Beyond Textual Translation: Revisiting the Translation Pact through Collective Authorship and Translatorship
Drawing on key studies in Translation Studies and Comics Studies (Evans 2017; Kaindl 2021; Lefevere 1992; Zanettin 2008), this analysis aims to explore how frameworks of collective authorship and translatorship (Ahmed 2017; Jansen and Wegener 2013) intersect and challenge the concept of individual p...
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| Vydáno v: | URI:https://journals.openedition.org/comicalites, |
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| Hlavní autor: | |
| Médium: | Article ou chapitre numérique |
| Jazyk: | Anglais |
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Comicalités
2025
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| On-line přístup: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Shrnutí: | Drawing on key studies in Translation Studies and Comics Studies (Evans 2017; Kaindl 2021; Lefevere 1992; Zanettin 2008), this analysis aims to explore how frameworks of collective authorship and translatorship (Ahmed 2017; Jansen and Wegener 2013) intersect and challenge the concept of individual production. This exploration contributes to the broader debate on the visibility of all agents involved in the creative (re-)writing and translation processes. Despite the “tangible existence” of the “multiplicity of agents” (Jansen and Wegener 2013, 9), the production is attributed to a single authorial figure, reinforcing the idea of the “translation pact” (Alvstad 2014) and further shaping the audience’s perception of a singular translator.In this article, we will address this complex issue through the case of Zerocalcare’s graphic production. Known as an Italian comic book artist and graphic novelist, Zerocalcare (Michele Rech, b. 1983) ventured into a new storytelling medium, experimenting with animated films. This led to the creation of the Netflix series Tear Along the Dotted Line (2021) and This World Can’t Tear Me Down (2023). The creation of the animated series, based on Zerocalcare’s earlier graphic productions, is no solitary endeavor but a collaborative process involving various contributors. Both authorial and translational control become distributed among the artist, voice actors, sound engineers, animators, and others, generating a shifting agency. |
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