Comics translation

Reprenant partiellement mon mémoire de master II, ce dossier aborde l'histoire des éditions Lug, principal importateur des comics Marvel entre 1969 et 1989 en France, évoquant à la fois la biographie de ses membres fondateurs, la pression de la loi de contrôle de 1949 et les méthodes employés pour la traduction et l'adaptation.

This article provides the first comprehensive view of Tintin's multilingual career. Almost half of the copies sold worldwide of The Adventures of Tintin are in languages their Belgian creator, Hergé, did not master, but were translated by other people. While the first translations came out in 1930s Portugal and in 1940s Flanders, Belgium's iconic reporter would really gain in visibility after the Second World War, in the original French obviously, but also via English and Spanish translations, which became vectors of global dissemination. In addition, the 21st century has seen an increase in local initiatives, producing individual albums in an ever-growing number of dialects. Wherever possible, credit has been given to the translators toiling away in Hergé's shadow but without whose work Tintin could not have embarked on his spectacular international journey.

Abstract
Different versions of translations of the same source text can be published and republished by the same publisher over the span of years. The differences between the two translated versions can reflect the changing attitude and translation ideology of the commission. This paper examines and discusses the differences between two Indonesian translations of Doraemon manga series commissioned and published by Elex Media Komputindo in the early 1990s and the early 2010s. The study investigates whether there is any translation ideology shift over a two decades-period and whether the ideology adopted in the two translations implies any sociocultural or sociohistorical information. To that purpose, the study focuses on comparing the translations of cultural-specific items (CSIs) in both versions. The findings show that in some cases, the two translations employ different strategies to translate CSIs, with the older translations (OT) tend to adopt domestication ideology to some extent, and the newer translations (NT) almost consistently adopt foreignization ideology. While the shift to foreignization in the NT may reflect the shift of attitude and perspective of Indonesians towards Japanese culture post-World War II era, the domestication adopted by the OT can give a small glimpse of Indonesian sociocultural conditions in the early 1990s.

Keyword: comic translation, culture-specific item, translation ideology, foreignization, domestication

Yaoi/BL Fandom Survey (only takes 10 mins to complete):
https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Madill, A. (2011-2013) Understanding Japanese "Boys' Love" manga from a UK perspective. British Academy.

These 234 BL stories in commercial English translation constitute my sample (up to November 2013). I define a 'story' as a narrative focusing on one central uke-seme pair and sometimes that has has to be a judgement call.  All stories have been coded using a large number of content and theoretical codes. I am interested in coding patterns but the main orientation of my analysis is qualitative.""""

From its creation The Simpsons proved different, but how the irreverence of a show can be enough for the American public to select this sitcom as it preferred primetime watching time? How the show confronts capital issues of our decadent society as race, gender, religion sex and first, family and marriage. It’s not all in the humor or the quality of color or maybe selecting aggressive topics like the environment of corruption. How the gender representation in topics like homosexuality in majority of male characters on the show affect the way the audience react to them. Multiple recog-nitions around the world, but also critics about their political agenda and controversy. This show create a momentum for success on television for shows oriented to social aspect and adult anima-tion, awakening also a wave of copycats around the world. The success of the sitcom resides in big part in how the show presents actual social topics that make them attractive for all. Now society is moving on, moral decay is all around and a family show, with a very dysfunctional family, agree, it’s getting behind. Are we seeing the last of them or the team have more surprises under their hat? Will see. That’s the reason of the few ideas put together in this paper.

Part of the front material provided in Amatl Comix #1: MORE THAN MONEY--a graphic novel by the Mexican cartoonist Claudia Dominguez.

MORE THAN MONEY: A Memoir by Claudia Dominguez is a graphic novel/memoir that recounts the true story of how the author's family recovered their father after he was kidnapped in Mexico City. The reader will feel the helplessness of the kidnapping but also be heartened by the humor and warmth of people who find themselves in a crisis.

