Calls for papers

Call for Abstracts Questions to be addressed include, but are not limited to, the following: How are the concepts of ‘cultural translation’ and ‘cultural transfer’ reflected in museum practices? What are conceptual differences and common grounds? Which perspectives and research methods are useful to study the various transfer processes in the contemporary museum? What types of translation and transfer (interlingual, intralingual, intersemiotic, etc.) are present in museums? How do spatial, visual and textual resources interact multimodally? How do translation practices and policies differ according to the type of museum (memorial museums, migration museums, ethnographic museums, etc.)?  What is the role of different agents and stakeholders (curators, translators, local communities, visitors)? How do the various types of translation and transfer function as instruments of power? How are (national or foreign, dominant or minor) cultures, identities and memories (re)imagined in museums? In what ways do forms of translation and transfer facilitate the interchange and cross-fertilization of cultures in the contact zone? To what extent are museum concepts culturally defined? What are the indications of globalized museum practices nowadays? How can we assess the importance of the digital space and the hybrid exhibition model for meaning-making in museums? If you wish to present a paper, please send a brief abstract (300 words) and a short bio (50 words) to museumtranslation@ut.ee by midnight on 15 December 2021. If your abstract is selected, you will receive a notification of acceptance by 20 January 2022. Language Policy: the conference language is English. Venue: University of Tartu College of Foreign Languages and Cultures (J. Liivi street 4) At the moment, the conference is planned as an on-site event. However, depending on the development of the pandemic, we will consider the possibility of making some parts available online. This conference is organized in collaboration with the Cultural Transfer Research Group of the Enlight University Network. For more information please follow the link here. 

Pivot audiovisual translation: A burning issue for research and training. Guest-edited by Hanna Pięta, Susana Valdez, Rita Menezes and Stavroula Sokoli This special issue focuses on pivot audiovisual translation (AVT), understood as the process or product of translating an audiovisual content through an intermediate language or text. AVT research and training want to keep pace with the fast-evolving market, and this makes pivot AVT a burning issue for these two areas. To address this issue, we call for contributions engaging with key questions that include, but are not limited to: − how were pivot AVT produced and received in the past; how are they produced and received today? − what were/are the reasons and causes of translating audiovisual content from translation or with further translation in mind? − what are the attitudes, beliefs and expectations of audiovisual translators who create or work from pivot texts? In which modes or settings are they more/less tolerant towards this practice? How about other stakeholders? − how exactly are pivot AVT different from direct AVT, for example in terms of their linguistic make-up or translators’ and viewers’ expectations? − are there patterns related to indirectness that are common to various AVT modes (e.g. deaf relay interpreting; videogame localization; fansubbing)? − which models of analysis can help us classify different instances of indirectness within AVT? − what specific competences and technologies are needed to efficiently translate audiovisual content from translation or with a further translation in mind? − when, where and how exactly can we train translators to produce pivot AVT of the highest quality possible? Closing date for submissions: 22 December For more information, click here

 CFP for the first issue of the open-access journal, International Journal of Chinese and English Translation & Interpreting (IJCETI) to be published in June 2022.  The International Journal of Chinese and English Translation & Interpreting (IJCETI) is the first peer-reviewed international journal devoted to the T&I research, training and practice of Chinese and English language pair. It promotes a cross-fertilization among research, training and professional practice in Chinese/English T&I studies. The journal publishes high quality articles based on merit, rigour and integrity. It adopts the open-access policy to promote accessibility and academic impact. The journal publishes two issues per annum (June and December), plus one guest-edited special issue where there is an interest. The guideline for authors can be accessed here.  

This call for papers is for a two-day workshop on the theme Translators’ [In]visibilities focussing on the idea of ‘invisibility’ from multiple perspectives. Informed by scholarship in translation studies, in particular the work of Lawrence Venuti, especially The Translator’s Invisibility (3rd edition; Routledge 2018), we want to explore the ideas of visibility and invisibility across a range of approaches to studying, practicing and teaching translation. We welcome contributions which will address the theme in any way, including but not limited to:   development of translation practice across time and space historical practices of translation the contemporary practice of translation collaborative translation practices the role of translation in teaching.  Keynote addresses will be delivered by Professor Lawrence Venuti (Temple University) and Professor Chana Kronfeld (University of California, Berkeley).  Papers will be expected to be 15-20 minutes in length. Presenters will be invited to submit pieces based on their presentations for consideration afterwards for a publication emerging from this workshop. Please send an abstract of no more than 250 words and a brief biography of no more than 75 words to TranslationWG@gmail.com by December 31, 2021. The workshop will be held online due to COVID-19 considerations and so will be free and open for all to attend. However, should the local and international situation permit, the possibility of a hybrid event allowing both online and in-person participation will be considered. __________ This workshop is organized by the Translation Studies Working Group of the Calgary Institute for the Humanities at the University of Calgary, with the support of the Institute as well as of the Language Research Centre, the Classics & Religion Department and the Faculty of Arts at the University of Calgary.

