Comics in translation

Klaus Kaindl
University of Vienna
Table of contents

Comics are believed to have originated in the US, where the first comic strips were published in the New York World in 1895. Though its roots – the socio-political caricatures of the Briton William Hogarth and the picture stories of the German author Wilhelm Busch – go back to Europe, comics only got their typical form in the wake of industrial developments in the field of mass media at the end of the 19th century. In the 20th century, comics spread from the US first to Europe and then, especially after the Second World War, to the rest of the world. As a result, the global comic market is a translation market, too – “exporters”, like the US, the Franco-Belgian area and Japan, can be distinguished from “importers”, like the German-speaking countries and the Scandinavian countries, as well as from countries where export and import largely balance each other out, like Spain and Italy.

Full-text access is restricted to subscribers. Log in to obtain additional credentials. For subscription information see Subscription & Price.

References

Celotti, Nadine
1997 “Langue et images en présence: des espaces langagiers pluriels comme moment de réflexion pour la traductologie contemporaine.” L’histoire et les théories de la traduction, 487–503. Bern/Genève: ASTTI/ETI.  TSBGoogle Scholar
Eisner, Will
1985 Comics and sequential art. Tamarac: Poorhouse Press.Google Scholar
Grassegger, Hans
1985 Sprachspiel und Übersetzung. Eine Studie anhand der Comic-Serie Astérix. Tübingen: Stauffenburg.  TSBGoogle Scholar
Hunoltstein, Boemund v
1996 Manipulative Eingriffe in die deutschen Disney-Comics. Köln: Der Donaldist.Google Scholar
Lanoë, Phillippe
1991 Asterix in Britain. Marseille: Bédésup.Google Scholar
Kaindl, Klaus
2004a Übersetzungswissenschaft im interdisziplinären Dialog. Am Beispiel der Comicübersetzung. Tübingen: Stauffenburg.  TSBGoogle Scholar
2004b “Multimodality in the translation of humour in comics.” Perspectives on Multimodality, Eilja Ventola, Cassily Charles & Martin Kaltenbacher (eds), 173–192. Amsterdam & Philadelphia: John Benjamins. DOI logo  TSBGoogle Scholar
Valero Garcés, Carmen
2000 “La traducción del cómic: retos, estrategias y resultados.” Trans: Revista de traductología 4: 75–88.. DOI logoGoogle Scholar
Wienhöfer, Friederike
1980 Untersuchungen zur semiotischen Ästhetik des Comic Strip unter der besonderen Berücksichtigung von Onomatopoese und Typographie. Dortmund: Ph.D. Thesis.Google Scholar
Zanettin, Federico
(ed.) 2008 Comics in Translation. Manchester: St. Jerome.  TSBGoogle Scholar

Further reading

Di Giovanni, Elena
2008 “The Winx Club as a Challenge to Globalization. Translating from Italy to the Rest of the World.” In Comics in Translation, Federico Zanettin (ed.), 220–236.  TSBGoogle Scholar
Jüngst, Heike
2008 “Translating Manga.” In Comics in Translation, Federico Zanettin (ed.), 50–78.  TSBGoogle Scholar
Kaindl, Klaus
1999 “Thump, whizz, poom: A Framework for the Study of Comics under Translation.” Target 11 (2): 263–288. DOI logo  TSBGoogle Scholar
Rota, Valerio
2008 “Aspects of Adaptation. The Translation of Comics Formats.” In Comics in Translation, Federico Zanettin (ed.), 79–98.  TSBGoogle Scholar
Zitawi, Jehan
2008 “Disney Comics in the Arab Culture(s). A Pragmatic Perspective.” In Comics in Translation, Federico Zanettin (ed.), 152–171.  TSBGoogle Scholar