MORE THAN MONEY is the first issue from Amatl Comix, a new SDSU Press imprint. Amatl Comix publishes all the dynamic, contemporary graphic narratives we can get our hands on! Our first issue showcases the brilliant work of an up and coming Mexican comic book star, Claudia Dominguez.

Advance Word on MORE THAN MONEY!

"Unlike most mainstream representations of Latinxs in the Américas that depict us as only of European descent, Dominguez's palette celebrates us as mestizo. And while Dominguez chooses to use the traditional 6-panel layout sparingly, she does so to great kinetic effect, conveying the urgency and anxiety as it builds to the moment of exchanging money for family. She wakes our hearts and minds to the complex ways that Latinxs live as a hemispheric population connected through more than violence."

Frederick Luis Aldama, author of LATINX COMIC BOOK STORYTELLING

Revistas de historietas de Superhéroes que se enfrentan a un personaje divino con las características del Dios judeo-cristiano.

Links Semana de Oración Profecías de Daniel:
TEMA 1
https://www.youtube.com/watch?v=Vq80ECC9fwo&index=7&list=LLow3UCRteCWQysHDGi15ziw&t=860s
TEMA 2
https://www.youtube.com/watch?v=I9AFXhPeDoo&index=6&list=LLow3UCRteCWQysHDGi15ziw&t=1s
TEMA 3
https://www.youtube.com/watch?v=d6cErh_Rv6s&index=5&list=LLow3UCRteCWQysHDGi15ziw&t=3s
TEMA 4
https://www.youtube.com/watch?v=rE4KbvuLcLY&index=4&list=LLow3UCRteCWQysHDGi15ziw&t=1s
TEMA 5
https://www.youtube.com/watch?v=_rfSwwINKPg&index=3&list=LLow3UCRteCWQysHDGi15ziw&t=2s
TEMA 6
https://www.youtube.com/watch?v=ngDGzye9plc&index=2&list=LLow3UCRteCWQysHDGi15ziw&t=1s

Comic book lettering is a step of comic book making that consists mainly in adding words to the comic page (Pellitteri, 2012), whether disposed in containers (balloons, captions), onomatopoeias, or directly integrated into the depicted setting (inscriptions). It is considered a “production” step of the process, instead of a “creative” or “artistic” one, constantly and understandably undervalued when compared to writing and drawing. The letterers themselves (Klein and Chiarello, 2004; Starkings and Roshell, 2003) and some comics artists/teachers (McCloud, 2006; Eisner, 1996; Abel and Madden, 2008 and 2012) talk about lettering, though, as an art in itself, accentuating its role in conveying emotion, emphasis, character individuality and the overlooked aspect of aesthetic integration with the artwork: typographic or calligraphic choices in comics should be determined in accordance with the art style, so as to not deviate from the graphic options, but to synergistically enhance the meaning conveyed by the drawn artwork. When dealing with comic book translation, and specifically the lettering of translated comic books, it should be argued that the letterer has a translation role or should even be called a translator. Even though coordinated font selection, typography or calligraphy choices are largely irrelevant to most other translated matter, it is largely relevant to translated comics due to its aesthetic balance with the artwork (which will be reproduced largely unscathed). Lettering is (1) a feature in critics’ commentaries on translated comics, usually when it “disrespects” the source comics text; (2) showcased in publisher’s catalogs distributed to potential publishing houses in foreign markets, in which each comic is tagged with information like “FONT AVAILABLE” or “ARTIST WILL RELETTER”; (3) a highly-specialized skill that demands technical, aesthetic and media-specific knowledge to be dutifully performed, and commands higher wages than those of text-only-based comics translators; (4) a category in comic industry awards. When lettering a translated comic, one is prone to equivalences, deviations and deformations as well as when dealing with words only in their verbal context. Therefore, this paper argues that comic book lettering, as regards comics translation, should be considered translation – and that it is an aspect of translation perhaps unique to comics translation, without any similar role in other translation contexts.