El Área de Estudios Hispánicos de la Universidad María Curie-Skłodowska (Polonia) celebrará entre el 21 y el 22 de abril de 2022 el I Simposio Internacional de Traducción e Interpretación especializadas de manera virtual. Actualmente se encuentra abierto el plazo para el envío de propuestas de comunicaciones hasta el 15 de noviembre de 2021. Toda la información se encuentra en la web simtraesp.umcs.pl. Para cualquier duda, pueden contactar con el comité organizador a través del e-mail: simtraesp@mail.umcs.pl El simposio se desarrollará íntegramente en español.  Muchas gracias. 

CfP conference panel: 22-24 June 2022. EST22 Oslo Congress, Panel 24: Advancing TS through think-aloud: Showcasing a challenging but unique method. UiO & OsloMet, Oslo, Norway. Panel conveners: Claudine Borg and Brita Dorer Deadline for abstracts: October 15, 2021 https://www.hf.uio.no/.../list-description-panels.html

Media Paratexts and Translation This special issue seeks to open up new interdisciplinary perspectives on the translation, adaptation and localization of media paratexts. The global circulation of digital media products and the increased customization of the user experience have resulted in a proliferation of such paratexts, whether in the form of promotional material (trailers, posters), fan-made material, or curated or data-driven user interfaces. While the disciplines of Media Studies and Digital Studies have embraced – and arguably even been transformed by – the study of such paratextual elements, the fields of audiovisual translation or of translation in the digital age have yet to integrate them into their object of study. Engagement with the notion of the paratext within the field of news translation has been even more muted, being limited to just a handful of studies (Zhang 2013; Hong 2019). Premised on the idea that the combination of media paratexts and translation represents a rich and unexplored seam of research, this special issue invites interdisciplinary investigations of the ways in which media paratexts are linguistically and culturally mediated across different territories. It invites scholars to explore the impact that those mediations have on how media products are accessed, interpreted and perceived in the target cultures, thus widening the perspective from the media products themselves to the broader constellations of productions within which they circulate. Mediation is thus taken to include not only the processes and outputs of translating paratexts per se but also the strategic decisions about distribution that are made by media companies and localization teams in general. These include decisions concerning which paratexts will be used in a specific target culture/territory (either “as is” or in their translated versions) and which ones will have to be recreated from scratch in order to better adapt to target-culture sensibilities or conventions. We thus invite contributors to explore the far-reaching consequences of apparently peripheral or ephemeral decisions. For example, contributors might consider the way in which the channel, platform or output through which a particular media text is distributed in a target culture invites particular associations or attracts particular audience segments, thus affecting reception and interpretation of the text before the text itself has been encountered. Through this broad notion of mediation, we hope to draw attention to the way in which reception of media products is affected by the entire constellation of paratextual materials among which and through which the media text itself circulates, rather than limiting reflection to the media text itself. For example, in the case of the TV series Breaking Bad in Italy, as explored by Bucaria (2014), the decision not to distribute the humorous minisodes that formed part of the paratextual constellation in the USA is argued to have resulted in a perception of Breaking Bad in Italy that is less tonally nuanced. The definition of paratext that will be adopted for this volume will be broad, in line with approaches taken in Media Studies (e.g. Gray 2010). We thus invite consideration of meaning-making elements that have become essential to users’ selection and experience of audiovisual products and to the products’ commercial success; these might encompass interviews, viral marketing campaigns, TV and film trailers and teasers, summaries and descriptions, fan videos, and parodies, amongst others. We also invite explorations of elements intrinsic to the global presence of streaming and news platforms, such as the summaries, highlights, keywords and recommendations that appear in individual user interfaces, all of which need to be made accessible to users across the world through a process of localization. Where contributors are working to functional definitions of paratext (as commonly used in Digital and Media Studies), we invite consideration of material that serves commercial, navigational, community-building or world-building functions, amongst others, or that makes the text present in the world. (For a fuller list of paratextual functions, see Batchelor 2018, 160-161, based on Rockenberger [2014]). We also welcome theoretical discussions of the adequacy of existing definitions of paratext for translation-focused research. In particular, contributors may wish to explore the difficulties around preventing the collapse of ‘paratext’ into the vastness of ‘context’ (Rockenberger 2014) that inevitably arise once Genette’s (1997) emphasis on authorial intention is dismantled. Abstracts are invited from scholars in Translation Studies, Media Studies and Digital Studies. Proposed contributions should aim to explore the creation and use of linguistically and culturally adapted media paratexts from any of the following angles (with other aspects also welcome): > promotional campaigns for media products (e.g. films, TV content, video games);> customization of the user experience through paratexts;> localization of online TV apps;> paratextual elements in videogames;> paratextual elements in news translation;> theoretical perspectives on the conceptualization of media paratexts;> fan-made vs. promotional paratexts;> paratexts across different media.

