Translating comics : a comparative case study

Abstract

Translating comics and graphic novels into Maltese is a very interesting branch in need of development. The comic book enthusiasts in Malta are present in a relatively small number compared to other countries like Italy or France yet events like Comic Conventions are popular. Despite such popularity, the matter of translating comics to Maltese is still in its infancy. In this dissertation, the translation of Asterix Le Gaulois by Carmen Żammit and Ġorġ Mallia is noted and the translation of some of the names is analysed. This comic was published in 1998 and is the most recent translation found. Other translations are very sparse however, thanks to a dissertation on the comic in Malta by Daniela Attard titled The Graphic Novel and Comic Book in Malta: a History, it was discovered that the first comic to be translated comics from Italian into Maltese was the work of Carlo Desiderati, targeted for children with the story centred around a young boy called Tomasino who was turned into Tumasinu in Maltese. The Maltese translator of the comic was Ġużi Demanuele, a headmaster. There are many reasons why to explore the issues of translation and comics. Besides the amount of comics produced and consumed worldwide due to their avid readership, many comics are translated and, depending on their success or not, offer a lot of case studies for analysis and examples of possible strategies that a translator may use. With regards to translating comics into Maltese, one is putting a very new product on the market of comics in Malta and thus needs a lot of testing, feedback and further research. The translation of comics is an interesting branch of translation because of the visual and verbal interplay involved. Moreover, given their specific language or 'grammar', comic book readers are a special demographic on whom the author may rely on so to interpret the text accordingly. Comics do not only rely on texts but also images and the interplay between these two will be demonstrated in this dissertation. The most interesting and challenging cases involve visual and verbal interplay in communicating a message. The panels in the comics offer a multitude of material, messages and challenges that a translator needs to pay attention to before translating. This dissertation seeks to explore some of these aspects and uses a number of case studies to do so. The first chapter introduces the medium of comics while the second chapter deals with the theoretical aspects of semiotics, the target reader, the cultural baggage or encyclopaedia of the reader and the theory on translating poetry. The third chapter offers case studies of word-panel harmony as well as a look at actual examples of manipulation. These range from the mid-twentieth century to ones which are more contemporary. The typologies relating to comics by Klaus Kaindl, as borrowed from Dirk Delabastita will also be discussed. Given the fact that translating comics in Malta is a fairly young and undeveloped branch, certain mistakes can be omitted given the benefit of hindsight. Lastly, the fourth chapter seeks to put all this into practice with three translations of poetry in comics. It is the fulcrum of the dissertation where the theory meets the practical. Each case study has its own peculiarities. With respect to the title of this dissertation, the cases are comparative for a number of reasons. Firstly they are compared to one another and in a particular case, an Italian translation is used as a comparative case study in one of the three translations. The premise chosen when translating the text in the panels was not to domesticate capriciously or expand excessively. Domestication and manipulation are frowned upon yet the former is sometimes necessary. Alternatives are presented to show the reasoning and reasons leading to certain choices especially when certain liberties and changes were taken, made or considered with the text. Where rhyme and metre were concerned, the metre was largely respected. The notion of rhyme still was preserved in all three cases but the scheme altered to fit the Maltese context. In the third case study, there are instances of the rhyming scheme that match the source text. Translation is a game of minimising losses. This is rendered more problematic as, were one to translate the panels and expand them excessively, there will be a loss on the art work as well. Moderation and, in some cases, foreignisation are essential. Translating poetry and comics is certainly a challenging task but not one without its rewards.