O presente artigo analisa quatro HQs inspiradas nos romances de Victor
Hugo e suas respectivas traduções para o português: O Corcunda de Notre Dame (1949) – The Hunchback of Notre Dame (1946), Os miseráveis (1951) – Les Miserables (1943), Os Trabalhadores do Mar (1952) – The Toilers of the Sea (1949), e O Homem que Ri (1952) – The Man Who Laughs (1950). Para tal empreendimento nos detemos
na observação do texto traduzido e na comparação entre paratextos que
acompanham a tradução e o texto fonte. Desta forma, mostramos que enquanto as HQs em inglês eram produzidas como motivação para leitura dos clássicos, os brasileiros tentavam alcançar o status de Literatura.

This petition argues that erotic comics are an important cultural record of the way in which diverse sexualities are understood and portrayed, and sexual fantasies explored. An Erotic Comics Anglophone Archive (ErotiCAA) will preserve these works for research by scholars in many different disciplines.

One of the biggest problems facing anyone researching pornography/erotica or comics, and therefore doubly so for anyone researching erotic/pornographic comics, is finding and gaining access to primary materials. So we have decided to have a go at establishing an archive in the UK to collect and catalogue English-language porn and erotic comics.

We intend to approach a number of libraries and research institutions to host and/or fund the archive. Persuading them to support us will be a lot easier if we an show that there is a need for this archive, so to help with that we’ve started this petition.

We’ve already got this kick-ass logo designed for us by Alison Lucy Stone and meetings set up with a couple of big libraries. Help us out by signing the petition? And if you’d like to be more involved, please tweet Dr Anna Madill @UKFujoshi or Dr Jude Roberts @tangendentalism - we’d love to hear from you!

Lettering is a common step in comic book making, in which linguistic elements such as speech balloons, captions, and onomatopoeia are inscribed to the comic book page. Precisely due to their linguistic nature, these are the prime items that are subject to change during the translation process – in a way that, in comics translation (if, evidently, the comic presents written language), there will always be new lettering. In publishing, different tasks of the translation tasks are usually divided between, among other professionals, the so-called translators – in charge of linguistic translation – and the so-called letterers – in charge of translation lettering. This essay advances similarities and dissimilarities between linguistic translation and translation lettering attributes and argues that, given the specific features of the comics medium, translation letterers should also be considered translators – or translator-letterers. To ground this argument, this essay is based on: (i) Comics Studies concepts, such as Groensteen’s (1999/2015, 2011), Kannenberg’s (2001a, 2001b, 2002), Peeters’ (1991/2003) and Fresnault-Deruelle’s (1976) notions on comic book page design and its inherent correlations; (ii) a historical and technical survey on lettering practices in different comic book market contexts, focusing on discussions such as hand-lettered vs. non-hand-lettered, type as image and graphiation; (iii) references from translation scholars who approach lettering in comics translation studies, such as Kaindl (1999, 2004, 2010), Zanettin (1998, 2008a, 2008b, 2009), Rota (2008), and Yuste-Frías (2010, 2011, 2014, 2015); (iv) referents from Translation Studies who broach typography and visual poetry, such as Schopp (2002), Laranjeira (2003), and Faleiros (2008); (v) and an original grouping of working tensions in translation lettering, which comprises the analytical basis for the translator-letterer’s craft. Besides the usual chapters, this essay is also served by a preamble and three interludes with brief case studies on translation lettering. In closure, there is a discussion on the corollary to thinking of translation letterers as translator-letterers.

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, in turn, present a certain set of features that 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 strategies 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 their 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.

