveyed through the comics in question. Identifying the advantages of comics in educating the prevention of Covid-19 around the world, this research focuses on examining the process of translating a comic by Weiman Kou into Balinese. Translation is an effective way to develop learning, not only in college but also in the wider community environment. This study examines the procedure for translating comics by graduate students of linguistics. The results showed that the comic was translated by literal, calque, and borrowing procedures. In order to achieve quality translation results, it is suggested that translating does not only apply three types of procedures but also many other types of procedures, including communicative and idiomatic procedures. By applying these procedures, the message conveyed is perceived the same to both the source language reader and the target language reader.

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Jin Vei, Chan, and Krishnavanie Shunmugam. "The Translation of Name Labels in Spider-Man Comics." Linguistics and Literature Review 7, no. 1 (March 26, 2021): 17–28. http://dx.doi.org/10.32350/llr.71.02.

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This paper investigates the translation of address terms or name labels in comics from English to Malay. The two aims of this study are: (i) to identify the main translation strategies used in the target text regarding Baker's (1992) typology of translation strategies and (ii) to discuss how effectively the source author’s name labels are transposed in Malay by using Eugene Nida’s (1964: 182) basic principles of "the general efficiency of the communication process" and "comprehension of intent" as a yardstick. The data comprises 187 name labels identified in 14 series of the Spider-Man comics and their Malay counterparts. The findings revealed that the three most frequently used strategies are paraphrasing by using related words followed by omissions of name labels and translating by using less expressive or neutral words. With regard to the efficacy of the Malay translations in conveying the semantic robustness of the English name labels, it was found that the translator has prioritized a transparent translation to achieve easy comprehensibility for the target reader over a faithful preservation of the author's style and the finer nuances expressed by the name labels.

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Faveri, Rodrigo, and Dennys Silva-Reis. "Comics in Translation." Tradterm 27 (October 4, 2016): 11. http://dx.doi.org/10.11606/issn.2317-9511.v27i0p11-14.

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Wisudawanto, Rahmat. "THE PATTERN OF TRANSLATION STRATEGIES OF IDIOMATIC EXPRESSION IN COMICS." Lingual: Journal of Language and Culture 9, no. 1 (May 31, 2020): 34. http://dx.doi.org/10.24843/ljlc.2020.v09.i01.p06.

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This article focuses on translation strategy of idiom in comic Garfield Goes to and its translation. It is expected to identify translation strategies and to know the pattern of translation strategies in translating the idiomatic expression. This research belongs to descriptive qualitative. The source of data is a comic entitled Garfield Goes to Waist and its translation Garfield Mengurangi Berat. Whereas, the data are all of idioms found in the comic. This research applies total sampling technique since the samples are all of data which are found in the source of data. The result of the analysis shows that there are four strategies used by the translator in translating idioms. Meanwhile, the pattern of strategies indicates that Translation by Paraphrasing is dominant strategy. Besides, the others strategies are translation Using an Idiom of Similar Meaning but Dissimilar Form, Translation by Omission and Using an Idiom of Similar Meaning and Form respectively

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Santoo, Laura. "From Tabermann to Mr. Baudelaire. Allusions and popular culture references in the Finnish comic Northern Overexposure and their English translations." Studia Scandinavica 24, no. 4 (December 2, 2020): 93–110. http://dx.doi.org/10.26881/ss.2020.24.06.

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Comics, as other written works, contains allusions that serve many functions and might be difficult to translate due to cultural differences. The aim of this article is to analyse the selected allusions and popular culture references in the Finnish comic Northern Overexposure and compare the Finnish source text with the English target text. In addition, the function of these allusions as well as the relevant cultural background are covered. The examples were analysed with Ritva Leppihalme’s (1997) strategies for translating allusions. The article also provides insight into the Finnish field of comics and the translation process of the selected comic.

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Assis, Erico. "THE CONCEPT OF FIDELITY IN COMICS TRANSLATION." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 8. http://dx.doi.org/10.21992/t9634p.

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The long-discussed – and frequently dismissed – concept of translation faithfulness or translation fidelity, though usually applied to literary texts, has its fair share of applications when considered for comics translation. In literary translation, non-linguistic portions such as illustrations are often considered addenda or “paratexts” relative to the main, linguistic text. Comics, by its turn, present a certain set of features which single them out as a form that demands a new concept of “text” and, therefore, of translation fidelity. The comic-reading process, as pertaining to cognitive apprehension, implies interpretative accords that differ from the ones in purely linguistic texts: each and every element of the comics page – non-linguistic (mainly imagetic) signs, linguistic signs, panel borders, typography and such – are intertwined and should be perceived in regards to its spatial and topological relations. This approach to understanding comics is based on Groensteen (1999) and his concepts of arthrology, spatio-topia, page layout, breakdown and braiding. As for translation fidelity, we rely on authors such as Berman (1984), Guidere (2010) and Aubert (1993). On comics translation, Zanettin (2008), Rota (2008) and Yuste Frías (2010, 2011) are of particular interest. Based on various concepts of fidelity – supported by samples of translated comics with varied degrees of fidelity to the source text – we discuss the different grounds of source-text fidelity, target-reader fidelity and source-author fidelity in the following instances: linguistic sign fidelity, imagetic sign fidelity, spatio-topia fidelity, typographic fidelity and format fidelity.

