The translation of comics shows certain specificities inherent to the medium that transcend its interlinguistic dimension (Reyns-Chikuma &
Tarif 2016). Consequently, it is commonly defined as a hybrid discipline conditioned by an equally hybrid medium that blurs the boundaries
between the categories seeing/reading through texts, paratexts and images. In such a context, we can re-read John Berger’s words under
new light: “It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo
the fact that we are surrounded by it” (Berger 1972: 7). What happens when our sight reads/sees a comic? How do translators reproduce
such seeing beyond words? Which tools do they use to render culture-specific items, sound symbolic words, non-linguistic signs and
typography? Are translations conditioned by the elements of the visual lexicon, such as page, panel, gutter or speech balloon (Cohn
2013)? In this negotiation with a visual and textual medium, translators occupy an inter-mediation space in culturally-determined semiotic
environments (Zanettin 2009).

We invite scholars working in translation studies, comics studies and related fields to send proposals dealing with the intercultural,
intermodal and interlinguistic sides in the translation of comics and webcomics. Articles can include, but are by no means limited to, the
following:

- Specificities of the translation of comics
- Translation of paratexts and visual lexicon in comics
- Analysis of translated comics
- Translation and reception of comic genres and traditions
- Comic and cultural translation
- Translating humour in comics
- The comic publishing sector and translation
- The professionalization of comic translation
- Fanslation and scanlation

Deadline for submissions: 30 November 2020

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