A pesquisa sobre a tradução de Histórias em Quadrinhos (HQs) tem sido, no Brasil, alvo de diversos estudos acadêmicos, assim como de discussões tanto em rodas de conversa dos fãs como em blogs especializados e resenhas nos quais, antigamente, se fazia apenas um resumo da obra na sua chegada às livrarias. A reflexão sobre a tradução de histórias em quadrinhos ainda é incipiente em âmbito acadêmico. Atualmente, percebe-se um aumento de pesquisadores interessados em analisar as particularidades que a tradução de HQs envolve nos mais diversos contextos. Este artigo pretende abrir a discussão sobre um ponto chave no campo de tradução de histórias em quadrinhos: a tradução de títulos. Embora os títulos sejam a priori uma decisão editorial, o tradutor pode se fazer presente ao escolher manter ou traduzir o título de uma obra. Serão apresentados dois projetos de tradução de quadrinhos já publicados; Violent Cases, de Neil Gaiman, e Repeteco, de Bryan Lee O'Malley, que exemplificam como cada uma das decisões do tradutor repercutem na aceitação do público. Palavras-chave: tradução de Histórias em Quadrinhos, estudos da tradução, tradução de títulos. ABSTRACT: The research on comic book translation has been the target of several academic studies in Brazil, as well as discussions on fan groups, as well as on specialized blogs and reviews where in the past only a summary of the work was done by the time of its arrival on bookstores. The reflection about the translation of comics is still incipient in the academic field. Currently, there is an increase of researchers interested in analyzing the particularities that the translation of comics involves in diverse contexts. This article aims to open the discussion on a key point in the field of translation of comics: the translation of titles. Although the titles are a priori an editorial decision, the translator can be present when choosing to maintain or translate the title of a work. Two previously published comic book translation projects: Neil Gaiman's Violent Cases and Bryan Lee O'Malley's Repeteco will be presented, which exemplify how each of the translator's decisions resonate with the public's acceptance.

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.

Nas histórias em quadrinhos tudo significa: a
relação imagem versus texto – a mais nítida
–, o formato das vinhetas, dos balões e, na
ausência deles, até mesmo o silêncio... Ler histórias
em quadrinhos, escrever e pesquisar sobre elas não
é um trabalho simples, pois somos atravessados
por narrativa, história, política, produto, mercado
editorial. Entretanto, não há prazer maior do que ser
apaixonado pelo objeto com o qual se trabalha e
aprender com cada
empecilho linguístico que atravessa os quadros.
E falar na tradução de quadrinhos, então, é refletir
sobre os encontros e intercâmbios entre culturas,
sobretudo em nosso país, cuja produção
estrangeira sobressai diante da nacional.
Afinal, foi por meio da tradução que os
leitores tiveram acesso aos quadrinhos.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Genre, genealogy, and gender: Reflecting on Boys' Love manga This presentation will focus on a genre of manga known as Boys' Love, BL or 'yaoi'. The central trope of BL is the portrayal of sexual and romantic relationships between, usually young, men. Originating from shojo (girls) manga in early 1970s Japan, BL is now a worldwide phenomenon. This presentation will trace briefly the complex genealogical development of BL (sub)genres. Current findings from the largest – and ongoing survey of the Anglophone BL fandom will be presented (https://leeds.onlinesurveys.ac.uk/blfandomsurvey) to provide insights into the fandom demographic with regard to gender and sexual orientation. The meaning of BL as a genre will be interrogated using data from the presenter's coding of 240 original Japanese BLmanga available in commercial English translation and survey data on the erotic material preference of the Anglophone fandom. This will include consideration of questions such as the extent to which BL is a 'parasitic' genre and whether it might be considered to have its own distinct chronotope. Finally, the importance of male-male erotic fantasy for women prior to the development of BL and outside its fandom is explored. In conclusion, the evidence and arguments presented will be drawn together to suggest that BL is possibly one of the most visible modes of working through the 'hysteric's' fundamental questions of being: 'am I a man or a women?' and 'what is a woman?'