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Igareda, Paula. "Approach to the translation of sound in comic books." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 3 (November 3, 2017): 343–63. http://dx.doi.org/10.1075/babel.63.3.03iga.

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Abstract The relationship between texts and images in comics is essential from the graphic point of view and for the understanding of the story. Hence, the translation of comics has certain peculiarities that other literature genres do not have, partly due to its combination of iconic language and literary language. Among the wide array of interesting topics within this field, we are going to focus on a great challenge for translators: the graphic and phonetic values of the sounds in comics. Technical advances have improved comic books translation: nowadays modifying an element of the vignette no longer involves redrawing the whole animation. Thus, the translation of this literature genre can now focus on other problematic issues, such as the translation of sounds. Taking into account the lack of categorization of these sounds, this article deals with the translation of inarticulate sounds, interjections and onomatopoeias from English comic books into Spanish in order to observe the existing trends in these issues and to confirm if the new technologies have changed the translators’ task in the last 25 years.

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Kenevisi, Mohammad Sadegh, and Mohammad Saleh Sanatifar. "Comics Polysystem in Iran: A Case Study of the Persian Translations of Les Aventures de Tintin." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 174. http://dx.doi.org/10.21992/t9dk98.

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Despite the popularity of comics, the subject of their translation has remained notably underexplored. Comics swept into the market of Iran in the 1970s; however, they were a new and unfamiliar genre in the country. One of the earliest comic series to appear in Iran was Les Aventures de Tintin, translated by Khosro Sami’i and published by Universal Publications before the Islamic Revolution of Iran in 1979. Following the Revolution, Universal discontinued the series in Iran and other publishers briefly took it up; after a few years, publication of the books was discontinued. It was not until 2000 that the series was re-introduced by Tarikh-o Farhang and Andishe-ye No Publications. Moreover, as a result of the ubiquitous availability of comic books on the Internet, scanlations made by Tintinophiles have burgeoned recently. This study examines the translations into Persian of Les Aventures de Tintin from these three groups (the early editions of the 1970s and 1980s, the revived publications of 2000, and the Internet scanlations) and attempts to shed light on the position of comics in the translated polysystem of Iran. For this purpose, Even-Zohar’s Polysystem theory (“Polysystem Studies” 9-26) and Tamaki’s approach (119-146) are employed. The synthetic model of translation description proposed by Lambert and Van Gorp (42-53) is used to examine the translations in three layers: 1) preliminary data, 2) macro-level, and 3) micro-level. Onomatopoeic representations are analysed at the micro-level to investigate the extent to which their translations have broken target culture norms and conventions. The results of the study reveal a gap for comics, an empty niche to be filled, in the translated polysystem of Iran and, accordingly, a canonized position for this genre and its translations. This position, however, has migrated to a less central place in more recent translations.

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Muñoz Muñoz, Selene, and Marta Martínez Márquez. "Ogea Pozo, M.M.; Rodriguez Rodriguez, F. (eds.) Insights into audiovisual and comic translation. Changing Perspectives on films, comics and videogames. Córdoba: UCOPress, Translation and Interpreting Series, III, 2019, 213 pp. ISBN 978-84-9927-469-0." Hikma 19, no. 1 (May 25, 2020): 279–83. http://dx.doi.org/10.21071/hikma.v19i1.12645.

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Altenberg, Tilmann, and Ruth J. Owen. "Comics and Translation: Introduction." New Readings 15 (January 1, 2015): i. http://dx.doi.org/10.18573/newreadings.100.

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Borodo, Michał. "Multimodality, translation and comics." Perspectives 23, no. 1 (February 10, 2014): 22–41. http://dx.doi.org/10.1080/0907676x.2013.876057.

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RAY, Alice. "Who translates the translation? (Re)traduire les héros marginaux d'Alan Moore." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 42. http://dx.doi.org/10.21992/t9fk86.

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The retranslation phenomenon is essential to the translation process. It is considered as the logical progression of this process which allows the translated literary work to regenerate in a restless cultural and language space. To a lesser extent, we can observe the same phenomenon in the translation of comics. However, this specific translation requires other competencies and a translating approach somehow different from the ones required to translate fiction literature, especially because of the presence of the visual system of drawings which is strongly bound to its own culture and the endless mutations it goes through. The comic book Watchmen (Les Gardiens, in the first French translation) by Alan Moore and Dave Gibbons, is known in the whole world as the comic which had not only remodeled the vision we had of super-heroes, but had also given the comic books another voice. Watchmen was published between 1986 and 1987 in the United States and translated in French from 1987 to 1988. Fifteen years after this first translation by Jean-Patrick Manchette, Panini publishing decided to retranslate this famous comic in 2007. However, if the reviews of the first translation were laudatory, the retranslation did not enjoy a great reception from the readers or from the reviewers. This paper proposes a comparative analysis of both these translations and of their original version as well as an experiment on the readers, comic books readers or not, in order to establish why the first translation was a success and the retranslation a failure. Thus, we could withdraw the elements which allow us to understand the reception of comic translation.

