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Exploring the Links Between Comics Translation and AVT
No full textFor 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
La imagen y el texto en Le Photographe: una reflexión sobre fotoperiodismo, cómics y traducción
No full textEste trabajo analiza cómo se produce el conocimiento del otro, es decir, del extranjero, a partir de la imagen y del texto en la traducción al portugués de Brasil del cómic francés “Le Photographe”. La obra está compuesta por dibujos, de Emmanuel Guibert, y de fotografías realizadas por Didier Levèfre que narran el trabajo de los Médicos Sin Fronteras durante la guerra en Afganistán a mediados de los años 1980. La obra fue publicada por primera vez en Francia en 2003 y en Brasil en 2006. Le Photographe constituye un rico material para el análisis gracias a la simultaneidad de discursos: el periodístico y el del cómic, al mismo tiempo que también propicia una reflexión sobre el proceso de traducción, ya que la obra intenta representar una cultura extranjera – la afgana – para franceses (en el contexto original) y para brasileños (en el contexto de la traducción), lo que produce distintas representaciones y forma identidades culturales sobre aquel pueblo en los dos contextos de lectura de la obra. De esta manera, en el transcurso de la lectura del original a la traducción se construyen distintos tipos de conocimiento. Cuando analizamos Le Photographe, que se vale de un discurso periodístico y documental con las fotografías y la narración de los hechos de la guerra, nos vemos ante la construcción de “realidades”, y el periodismo tiene, para el sentido común, el poder de mostrar lo “real”. Nos interesa, entonces, investigar y discutir la formación de representaciones de la alteridad y de la “realidad” en el ámbito de los estudios de la traducción de cómics, observando la relación entre imagen y texto propio de este lenguaje y de qué manera el texto original y el traducido contribuyen, o no, para la formación de nuevas identidades culturales acerca del pueblo afgano
From West to East to West: A case study on Japanese wine manga translated in French
No full textAuthor of a dozen reputable works on wine, M. Dovaz composed the foreword for the French translation of the Japanese graphic novel, Kami no Shizuku (2005), released in France as Les Gouttes de Dieu (2008). This manga has become a best-seller in its genre in France while the Japanese television adaptation has also reached a French audience through fansubs, allowing a new generation to gain access to that which had hitherto been seen as its own cultural patrimony.
Integral to this wine culture is the ability to “talk about” its central object, in spite of linguistic or geographical separation. The central challenge being to efficiently associate words to a fleeting sensation provoked by visual, olfactory and gustative experience, a specific linguistic knowledge is necessary for those who wish to claim proficiency in wine. The critical narrative arc and didacticism of wine manga rests in the mastery of lexical sophistication as well as cultural knowledge, a posture also shared by most French experts.
The language of wine, the power center of which once resided in France, has been brought into Japan through the act of translation. This very act has allowed for a shift in power—and thus the potential to represent the wine world—from France to Japan. We will show in this paper that there is an interplay occurring between French and Japanese media, producing a cultural space bridged through wine lexicon used in two series of manga recently translated into French (Sommelier in 2004 and Les Gouttes de Dieu in 2008).
For this purpose, we will proceed to a comparative analysis of the Japanese source text with the French target text, highlighting metaphors used in wine culture. Through the analysis of the texts, we will demonstrate that the Japanese-French translations of these metaphors allow a new way for the French to see their culture through a lense provided by the Japanese sommelier
Brecht in Kannada: Translation and Performances
No full textWithin Translation Studies, theatre translation or drama translation as a special area of translation is being spoken about for nearly 3 decades now. But, not much work has happened in this field. This study looks at theatre translation and performances of the translated plays of Brecht in Kannada. It attempts to trace the trajectory of translations of the plays of Brecht and multiple versions of the same plays; almost all of them have been translations carried out in order to be performed on stage.
This project has been able to trace twenty-eight translations of the plays of Brecht in Kannada, out of which twenty are published and eight are unpublished. Even the published plays were published after several years, sometimes decades later, after successful performances. The connection between Brecht and Kannada theatre came to be established in the 1970s, which was the decade of social transformations and turmoil in Kannada publish sphere. This was the time when Left movement (both Marxist as well as Lohiaite versions) became prominent in Kannada public sphere, on the cultural front. In literature we see the rise of Dalit and Bandaya movements; this was followed by the rise of Muslim and Women\u27s voices. There seems to be a perfect match between the plays of Brecht and the socio-political context of Karnataka in 1970s and 80s.
This project has two main questions:
1. How did this match between socio-political context of Karnataka and the plays of Brecht happen? This will be answered by undertaking a comparative study of the selected plays of Brecht in English and in Kannada. In Kannada most of the translations use domestication technique to bring out this parity between the ideological concerns of the plays of Brecht with that of the Kannada public sphere. Even in those translations where domestication technique is not adopted at the level of the play but only at the local/particular level, such as at the level of words/concepts, there is an attempt to bring parity between the two contexts. All these are examined in four main chapters which present my analysis, the chapters being chapter 4, which looks at the question of multiple translations of two selected plays of Brecht; chapter 5, where I look at the unpublished multiple translations of two selected plays of Brecht; chapter 6 where I specifically look at how songs are translated in two selected plays and in their multiple versions; and chapter 7 where I look at other translations of the plays of Brecht. In order to understand this question, the required data is also culled out from paratextual elements in terms of when and how the translation was commissioned, where it was performed, organizations/ individuals involved in translation and performance etc. Thus the question of what triggered the translations of Brecht in Kannada and what function the translations/performances served in the target culture are analysed. 2. The second question that this project explores is that of the question of theatre translation and its nature. For this the translation of Brecht\u27s plays are divided into 3 main categories: Published, Unpublished and Songs. In the chapter that looks at published plays, I have looked at the time gap between the translation/ performance and publication. This gap is a unique feature of the translations carried out for the purpose of staging/performing a play. In the chapter that looks at the unpublished plays, my attention is on the jottings, comments, scribbling that the manuscript or the type-script contains as that reveals a lot about the adjustments/modifications that a translation undergoes for the sake of performance. In these jottings we also find sometimes stage setting, movements of the character marked by the director. Song/music is culture- specific and they always have performative dimension. Thus a chapter is devoted to look at the translations of songs. What I have encountered in translation of songs is that the songs are translated not by the main translator but by others; sometimes they are noted poets in the target language, thus rendering the translation of plays as a collaborative venture though the title pages do not mention these collaborations. Sometimes musical notations (Raaga, Taala) are also mentioned along with the songs in the manuscripts. In the first chapter, I have given a brief introduction to the project, the way I collected the data and methodological issues. It also contains a note on the scope of the present project. The second chapter is a chapter which summarizes earlier literature on the two questions that this project is probing; apart from that it also talks about Brecht in pan-Indian context by using the secondary sources. The third chapter constructs the history of German translations into Kannada, and also carries statistical analysis of the translations from German into Kannada in terms of Genre, Author, and Texts as variables. Chapters 4 to 7 document the analysis of the translations in terms of published translations, unpublished translations, songs and other translations. Chapter 8 is a concluding chapter. This dissertation also contains at the end a list of plays in Kannada translation of Brecht, a few of the reviews of the performances, 172 photographs collected during the fieldwork mainly of the performances of the plays of Brecht in Kannada as Appendix. The Appendix also has three versions of the songs (English, Kannada and Kannada) from two plays, which were analysed in chapter number 6.
 