This research consists in a study of three Brazilian translations from Mafalda comic strips, created by the Argentinian cartoonist Joaquín Salvador Lavado Tejón, known by his pen name Quino. The present investigation is inserted in two perspectives of Descriptive Translation Studies (DTS) (Holmes, 2000 [1972]): function-oriented (based in the context) and product-oriented (text-focused). The three translations chosen were published in different periods: (1) during 1970s, when the first version of Mafalda in Portuguese was published in Brazil by Editora Artenova (RJ); (2) in 1982, made by Mouzar Benedito and edited by Henfil, published by Editora Global (SP); and (3) in 1991, made by Monica Stahel and her team of translators and published by Editora Martins Fontes (SP). Our purpose was to investigate the contexts of production and the linguistic aspects of the translations. Since it is inherent to comics the combination of verbal and iconic elements, it was considered the analysis and the anatomy relevant for the translation (translation-relevant anatomy) proposed by Kaindl (2010), which considers more than the social background of this sort of work and the linguistic aspects, the pictorial and typographic elements. According to this author, the cartoon translation should be comprehended as a result of the specificities of each translation and its social conditions of production and circulation. The thesis was structured through these guidelines. In a first moment, it was intended to identify the main elements of comics language, the genre where Mafalda belongs. An overview of the historic and publishing settings of the character was presented. Afterwards, the Brazilian versions are listed, as well as their context of production and the professionals involved in it. To study the results, it was used the taxonomy of technical procedures of translation that Aubert (1998) created to examine translated texts and the translational gaps between linguistic pairs and modalities of translation. We established fourteen modalities and analyzed the comic strips selected observing each one of these categories, in order to establish a descriptive and comparative profile of each text studied. One of our goals is to look for links between different linguistic profiles from the translations, its contexts of production and the profile of each of its translators. We intend to contribute for the historiography of Spanish-Portuguese translations in Brazil and for the translational descriptive studies of cartoons as a multimodal genre, which specific characteristics have received attention in this field of study for not much more than a decade.

Lug, maison lyonnaise, a été le principal éditeur des comics Marvel entre 1969 et 1989 en France. Durant deux décennies, l'éditeur a pratiqué sous diverses formes la réédition d’œuvres qui étaient déjà des adaptations, produits d'un transfert culturel. Nous voudrions, ici, présenter et expliquer les différentes formes que prennent ces pratiques de la réédition afin de mieux comprendre leur existence. Par la comparaison entre les différentes éditions et rééditions, nous voudrions mettre en avant l'adéquation de ces pratiques avec leurs objectifs et leur contexte.

A Classic European Comic Book Series in Translation: On the Polish Transformations of Thorgal Aegirsson The article concentrates on one of the most famous European comic book series and its Polish translations. Thorgal, a classic Franco-Belgian series created by the Polish comic book artist Grzegorz Rosiński and the Belgian scriptwriter Jean van Hamme, combines fantasy, science fiction and Nordic mythology and has gained a cult status in Poland. The translations of the stories about Thorgal Aegirsson have been published in Poland since the late 1970s, initially in installments in the comics magazine Relax and then as comic book albums. Since these translations are the work of several Polish translators, they often differ from one another, sometimes slightly and sometimes considerably. The purpose of the article is twofold. On the one hand, it examines the use of condensation techniques in the first Polish translations of Thorgal. As a result of textual condensation, some of the original meanings were simplified and the image of the main protagonist and certain cultural references were significantly modified. On the other hand, the article analyzes the relationship between words and images and focuses on the graphic metamorphoses of lettering in speech balloons in the subsequent translations of Thorgal. The article discusses these differences on the example of the selected comic book panels from the Polish translations of the album entitled Les trois vieillards du pays d'Aran [The Three Elders of Aran].

In this article, I am introducing some basic theoretical concepts regarding the translation of humour in creolised text (i.e. in comics), with particular attention to the interrelation between written and iconic elements. Starting from these bases, I will then provide some examples from my unpublished Italian translation of Vladimir Sakov’s graphic novel Priklyucheniya kapitana Donki, pointing out some passages that posed specific translation problems and their possible solutions.
Keywords: humour in translation, comics in translation, creolised texts, paragraphics, wordplays, signplays, translation theory and practice.