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Trubnikov, S. V., and O. R. Denysiuk. "Implementation of a helper program for comics creation using text processing methods." Computer Modeling: Analysis, Control, Optimization 7, no. 1 (2020): 64–69. http://dx.doi.org/10.32434/2521-6406-2020-1-7-64-69.

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The paper discusses the development of a helper program "TypesetHelper", designed to facilitate the process of creating and translating comics. An analysis of functions of translation in modern society shows that translation, currently, is primarily a means of enabling communication between people who speak different languages. This applies, among other things, to such a specific niche as the translation of graphic novels, comics and manga. In the modern world, comics have become an integral part of popular culture, but in Ukraine, the culture of reading and translating comics is only at the stage of active formation. The purpose of this work is to create software that would facilitate the process of work with the inclusion of translated text in corresponding cleared illustrations. It is demonstrated that the existing software, including both general-purpose graphic editors like Adobe Photoshop and specialized programs for automatic recognition and translation of comics and manga, has disadvantages with respect to the problem being solved and can not be considered as a complete analogue of the software being developed. The functions that the program should perform include opening an image file, placing a text in a selected area, centering a text relative to a cloud, creating text layout, creating correct word division using automatic hyphenation methods, saving the image to a file. An analysis of possible methods of text layout when filling text clouds of various forms is given. The paper consider software design using the Unified Modeling Language (Use Case diagram, State Diagram, User Activity diagram) and its development using the C# programming language. Illustrations of the program operation process are given, which demonstrate its interface and examples of text division and layout using the selected methods. The developed helper program has practical value and can be used in comics and manga publishing houses, or for amateur translation. Keywords: text processing, comics, text layout, UML, C#.

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Cahyani, Yesy Tri, and Amalina Iariva Putri Astria. "ANALISIS PENERJEMAHAN KALIMAT ELIPSIS VERBAL DALAM KOMIK NARUTO KARYA MASASHI KISHIMOTO KE DALAM BAHASA INDONESIA." LINGUA : JURNAL ILMIAH 15, no. 2 (October 29, 2019): 132–46. http://dx.doi.org/10.35962/lingua.v15i2.16.

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Incomplete sentence (ellipsis verbal) are often to be the problem in translating from Japanese into Indonesian. The purpose of this research is to explain the techniques to translate incomplete sentence to achive equivalence found in Japanese comics Naruto volumes 29, 30, and 31, and analyze the translation of incomplete sentence contained in Naruto comic from Japanese to Indonesian. The method of this research is descriptive and qualitative methods. Data source are the Japanese comic title Naruto by Masashi Kishimoto as the source text, and the translation comic in Indonesia as the target text. Thirteen incomplete sentence data on source text were analyze using appropriate translation techniques to achieve equvalence in target text. The result showed that incomplete sentence had board meanings. In addition, incomplete sentence cannot be translate literally, without looking at the context. Context is an important reference so the messagges from source text can be conveyed.

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Yuliasri, Issy Yuliasri. "TRANSLATORS’ CENSORSHIP IN ENGLISH-INDONESIAN TRANSLATION OF DONALD DUCK COMICS." Indonesian Journal of Applied Linguistics 7, no. 1 (May 31, 2017): 105. http://dx.doi.org/10.17509/ijal.v7i1.6863.

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Not all aspects of Western culture, reflected in the language used in Walt Disney’s Donald Duck comics, are acceptable in Indonesia. So, in translating the comics, the translators have to manipulate the text for it to be acceptable by the target readers and parents. This research aims at finding out censorship through the translation techniques used by the translators in translating the English humorous texts in the Walt Disney’s Donald Duck comics into Indonesian and the reasons underlying the translators’ choice of the translation techniques. It also aims at analysing whether or not the choice of the translation techniques affects the rendering of meaning, maintenance of humour, and acceptability of the translation. For these purposes a qualitative method was employed with content analysis technique and reader response analysis. Content analysis was used in comparing the source text (ST) and target text (TT) to find out the translation techniques used as a means of censorship and to find out the translators’ reasons for choosing the techniques. Reader-response analysis was done to find out the readers’ response to the rendering of meaning and maintenance of humour in the translation. The research findings discovered that the translators performed censorship through the dominant use of reduction and generalisation techniques so as to reduce sarcasm and insults. The interview with the publisher’s Senior Editor also revealed that “decency” was the first priority in the translation decision making, followed by clarity of meaning and maintenance of humour. Further research to investigate other elements censored, and compared with other translated comics is recommended.

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Kaindl, Klaus. "Thump, Whizz, Poom." Target. International Journal of Translation Studies 11, no. 2 (December 31, 1999): 263–88. http://dx.doi.org/10.1075/target.11.2.05kai.

