Akademik Veri Yönetim Sistemi
Retranslation in Context VI, İzmir, Türkiye, 29 Ekim - 01 Kasım 2024, ss.47-48
Traditionally considered as para- or sub-literature (Zanettin, 2008, p. 24), comics as a genre developed at the beginning of the 20th century in the form of serialized strips, mainly due to its commercial value (Kaindl, 1999, p. 269-270) and profitability for newspapers and magazines in which they were initially published. Nowadays, comics have a global presence. While certain countries have their own comic traditions and visual art practices such as manga in Japan, fumetti or fotoromanzi in Italy, bande dessinée in France, and chitrakatha in India, it was translation that enabled the formation of comics as an international form. Its worldwide popularity therefore attracted scholarly interest within translation studies concerning the spread of the comics as a genre and its subgenres (see Zanettin 2018a, Sell 2011, Bhatia 2006, Jüngst 2004, D'Arcangelo & Zanettin 2004, Bouissou 2000), and different approaches and strategies employed in the translation process of comics (see Borodo & Wood 2023, Spinelli 2021, Zanettin 2018b, Altenberg & Owen 2015, El-Arousy 2007, Kaindl 2004, Grun & Dollerup 2003, Embelton 1991). However, the role of retranslation in the process of comics becoming a transcultural phenomenon is yet to be explored. In order to achieve the broader objective of understanding how retranslations have facilitated the widespread popularity of comics across various cultures, it is important to address the methodological challenges involved in tracing the trajectory of retranslated comics. This proposed talk will take a look at these challenges within the specific context of the Turkish comic book market, particularly those arising from the unusual publishing strategies adopted by different publishing houses, with a special focus on the retranslations of the Batman series.
Keywords: Comics, retranslated comics, multimodality, publishing strategies, Batman.
References:
Altenberg, T., & Owen, R. J. (2015). Comics and Translation: Introduction. New Readings, 15(0), i.
Bhatia, T. K. (2006). Super-heroes to super languages: American popular culture through South Asian language comics. World Englishes, 25(2), 279–298.
Borodo, M., & Wood, K. (2023). The Translation and Transcreation of Adventure Comics. inTRAlinea, 25.
Bouissou, J.-M. (2000). Manga goes global. Critique internationale, 7(1), 1–36.
D’Arcangelo, A., & Zanettin, F. (2004). Dylan Dog Goes to the USA: A North-American Translation of an Italian Comic Book Series. Across Languages and Cultures, 5(2), 187–210.
El-Arousy, N. A. (2007). Towards a functional approach to the translation of Egyptian cartoons. Humor – International Journal of Humor Research, 20(3).
Embleton, S. (1991). Names and Their Substitutes: Onomastic Observations on Astérix and Its Translations. Target. International Journal of Translation Studies, 3(2), 175–206.
Grun, M., & Dollerup, C. (2003). ‘Loss’ and ‘gain’ in comics. Perspectives, 11(3), 197–216.
Jüngst, H. E. (2004). Japanese Comics in Germany. Perspectives, 12(2), 83–105.
Kaindl, K. (1999). Thump, Whizz, Poom: A Framework for the Study of Comics under Translation. Target. International Journal of Translation Studies, 11(2), 263-288.
Kaindl, K. (2004). Multimodality in the Translation of Humour in Comics. In E. Ventola, C. Charles, & M. Kaltenbacher (Eds.), Perspectives on Multimodality (Vol. 6, pp. 173–192). John Benjamins Publishing Company.
Sell, C. (2011). Manga Translation and Interculture. Mechademia, 6, 93–108.
Spinelli, L. C. (2021). American Comics and Italian Cultural Identity in 1968: Translation Challenges in a Syncretic Text. Estudios de Traducción, 11, 81–93.
Zanettin, F. (2008). Comics in Translation: An Overview. In Comics in Translation.
Zanettin, F. (2018a). Translating Comics and Graphic Novels. In The Routledge Handbook of Translation and Culture (pp. 445–460). Routledge.
Zanettin, F. (2018b). Translation, censorship and the development of European comics cultures. Perspectives, 26(6), 868–884.