O objetivo deste trabalho é trazer alguns exemplos da tradução de quadrinhos do Chico Bento proposta pela autora do artigo em sua pesquisa de mestrado. A tradução proposta possui enfoque funcionalista e traz o conceito de pseudodialeto, caipira sugerido por Bagno (2011). Partindo-se do princípio de que os quadrinhos do Chico Bento retratam, ficcionalmente, o caipira brasileiro, e que a fala dos personagens seja uma tentativa de representação do cenário caipira dessas histórias, a tradução proposta busca manter o pseudodialeto caipira representado nos quadrinhos, além de adaptar tais quadrinhos ao seu leitor final, conceito da teoria funcionalista de Nord.  Palavras-chave: tradução, histórias em quadrinhos, Chico Bento, funcionalismo nordiano, pseudodialeto caipira.

This chapter examines the work of the Israeli cartoonist Ilana Zeffren who publishes a weekly column in the entertainment magazine Achbar Hair. Entitled Rishumon – or “little sketch” – it is autobiographically inspired, featuring Zeffren, her girlfriend and their two speaking cats, Rafi and Spageti.  My way into the work is led by the fact that Zeffren is an out lesbian  who takes the lesbian everyday as the starting point for exploring other issues such as, in her own words, “life in the city [Tel Aviv], current affairs, cat stuff and the process of making the column”.  I argue that Zeffren's work is both evidence of and a contribution to what I call the “graphic lesbian continuum”, a concept that describes how lesbian lines of orientation are drawn across space and time, and across cultural and linguistic boundaries.

The articles in this themed issue explore the processes, devices, and strategies that characterize comics’ mobility across time, space, and media. Mobility is understood here to include all processes of transformation undergone by comics in their journey across history (time), cultural and linguistic boundaries (space), and different forms of artistic production (media). These three axes of comics’ mobility are often interconnected but have so far mostly been explored in isolation and from the perspective of a single discipline or language.
In his seminal study The Textual Condition, Jerome J. McGann affirmed: “What is textually possible cannot be theoretically established. What can be done is to sketch, through close and highly particular case studies, the general framework within which textuality is constrained to exhibit its transformations” (30). The articles in this issue of New Readings set out to examine some of comics’ specific transformations from the vantage point of the medium’s multidimensional mobility with the aim of advancing our understanding of the textual possibilities of this art form, looking beyond the universe of anglophone mainstream superhero comics.

Comic book translation still is a relatively unexplored area in Translation Studies. Therefore, there is few theoretical footing specifically related to it. Recent worldwide comic book production – especially related to so-called " graphic novels " –, however, posits a status for comics similar to the one attributed to literature, which means comic books are being more accepted as significant cultural objects, as well as research objects. From this context, this projects aims to propose guidelines for the specific understanding of comic book translation, as compared to translations practices in other media. Therefore, it presents five specifics proper to this kind of translation: (1) the linguistic content units-only translator intervention; (2) layout-binding; (3) verbal break indissolubility; (4) translation document = letterer script; (5) the letterer as cotranslator.

This chapter outlines the publishing history of The Phantom, an American comic-strip character, in Australia and the Oceanic region. It focuses on the character's appearance in "Wantok", a Catholic newspaper published in Papua New Guinea (PNG), printed in Tok Pisin, a widely-spoken indigenous dialect that is one of PNG's three official languages. The chapter examines how The Phantom became a unique cultural phenomenon in PNG, which saw the character used in government information programs, and become a significant motif in tribal art, especially on ceremonial war shields crafted by local artists in the Western Highlands of PNG

The comic book Les Mohamed (2011) by French author Jérôme Ruillier is situated in the landscape of the migrant bande dessinée, with its own singular characteristics. In this work, the author traced a global portrait of Maghrebi immigrants in France, by adapting the documentary/book Mémoires d’immigrés (1997) by French-Algerian author Yamina Benguigui. As migrant storytellers in general, bande dessinée authors are o en the first ‘translators’ of unknown or removed realities, making them accessible to a large public. But what happen when they are translated in their turn? In a first part, this article canvases the process of intersemiotic translation that brought from Mémoires d’immigrés to Les Mohamed. In a second part, it focuses on the verbal/visual aspects of Ruillier’s work and especially on the solutions I adopted in the Italian translation (Se ti chiami Mohamed, 2015).