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Abstract Notwithstanding their importance as a segment of high-volume translation, comics have largely been neglected in Translation Studies. This paper presents a theoretical framework for studying the translation of comics as a social practice. On the premise that the production and reception of texts is dependent on their position and relative value in a given society, comics are first analyzed as a social phenomenon with the help of Bourdieu's theory of the cultural field. The translation-relevant elements of comics are then identified on the linguistic, typographic, and pictorial levels, and concepts of rhetoric are used to establish a classification of translation strategies which applies to both verbal and nonverbal textual material. Finally, a number of examples are discussed to highlight the diversity of translation strategies for the various elements of comics.

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Spadaro, Barbara. "The transcultural comics of Takoua Ben Mohamed: memory and translation a fumetti." Modern Italy 25, no. 2 (April 8, 2020): 177–97. http://dx.doi.org/10.1017/mit.2019.74.

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Comics are an increasingly popular medium in the twenty-first century. Combining words and images, comics enable the expression of individual and collective histories that straddle languages and cultures, reflecting the multimodality of the cognitive and narrative processes in a multilingual, globalising world. This article proposes an original framework to understand the power of comics as a transcultural medium by exploring the production of Takoua Ben Mohamed, a graphic journalist and comics author born in Tunisia and raised in Rome. These comics visualise histories of migration and translation in Italy and the Mediterranean, questioning notions of homogeneity, authenticity and canonicity of Italian memory and culture. The article engages with the theoretical and methodological framework of the Transnationalizing Modern Languages (TML) research project, exploring the interconnected linguistic and cultural dimensions of memory and translation. The analysis identifies a series of processes termed mediation-translation in Ben Mohamed's comics, which illuminate the constitutive nature of memory and translation in contemporary processes of identification.

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Pischedda, Pier Simone. "A Diachronic Analysis of the Translation of English Sound Symbolism in Italian Comics." Open Linguistics 6, no. 1 (March 4, 2020): 19–37. http://dx.doi.org/10.1515/opli-2020-0002.

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AbstractPhonosymbolic elements such as ideophones and interjections test the translator’s ability in various ways. These forms would, in theory, require a complete change of form and substance of the source text but this has not always been possible because of graphical, cultural and linguistic reasons, and this led, in certain cases, to a foreignized target-text environment. Recent research has started to consider the relationship between verbal and visual modes as beneficial and not just as a mere constraint for the translator. This research aims to align itself with this approach in order to analyze how verbal and visual modes in Disney comic books have come together to welcome sound symbolic forms and how translators have dealt with them in Italian Disney comics, in particular. In order to clarify the behavior, function, translation and use of expressive sound symbolic devices in Italian Disney comics, this article will offer a diachronic analysis of these strategies as found in a diachronic bidirectional corpus compiled through extensive archival research.

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Bánhegyi, Mátyás. "Federico Zanettin (ed): Comics in Translation." Across Languages and Cultures 11, no. 2 (December 2010): 273–81. http://dx.doi.org/10.1556/acr.11.2010.2.8.

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Wicaksono, Bimo Putra, M. R. Nababan Algouti, and Dyah Ayu Nila Khrisna. "Multimodality and Translation: How Typography Affects the Quality of Translation." International Journal of Linguistics, Literature and Translation 4, no. 4 (April 29, 2021): 228–32. http://dx.doi.org/10.32996/ijllt.2021.4.4.25.

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This research focuses on analyzing the typografi aspect of the translation of utterances that accompany the emotional expressions in the comic entitled “Avatar, The Legend of Aang; The Promise, The Search, and The Rift”. The purposes of this research are; 1.) to find out the emotional expressions and the utterances that accompany the emotional expressions found in the comic entitled “Avatar, The Legend of Aang; The Promise, The Search, and The Rift”, 2.) to find out the impact of the typography aspect found in the comic entitled “Avatar, The Legend of Aang; The Promise, The Search, and The Rift” on the quality of the translation. This research applied descriptive qualitative research. There are 273 data of utterances that accompany the emotional expressions found in the data source. The other data are translation quality assessments done by the raters. The data sources of this research are the English comic of “Avatar, The Legend of Aang; The Promise, The Search, and The Rift”, its translation in Indonesian and also raters and respondents. All of the informants were chosen by the purposive sampling technique. The quality of utterances that accompany the emotional expressions in the comics entitled “Avatar, The Legend of Aang; The Promise, The Search, and The Rift” in terms of the accuracy of the messages as follows: the messages of 166 data are fully delivered and the messages of 107 data are not fully delivered.

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Yablonsky, Milena. "Text and Image in Translation." CLEaR 3, no. 2 (September 1, 2016): 40–51. http://dx.doi.org/10.1515/clear-2016-0013.

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Abstract 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.

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Tanesya, Agiska, and Myrna Laksman-Huntley. "Le niveau d’équivalence de l’interjection dans Spirou et Fantasio et sa traduction en Indonésien." Digital Press Social Sciences and Humanities 3 (2019): 00002. http://dx.doi.org/10.29037/digitalpress.43275.

