Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'. Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit. The volume features illustrations from the works discussed and an extensive annotated bibliography. Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.

Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'. Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit. The volume features illustrations from the works discussed and an extensive annotated bibliography. Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.

This book examines comic book adaptations of Aristophanes’ plays in order to shed light on how and why humour travels across cultures and time. Forging links between modern languages, translation and the study of comics, it analyses the Greek originals and their English translations and offers a unique, language-led research agenda for cultural flows, and the systematic analysis of textual norms in a multimodal environment. It will appeal to students and scholars of Modern Languages, Translation Studies, Comics Studies, Cultural Studies and Comparative Literature.

European comic authors produced a steady stream of comic material throughout the twentieth century, but gained the world's notice in 1975 when the French magazine Metal Hurlant was founded. A new generation of artists and writers had begun. Soon publishers were producing translations of the new comics into other languages, including English, and comics creators everywhere were inspired to innovation.This is a reference work, arranged by artist or writer, to European comics from the last quarter of the twentieth century that have been translated from any European language into English. It contains a variety of material, from the innocent imperialism of Herge's Tintin to the sadistic murder for hire in Bernet's Torpedo. Albums by a single creator or artist-and-writer team of European origin are the focus; comics in periodicals and anthologies with multiple contributors are excluded. Each entry provides a plot abstract and various notes about the original comic. An author index provides brief biographical information. There is a comprehensive general index.

Engages with comics as sites of struggle over representation by developing a new methodology of reading for difference in transnational contexts.

Included on Publishers Weekly’s Best of 2018 list! A story of the enduring quality of female friendship amid a gritty landscape of abuse. “Against gorgeous, starkly sketched city scenes of South Korean alleyways and hostess bars, the rebellions and secret longings of ’90s teenager Pearl and her group of “bad friends” play out in this imported debut discovery.”—Publishers Weekly Jinju is bad. She smokes, drinks, runs away from home, and has no qualms about making her parents worry. Her mother and sister beg her to be a better student, sister, daughter; her beleaguered father expresses his concerns with his fists. Bad Friends is set in the 1990s in a South Korea torn between tradition and Western modernity and haunted by an air of generalized gloom. Cycles of abuse abound as the characters enact violence within their power structures: parents beat children, teachers beat students, older students beat younger students. But at each moment that the duress verges on bleakness, Ancco pulls back with soft moments of friendship between Jinju and her best friend, Pearl. What unfolds is a story of female friendship, a Ferrante-esque connection formed through youthful excess, malaise, and struggle that stays with the young women into adulthood. Served by a dry and precise line, Bad Friends viscerally captures the adolescent years of two young women who want and know they deserve something different but, ultimately, are unable to follow through. In a culture where young women are at a systemic disadvantage, Ancco creates a testimonial to female friendship as a powerful tool for survival. Jinju forgets her worst adolescent memories, but she cannot ever shake the memory of her friendship with Pearl during her most tumultuous years.

Tokyo is ground zero for Japan's famous "geek" or otaku culture--a phenomenon that has now swept across the globe. This is the most comprehensive Japan travel guide ever produced which features Tokyo's geeky underworld. It provides a comprehensive run-down of each major Tokyo district where geeks congregate, shop, play and hang out--from hi-tech Akihabara and trendy Harajuku to newer and lesser-known haunts like chic Shimo-Kita and working-class Ikebukuro. Dozens of iconic shops, restaurants, cafes and clubs in each area are described in loving detail with precise directions to get to each location. Maps, URLs, opening hours and over 400 fascinating color photographs bring you around Tokyo on an unforgettable trip to the centers of Japanese manga, anime and geek culture. Interviews with local otaku experts and people on the street let you see the world from their perspective and provide insights into Tokyo and Japanese culture, which will only continue to spread around the globe. Japanese pop culture, in its myriad forms, is more widespread today than ever before--with J-Pop artists playing through speakers everywhere, Japanese manga filling every bookstore; anime cartoons on TV; and toys and video games, like Pokemon Go, played by tens of millions of people. Swarms of visitors come to Tokyo each year on a personal quest to soak in all the otaku-related sights and enjoy Japanese manga, anime, gaming and idol culture at its very source. This is the go-to resource for those planning a trip, or simply dreaming of visiting one day!