The present study focuses on the translation of a pure Bengali vernacular strip Nonte Fonte in English and to colour and its reception across the Bengali reading and speaking populace especially of Tripura, a North Eastern state of which the researcher is a part. At the same time this paper also highlights the way in which an apparently innocent comic strip such as Nonte Fonte showcases and disseminates, naturalizes and legitimizes stereotypes that represent negative codification of the cultural ‘Other’ (the inhabitant of Orissa relocated to Kolkata for work for instance) through its image /illustration medium and how the target reader internalizes it. Attempt has also been made to locate how market forces and the demand of English readership/target culture influence the translated product/text, thus pertaining to Bassnet’s (2007) concept of cultural capital which can be loosely defined as that which is necessary for an individual to belong to the ‘right circle’ in the society (p.19). Translation helps a culture to come closer to the ‘cultural capital’ of the other. The concept of cultural capital is most pertinent to the power relation, concept of hierarchy and negotiation involved in translation in this context. Cultural capital here is not the Source Text (ST), but the Western canon of English language and English readership (global readership in English in this context that would generally define itself as a summation of the Bengali (with or without Bengali reading competence, but with English reading competence) and non- Bengali but English reading domains in India and the rest of the English reading world). However as has been pointed out later in this paper, the publisher tends to contain and restrict the consumption of his product- the text thus translated, within a supposed niche of target readership, the Bengali children. The paper also interrogates the impracticality of such a proposition.

中文翻译：

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转换的范式：参考选择 Nonte Fonte 面板对漫画翻译动力学的分析阅读

本研究的重点是用英语翻译纯孟加拉语白话带 Nonte Fonte，以及在孟加拉语阅读和口语人群中的颜色及其接受度，尤其是研究人员所在的东北部特里普拉邦。同时，本文还强调了像 Nonte Fonte 这样看似无辜的连环漫画展示和传播、自然化和合法化代表文化“他者”负面编纂的刻板印象（奥里萨邦的居民搬迁到加尔各答工作例如）通过其图像/插图媒体以及目标读者如何内化它。还尝试确定市场力量和英语读者/目标文化的需求如何影响翻译的产品/文本，因此与 Bassnet (2007) 的文化资本概念有关，该概念可以粗略地定义为个人在社会中属于“正确的圈子”所必需的（第 19 页）。翻译有助于一种文化更接近对方的“文化资本”。文化资本的概念与此语境下翻译所涉及的权力关系、等级观念和协商最为贴切。这里的文化资本不是源文本（ST），而是英语语言和英语读者群（在这种情况下的全球英语读者群）的西方经典，通常将自己定义为孟加拉语的总和（有或没有孟加拉语阅读能力，但具有英语阅读能力）和非孟加拉语但在印度和其他英语阅读世界的英语阅读领域）。然而，正如本文后面所指出的，出版商倾向于限制和限制其产品的消费——因此，在目标读者群——孟加拉儿童——的假设范围内翻译的文本。该论文还质疑这样一个命题的不切实际。