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This article deals with the level of correspondence of the translations of French interjections into Indonesian in the comics Spirou et Fantasio and its translation. Using qualitative methods and literature techniques, data were analyzed based on Leech's (1981) component analysis theory and Williams' equivalence theory (2013). Types of shape changes were analyzed using Catford's (1965) shift theory. The results that show more total equivalence indicate that translators maintain correspondence and messages even though French interjections are more varied than in Indonesian. However, the translation equivalent of interjections in Indonesian is considered more appropriate for the function in the context of images than in French. The onomatopic-type interjection usually consists solely of a collection of vowels or consonantal combinations serves to support the expressions and feelings of the characters. This type of interjection dominates other forms of interjection. Although the translation of onomatopoeia into Indonesian is done only by the repetition of previous translations, the onomatopoeia that is used has different meanings depending on the context. Compared to other comics, genre humor Spirou and Fantasio is more likely to bring up the story in the picture, so the interjections and simple sentences felt quite favorable to the picture. The use of simple sentences in this comic indicates that there is no change of form is found other than the displacement of the word class in Indonesian translation

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Fabbretti, Matteo. "The Use of Translation Notes in Manga Scanlation." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 86. http://dx.doi.org/10.21992/t9ss57.

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This article investigates the use of translation notes to deal with translation problems. In Translation Studies, the presence of translation notes in a translation is considered particularly significant because they clearly indicate what features of the source text the translator considered important for the comprehension of the text and therefore necessary to retain or explain. In the field of comics in translation, the use of T/N is rather uncommon, and can be considered the main translation strategy that distinguishes scanlation from other types of translations. In the first part of this article, the structure of the English-language manga scanlation communities is examined; following this, the way culture-specific items are dealt with by manga scanlators is analysed; and finally, an explanatory hypothesis linking the broader structure of participation to individual translation strategies is presented. The argument put forward in this article is that translation notes are used in scanlation both to solve translation problems and as a way for scanlators to communicate directly with their readers, thereby foregrounding their mediating presence directly on the pages of scanlated manga.

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Pischedda, Pier Simone. "Translating English Sound Symbolism in Italian Comics: A Corpus-Based Linguistic Analysis across Six Decades (1932–1992)." Arts 9, no. 4 (October 26, 2020): 108. http://dx.doi.org/10.3390/arts9040108.

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Linking interdisciplinarity and multimodality in translation studies, this paper will analyse the diachronic translation of English ideophones in Italian Disney comics. This is achieved thanks to the compiling of a bi-directional corpus of sound symbolic entries spanning six decades (1932–1992)—a corpus that was created following extensive archival work in various Italian and American libraries between 2014 and 2016. The central aim is to showcase practical examples coming from published comic scripts and to highlight patterns of translation in each of the five different time windows which were chosen according to specific historical, linguistic and cultural vicissitudes taking place in the Italian nation. Overall, the intention is to shed light on an under-developed area of studies that focuses on the cross-linguistical transposition of ideophonic forms in comic books and to pinpoint how greater factors might influence the treatment of such deceptively miniscule elements in the comic books’ pages.

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Dybała, Paweł. "Translator is Wrong!: Readers’ Attitudes towards Official Manga Translations Biased by Fan-Made Scanlations." Intercultural Relations 4, no. 2(8) (February 16, 2021): 53–68. http://dx.doi.org/10.12797/rm.02.2020.08.03.

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The purpose of this paper is to investigate how the knowledge of fan-made translations (scanlations) of Japanese comics (manga) influence the perception of official translations of volumes published in Poland. An analysis is performed on readers’ comments regarding the Polish translation of the Dragon Ball Super series and can be seen as a multiple-case study, showing how readers’ attitudes can be biased by their knowledge of scanlations (in both English and Polish). Criticism is analyzed using existing translation theories and explained accordingly.

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Asimakoulas, Dimitris. "Aristophanes in Comic Books: Adaptation as Metabase." Meta 61, no. 3 (March 23, 2017): 553–77. http://dx.doi.org/10.7202/1039219ar.

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Translation studies researchers have for a long time critically engaged with the idea of translation being a mode of creative rewriting across media and cultural or temporal divides. Adaptation studies experts use a similar premise to study products, processes and reception of adaptations for specific locales. This article combines such perspectives in order to shed light on an under-researched area of comic adaptation: this is the metabase, or transfer, of Aristophanic comedies to the comic book format in Greek and their subsequent translation into English for an e-book edition (Metaichmio Publications 2012). The paper suggests a model for the close reading of creative transfer based on Lefèvre’s (2011; 2012) typology of formal properties of comics and Attardo’s (2002) General Theory of Verbal Humour. As is shown, visual rhythm and text-image relations create a rich environment for anachronism, parody, comic characterisation and ideological comments, all of which serve a condensed plot. The English translation rewrites cultural/ideological references, amplifies obscenity and emphasizes narrator visibility, always taking into consideration the mise en scène.

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., Nurlaila, Mangatur Nababan, Djatmika ., and Riyadi Santosa. "Translation Issues in the Children Comic ‘Donald Duck’." International Journal of Engineering & Technology 7, no. 3.21 (August 8, 2018): 389. http://dx.doi.org/10.14419/ijet.v7i3.21.17198.

