Le sfide nella traduzione dei webtoon cinesi e le possibili soluzioni: proposta di traduzione e commento di Jiang Jun de baozang 姜君的宝藏 (I tesori di Jiang Jun).

漫画是一种具有强烈视觉张力的叙事艺术，文字与图像的结合使故事更加丰富多样。由此产生的视觉语言易于观众理解，自1827年以来，漫画被视为大众的文化产品。现代意义上的中国漫画，作为一种视觉叙事形式，起源于20世纪30年代，被称为“漫画”的连环画。这类漫画通常由四到六幅画格组成，面向受过教育、有文化的读者群体。与此同时，得益于现代印刷技术，“连环画”得以广泛传播；这是一种19世纪已有的小册子，图画在上，说明文字在下，成为面向经济条件较差、半文盲人群的文化产品，并在中华人民共和国成立后，随着毛泽东时代的到来，成为政治宣传的工具。中国漫画的内容涉及社会主题，揭露腐败和贫困，在战争时期则鼓励抵抗与斗争。作为纯娱乐形式的漫画，直到四人帮倒台后，随着经济改革和对西方世界的开放才出现。1990年代，中国市场涌入了大量日本和美国的漫画产品，这些作品与中国读者习惯的风格截然不同，拥有新的叙事手法、视角转换，制造悬念和期待。日本的影响如此强烈，以至于导致了大量低质量的中国漫画，仅仅是日本作品的复制品。从2000年起，出现了“中华原创动漫”这一术语，用于指代远离日本忠实模仿的原创作品。它强调本土的风格和漫画特性，区别于日本或其他外国的艺术传统。随着数字化和全球化的发展，漫画再次发生了演变。互联网的兴起促使数字平台的出现，使漫画和连环画的发布变得更加便捷，也让越来越多的观众可以轻松获取。数字平台的建立不仅让许多艺术家，包括业余创作者，有机会发布自己的作品，也让更广泛的观众能够欣赏这些作品。这里所说的是网络漫画；最初以纸质形式创作，随后转移到网络上的漫画。这种在线上传方式很快被直接在平台上创作漫画并适应新媒介（如智能手机）的方式所取代。自2003年起，这一年通常被认为是韩国新型产品诞生的年份，竖屏漫画出现；专为纵向滚动设计的漫画。专门的数字平台，如Naver和Kakao，迅速增多。目前，中国最受欢迎的漫画作品则发布在中国平台“快看”上。因此，竖屏漫画在中国乃至全球的文化领域中都具有重要的艺术地位，其特点是持续的供需关系。它构成了翻译研究中的一个新领域，由于缺乏既定的手册或指导原则，因此成为本研究的关注焦点。在《姜君的宝藏》的翻译中，异化策略使漫画的本质得以保留，这种本质植根于传统，包含历史和文化的参考，而符号学方法则保证了语言的非正式性，适合年轻读者，并能够准确呈现副文本。语言方面相对简单，因此不需要进行大幅结构性修改。然而，手机或聊天语言，这类语言经常出现在对话气泡中，则需要更多关注。这类特殊副文本的翻译缺乏现有的参考文献，其音素属于“网络语言”，常使用数字以及数学或图形符号。这要求译者熟悉当代潮流和惯例，并持续关注数字平台上发布的新漫画作品。

Comics represent a narrative art with strong visual tension, where the combination of text and image allows for a richer and more varied storytelling. The resulting visual language is easily understandable to the audience, and since 1827, comics have been considered a cultural product for the masses. Chinese comics, understood as a modern form of visual storytelling, emerged in the 1930s as sequential cartoons called manhua. These typically consisted of four to six panels aimed at an educated and literate audience. At the same time, thanks to modern printing techniques, the lianhuanhua spread: a small booklet, already present in the 19th century, with illustrations on top and captions below. It became a product for the less affluent and semi-literate population and later served as a tool for political propaganda with the advent of the People’s Republic of China under Mao Zedong. The content of Chinese comics dealt with social themes, exposing corruption and poverty, and during wartime, encouraging resistance and struggle. Comics as a form of pure entertainment only emerged with the economic reforms and opening to the Western world following the fall of the Gang of Four. In the 1990s, the Chinese market was flooded with Japanese and American products, very different from what Chinese readers were used to, featuring new styles and narrative techniques, shifts in perspective that generated suspense and anticipation. The Japanese influence was so strong that it led to low-quality Chinese products, mere copies of Japanese works. From the 2000s onward, the term Zhongguo yuanchuang dongman (original Chinese animation and comics) appeared, adopted to identify authentic products far removed from faithful Japanese imitations. It emphasized a local stylistic and comic identity that distinguished itself from Japanese or foreign artistic traditions. With digitalization and globalization, comics have evolved once again. The rise of the internet enabled the creation of digital platforms for publishing comics and cartoons, simplifying sharing and making them more accessible to an ever-growing audience. The implementation of these platforms allowed many artists, including amateurs, to publish their work and enabled a wider audience to enjoy these products. We are talking about webcomics; comics originally created on paper and then transferred online. This method of online uploading was soon replaced by the possibility of creating comics directly on platforms and adapting them to a new medium: the smartphone. Starting in 2003, the year often cited as the birth of these new products in Korea, the webtoon emerged; comics designed for vertical scrolling. Dedicated digital platforms such as Naver and Kakao quickly multiplied. Today, the most popular comics in China are available on the Chinese platform Kuaikan. The webtoon thus represents an important artistic form within both Chinese and global cultural landscapes, characterized by continuous demand and supply. It constitutes a new field in translation studies, where no established manuals or guidelines exist, which is why it has been the focus of this work. In the translation of Jiang Jun de Baozang, the foreignizing approach allowed the comic’s essence, rooted in tradition with historical and cultural references, to be preserved, while the semiotic method ensured an informal language suited to a young audience and an accurate rendering of the paratext. The linguistic aspect, being relatively simple, does not require major structural modifications. The language of mobile phones or chat, which frequently appears in speech balloons, requires greater attention. The translation of this particular type of paratext is not supported by existing bibliography; it belongs to “internet language,” often using numbers and mathematical, graphic symbols. This demands familiarity with contemporary trends and conventions, along with continuous observation of new comics published on digital platforms.