Historical representations in comics have often been lauded for the subjective view they offer on historical events. In this view, these comics’ subjective approach to history arises partly from their hand drawn graphic style. In this article, I argue that there is no such thing as a unified or singular comics style. Rather, the hand drawn images presented in comics can vary from the schematic to the near photorealistic, each of these styles, or combinations thereof, moreover, have their own connotations with regards to the representations’ veracity. In an analysis of Shigeru Mizuki’s Onwards Towards Our Noble Deaths, I demonstrate how this historical war comic depicting the hardships of a Japanese soldier during the Pacific War constructs its own brand of realism by combining the schematic with the near photorealistic in different ways on its pages. Realism in historical war comics, I argue, building on both Jameson’s Antinomies of Realism and Gombrich’s Preference for the Primitiv...

Ao  se  considerar  as  histórias  em  quadrinhos como uma linguagem que opera com imagem e texto, observa-se que  o trabalho do tradutor não se  limita apenas à decifração de uma língua e cultura estrangeiras; ao contrário, percebe-se a existência de uma relação de interdependência entre esses dois tipos de linguagem, o que cria diversos efeitos estilísticos, aproximando-se, com frequência, da fala cotidiana. Além disso, está implícita nessa re-lação interdependente a fluência de leitura, que depende,em grande parte, da naturalidade com que são interpreta-dos texto e imagem na língua de chegada. Partindo disso,o presente artigo busca analisar, do ponto de vista verbal e não-verbal, as relações entre imagem e texto em tradução  de quadrinhos,  focalizando questões  que envolvem  o estudo  das  estratégias  utilizadas  pelos  tradutores  brasileiros  na  tradução  para  o  português  da  série  francesa Astérix.

O  presente  trabalho  propõe  uma  reflexão  inicial  acerca  da scanlation, prática  tradutória  exercida  por  fãs  de  mangá  de  forma  não  profissional.  Em  se tratando de uma atividade motivada por interesses pessoais ou coletivos de grupos de leitores  que  se  inserem  em  um  contexto  específico,  interessa-nos  observar  as características  e  estratégias  utilizadas  em  tais  traduções  e  no  que  elas  se diferenciam  em  relação  às  traduções  publicadas  pelas  editoras.  Para  tanto, analisaremos  o  décimo  volumedo  mangá Fairy  Tail,  de  Hiro  Mashima,  com  as respectivas  scanlations  feitas  por  fãs  brasileiros  e  as  traduções  publicadas  pela editora  JBC.  Atentaremos,  ainda,  para  questões  de  identidade  em  tradução,  tendo em vista os aspectos próprios dos mangás e seu público leitor.

O objetivo deste artigo é apresentar o desenvolvimento de uma proposta de material didático para a formação de tradutores voltada à tradução de histórias em quadrinhos (HQs). Para isso, apresentamos os principais desafios inerentes à tradução de HQs, que compõem a base do conteúdo abordado no material didático proposto. Os desafios impostos ao tradutor de HQs são levantados a partir da literatura (ZANETTIN 2008; CELOTTI 2008; ROSA 2010; LIBERATTI 2012, 2014; entre outros), a partir de entrevistas realizadas com cinco tradutores e dois editores de HQs e também a partir de diretrizes tradutórias apresentadas por uma editora. O material didático tem como objetivo auxiliar no desenvolvimento da conscientização de tradutores em formação sobre a linguagem dos quadrinhos, suas especificidades e as principais implicações para a tradução deste hipergênero discursivo.
Palavras-chave: Tradução de quadrinhos; formação de tradutores; tarefas de tradução; teoria funcionalista; desafios tradutórios.