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This research is conducted as other researches discussing translation issues focused on identifying techniques implemented to translate a specified translation issue rather than identifying all issues which are possible to be obstacles for translators. However, a research covering as many issues as possible becomes important in order to contribute theories and solutions to ease translator’s job. The aim of this research is to identify translation issues in the English version of Donald Duck Comics. The data are texts contained in the comic panel involving words, phrases, clauses and sentences which are potential to be difficulties for translators. Document analysis is employed to collect the data by reading the comic thoroughly, and noting down them. The validation is conducted by focus group discussion involving one translation expert and three members of doctoral program students majoring in translation. The result of this research shows that there are nineteen (19) translation issues involving abbreviation, cultural terms, dialect, ellipsis, humor, idiomatic expressions, informal expressions, interjections, kinship terms, measurement unit terms, non-standard grammatical structure, onomatopoeia, pronoun, proper name, sarcastic expressions, slang, speaking fluency disorder, swearing and wordplay. The result of this research can be developed into a translation model providing a translation issues mapping along with translation techniques choices which can be used as a translators’ guide.

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Yoka, Lia. "A semiotic approach to comics and (cultural) translation." Punctum. International Journal of Semiotics 1, no. 2 (2015): 120–21. http://dx.doi.org/10.18680/hss.2015.0021.

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Fraser, Benjamin. "On polysemiotic interactions, visual paratexts and image-specific translation in comics: The case of Rodolfo Santullo and Matías Bergara's Dengue." Studies in Comics 10, no. 2 (November 1, 2019): 277–93. http://dx.doi.org/10.1386/stic_00006_1.

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Abstract The practice of translation in comics has received relatively little scholarly attention. This article focuses on translation decisions as they are carried out in the medium-specific interplay of words and images that constitutes the comics text. Using the case of Dengue (Santullo and Bergara) in both its Spanish (2012) and English (2015) versions, analysis explores how polysemiotic interactions, visual paratexts and image-specific translation inform the resulting graphic novel. Discussion centres on how the English version effects a significant thematic shift that is consistent across the cover art, frontmatter, chapter title pages, and individual panel rewordings.

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Classon Frangos, Mike. "Liv Strömquist's Fruit of Knowledge and the Gender of Comics." European Comic Art 13, no. 1 (March 1, 2020): 45–69. http://dx.doi.org/10.3167/eca.2020.130104.

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The recent boom in feminist comics by Swedish artists has produced a body of work that has only recently come to the attention of English-language readers. This article focuses on the comics of Liv Strömquist, specifically Fruit of Knowledge: The Vulva vs. The Patriarchy (2018), the first of her booklength works to be published in English translation. Strömquist’s text is situated in the broader context of feminist comics, particularly the work of Julie Doucet. Drawing on Swedish sources including reviews, interviews and comics scholarship, the article examines how Strömquist uses the comics medium to challenge and re-signify dominant representations of gender, sexuality and the body.

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Idrus, Idrus. "The Translation of Japanese Manga Meitantei Conan to Indonesian: The Similarities and Differences between The Original Japanese Version and the Indonesian Translated Version." IZUMI 10, no. 1 (May 2, 2021): 98–108. http://dx.doi.org/10.14710/izumi.10.1.98-108.

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Japanese comics or manga have caught the world’s attention in recent years. It conveys stories through words and images in a specific order resulting in beautiful works. Now, manga is translated into various languages in the world, including Indonesian. The following study entailed a comparative analysis of the manga Meitantei Conan into Indonesia, primarily concentrating on: the format, for example, the arrangement of pages, lettering, and typography, what was translated what was not. In translating Japanese manga into Indonesian, it was found that there were similarities (retained elements) and differences (adjusted elements). We can found similarities between the original Japanese version and the Indonesian translated version of manga in the writing composition on the chapter title and onomatopoeia. Besides, there are also similarities in cultural terms because the translator maintains terms in Japanese as a translation strategy. The main difference between Original Japanese comics and the Indonesian translated version is the binding system of using, the type of font, and the use of Indonesian cultural elements so that the dialogue of the story characters is more communicative and easy to understand.

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Jeffries, Dru H. "Comics at 300 Frames per Second: Zack Snyder's300and the Figural Translation of Comics to Film." Quarterly Review of Film and Video 31, no. 3 (January 2014): 266–81. http://dx.doi.org/10.1080/10509208.2011.646574.

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Spinelli, Laura Chiara. "American Comics and Italian Cultural Identity in 1968: Translation Challenges in a Syncretic Text." Estudios de Traducción 11 (June 4, 2021): 81–93. http://dx.doi.org/10.5209/estr.71489.

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Translation supports the construction of a national identity through the selection of foreign texts to be transferred to the target language. Within this framework, the effort made in the 1960s by Italian editors and translators in giving new dignity to comics proves emblematic. This paper aims to reconstruct the reception of American comic strips in Italy going through the issues of Linus published in 1967 and 1968: the selected cartoonists (e.g. Al Capp, Jules Feiffer, and Walt Kelly) participate in the cultural debate of the time discussing politics, war, and civil rights. The analysis of the translation strategies adopted will reveal the difficulty of reproducing the polysemy of metaphors, idioms and puns, trying to maintain consistency between the visual and the verbal code, but primarily the need to create a purely Italian cultural discourse.

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Zanettin, Federico. "Translation, censorship and the development of European comics cultures." Perspectives 26, no. 6 (October 4, 2017): 868–84. http://dx.doi.org/10.1080/0907676x.2017.1351456.

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Zlatnar Moe, Marija, and Tanja Žigon. "When the audience changes." Translation and Interpreting Studies 15, no. 2 (April 8, 2020): 242–60. http://dx.doi.org/10.1075/tis.20015.zla.

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Abstract Much is expected to change when a work of fiction is translated from one language and culture to another, but the intended reader is not. This paper deals with the issue of the change of the intended reader from adult to child/adolescent in translations of fiction from English into Slovene. The intended reader is most likely to change in translations of comics/cartoons, fantasy, and realistic fiction with child or animal protagonists. The reasons for the change can be both textual and extra-textual: on the one hand, books are categorized as children’s books by libraries, award boards and marketers, as well as by the publisher’s choice of translator, while, on the other hand, individual translation decisions on the microlevel can help move a book from one category to another.

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Kang, KyoungYi. "A Study on the Selective Appropriation in Educational Comics Translation: Focusing on Korean-Chinese Translation Cases of Educational Comics in Social Area." Journal of Translation Studies 19, no. 3 (September 2018): 7–41. http://dx.doi.org/10.15749/jts.2018.19.3.001.

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Tyson, John. "Anton Kannemeyer's Tactics of Translation as Critical Lens." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 4 (May 1, 2012): 72. http://dx.doi.org/10.12681/syn.17286.

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Anton Kannemeyer (b.1967) is a white Afrikaner artist whose work engages with translation: subject matter culled from historical archives, comics, and the mass media is transposed into different languages, artistic mediums, and styles. Kannemeyer's artworks use translation as a means of returning to and interrogating traumatic, historical events. The beholder is prompted to (re)engage painful aspects of the past, approached from the critical distance allowed by the deferral implicit in translation. By re-encountering history in the gallery, the viewer must confront her memory and reconcile or interrogate disjunctions proposed in the space of Kannemeyer's work. Thus, with the re-imagining of events as translations in a new language, there is the possibility for a renewed investigation of received histories and a working over of traumas of the past.

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Tembo, Kwasu. "Why Superman Will Not Save the World: Theorizing the Relationship Between Suffering and DC Comics Superman (Translation into Russian)." Corpus Mundi 2, no. 2 (July 16, 2021): 14–34. http://dx.doi.org/10.46539/cmj.v2i2.43.

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The hypothesis that there is an inextricable link between comic book superheroes and suffering would, to anyone with a cursory knowledge of superhero characters found in DC, Marvel, Image, Wildstorm and other houses, and their histories, ostensibly seem valid. This validity depends on which character one is applying said hypothesis to; the psychological and physical suffering of a Batman being more acceptable as such than that of a Plastic Man, for example. However, using DC Comics character Superman as a case study, this paper explores the inextricable link between Otherness, power, and suffering within the remit of the character's mythos. In order to do so, this paper refers to psychoanalytic concepts elaborated by Sigmund Freud in his text Beyond the Pleasure Principle (1922) as a way of demonstrating that despite the character's conventional appraisal as a positivist humanistic symbol of pure altruism, an insuperable, unimpeachable symbol of selflessness and good morality, there is in fact a fundamental link between Superman's 'tridentity' of selves (Clark Kent/Kal-El/Superman), the character's own suffering, and human suffering on a terrestrial scale, as represented within the numerous realities of the DC Comics Multiverse.

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Falco, Gaetano. "Econocomics: Teaching Translation of Economic and Financial Texts through Comics." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 105. http://dx.doi.org/10.21992/t98s6z.

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Munoz-Luna, Rosa. "The translation of onomatopoeias in comics: linguistic and pedagogical implications." Lingua Posnaniensis 61, no. 1 (June 1, 2019): 75–88. http://dx.doi.org/10.2478/linpo-2019-0005.

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Abstract The present paper aims to compare and analyse three versions of Garfield comic strips, the original and two different translations into Spanish (from the United States, Spain and Argentina, respectively). More specifically this case study focuses on the treatment of onomatopoeias and interjections in the translations, with the purpose of examining the degree of influence of culture and context in the different linguistic equivalents. Finally, some pedagogical implications of the use of comic strips in the foreign language classroom are also discussed.

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Pekūnas, Žygimantas. "Text as Image: A Case Study of the Lithuanian Translation of Art Spiegelman’s Graphic Novel MAUS." Vertimo studijos 12 (December 20, 2019): 99–115. http://dx.doi.org/10.15388/vertstud.2019.7.

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This article contributes to the multimodal investigation of comics translation, a highly semiotic activity. The author discusses the visual representation of the text as an image through a case study of the Lithuanian translation of Art Spiegelman’s graphic novel MAUS (translated into Lithuanian by Juškienė and Lempert, 2012). While viewing multimodality as a translation tool and a challenging area, he claims that the visual representation of the text is an integral part of the original multimodal event, whereby the meaning is conveyed through an intrinsic relationship between verbal and non-verbal elements, and that any distortion of those would result in alterations or losses in meaning. The results demonstrated that indeed even the smallest alterations of the visual representation of the text produced shifts in meaning; most of those shifts were pragmatic ambiguities, however, in certain instances there was a loss of semantic emphasis or narrative production. Comics translators and publishers are thus urged to fully comprehend the very dynamic and complex nature of multimodal texts and make every effort to ensure that translation would not result in any multimodal disruptions, if such preservation is technologically available.

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Ko, U.-Ram, and Hwan-Gue Cho. "SickZil-Machine: Text Removal System for Comics Translation Using Deep Learning." KIISE Transactions on Computing Practices 26, no. 6 (June 30, 2020): 274–79. http://dx.doi.org/10.5626/ktcp.2020.26.6.274.

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Prasojo, Rudy. "THE IMPACTS OF STUTTERING SHIFTS TO THE TRANSLATION QUALITY OF THE ADVENTURE OF TINTIN COMICS." LEKSEMA: Jurnal Bahasa dan Sastra 4, no. 1 (June 20, 2019): 53. http://dx.doi.org/10.22515/ljbs.v4i1.1438.

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This article aims to discuss how stuttering utterances are translated from English to Bahasa Indonesia. Data in the form of stuttering utterances spoken by Captain Haddock, a character in The Adventure of Tintin comic series, were collected to see how the translator decided to convert those utterances into Bahasa Indonesia. The method employed in this research is the qualitative-descriptive in which the data were taken from two sources(English and Bahasa Indonesia). The finding shows that there are three categories of stuttering initiator namely: intoxicated, emotions, and situations. Each category is classified based on its types, namely repetitions, hesitations, and fillers. In addition, the finding also shows that each type of stuttering was placed in a different concept on its target language named shifting. It can further be classified into preserved, altered, and omitted. Each of them affects the meaning and the message of stuttering utterances in the translation version. Finally, the statistic indicates that every type of shifting gives a significant impact to the translation quality.

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Sinibaldi, Caterina. "Between Censorship and Innovation: The Translation of American Comics during Italian Fascism." New Readings 16 (January 1, 2016): 1. http://dx.doi.org/10.18573/newreadings.24.

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Favaro, Alice. "Desiertos de amor (2018) by Raúl Zurita: between poetry, image and voice." Caracol, no. 21 (June 25, 2021): 272–92. http://dx.doi.org/10.11606/issn.2317-9651.i21p272-292.

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After a brief contextualization of the author's biography, I present the volume Desierto de amor (2018) by Raúl Zurita, realized with González y Los Asistentes (music) and Massimo Giacon (comic), as a significant example of a hybrid literary product that mixes poems, music and comics. The transmedial and trimodal work uses different media that merge each other. The poem, a migrant text halfway between slam poetry and poetry in music, alternates and superimposes itself on music and poetry comix. Reflecting on the potentialities of transmediality and intersemiotic translation, I analyze how transcoding into other languages brings added value to the poetic text because it creates an intertextual dialogue that produces a new reception mechanism. The visual and auditory reading takes place in a different space and time, with new expressive modalities and ways of reaching the addressee.

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O’Connell, Eithne. "What Dubbers of Children’s Television Programmes Can Learn from Translators of Children’s Books?" Meta 48, no. 1-2 (September 24, 2003): 222–32. http://dx.doi.org/10.7202/006969ar.

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Abstract Technical difficulties associated with dubbing, together with the collaborative nature of the dubbing process, explain why traditionally the linguistic challenges of dubbing translation for specific audiences such as children have not been studied very closely. As new developments in sound recording improve the technical quality of dubbing, it is time for the remaining textual translation issues to be addressed in more detail. Due to the many common characteristics of different text types aimed at children, dubbers of children’s audiovisual material can learn a considerable amount from the translators of other texts, such as books and comics aimed at children, about the particular challenges posed by this target audience.

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Bernal-Merino, Miguel Á. "Creativity and playability in the localisation of video games." Journal of Internationalization and Localization 5, no. 1 (August 10, 2018): 74–93. http://dx.doi.org/10.1075/jial.00011.ber.

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Abstract Creativity is one of the most highly debated topics in translation not only because of how it relates to authorship but also because of the unavoidable cultural ramifications and the business implications for all the parties involved. Identifying the parameters within which creative translation operates in entertainment media requires a complex process that comprises a large amount of variables beyond the linguistic ones. Semiotics is suggested as a robust analytical tool to study the layering of meaning-making in entertainment products, in other words, their polysemioticity. Multimedia interactive entertainment software (MIES), a. k. a. video games, adds levels of complexity never seen before in translation due to their functional requirements. In order to identify the features that separate other entertainment products from MIES, this article analyses also the translation of novels, comics and films. The concept of playability is utilised as a way of isolating the pragmatic challenges of video game localisation.

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Journal articles on the topic 'Comics in translation'

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