Call for Papers for open access transLogos Journal Volume 4, Issue 2 to be published in December 2021. Deadline: 16/10/2021 To submit: https://dergipark.org.tr/en/pub/translogos/page/6185. Journal website: https://dergipark.org.tr/en/pub/translogos.

[APOLOGIES FOR CROSS-POSTING] Dear colleague, We as editors of The Routledge Handbook of Translation, Interpreting and Crisis (HaTrIC) are seeking further contributions to complete the handbook which will appear in 2023. In-between the date for draft chapters (mid-April 2022) and finalised chapters (mid-November 2022) there is a process of editorial review and peer support (brief online meetings of contributors, per section). The aim of the handbook is to provide an overview of current international research focusing on different topics related to translation and interpreting in contexts of crisis from different perspectives in Translation and Interpreting Studies. We are especially, but not only, interested in contributions from all continents. The Handbook aims to collate contributions by academics, but equally welcomes co-authored papers where practitioners or members of organisations and institutions are involved (with a focus on translation and interpreting).  Expressions of interest ideally are confirmed by 10 September. This confirmation literally is but a short email, preferably accompanied with a direction of a contribution (title proposal + 1 or 2 sentences). We will liaise with the person suggesting the proposed chapter and upon positive confirmation from our part we expect a more elaborate abstract by 17 September. More detailed info here: https://docs.google.com/document/d/1R0OuLaHJ34DsjB6yhFZLoiRAHDk4mlm1/edit?usp=sharing&ouid=112237010242051752886&rtpof=true&sd=true​​​​​​​ As we are looking for contributions from all continents, we would be delighted if you could help cascade and promote this notification among your colleagues and within your wider network of relevant contacts. Thank you. Best regards, Christophe Declercq (KU Leuven / University College London) and Koen Kerremans (Vrije Universiteit Brussel) Christophe https://www.linkedin.com/in/w44bq/ https://www.arts.kuleuven.be/vertaaltechnologie/leden/00118106  @chrisdec71 Koen https://www.linkedin.com/in/koenkerremans/ https://researchportal.vub.be/en/persons/koen-kerremans  @koen_kerremans

Panel 28: “Advancing Translation Studies by understanding the  Labour in Translaboration“ and it is convened by Cornelia Zwischenberger (University of Vienna) and Alexa Alfer (University of Westminster). Deardline for submission 15 October 2021 Discussions of ‘translaboration’ have so far focused on the investigative potential of the conceptual blending of ‘translation’ and ‘collaboration’. A further and rather central concept that emerges in/from translaboration is ‘labour’. Labour, as the production of appropriated surplus value, remains, we argue, an under-researched and under-discussed dimension of translation. To advance our understanding of both translation and Translation Studies, and the ways in which both fields of activity intersect with critical areas of human interest, the concept of labour, as distinct from ‘work’ (Narotzky 2018), warrants more sustained engagement. Our focus for this panel is the work/labour dimension of collaborative translation. Read more here.

Conveners: Cornelia Zwischenberger, Alexa Alfer Discussions of ‘translaboration’ have so far focused on the investigative potential of the conceptual blending of ‘translation’ and ‘collaboration’. A further and rather central concept that emerges in/from translaboration is ‘labour’. Labour, as the production of appropriated surplus value, remains, we argue, an under-researched and under-discussed dimension of translation. To advance our understanding of both translation and Translation Studies, and the ways in which both fields of activity intersect with critical areas of human interest, the concept of labour, as distinct from ‘work’ (Narotzky 2018), warrants more sustained engagement. Our focus for this panel is the work/labour dimension of collaborative translation. In online collaborative translation, hundreds or even thousands of mostly non-professional and voluntary translators collaborate in crowdsourced translation drives initiated by and benefitting both profit-oriented companies such as Facebook or Skype and not-for-profit organizations such as Translators Without Borders or Kiva. Are these translation efforts work, labour, or just fun? The same question applies to self-managed online collaborative translation drives such as Wikipedia-translation, and to the various types of fan translation such as fansubbing, fandubbing etc. Digital labour (Fuchs 2010) is a particular pertinent category here, as are concepts such as playbor (Kücklich 2005), fan labour, and affective labour since this type of collaborative translation centrally builds on social relations and consequently affects (Koskinen 2020). But what about the work/labour dimension of collaborative translations in the analogue world? The collaborative translations undertaken in 17th- and 18th-century Germany between women and their male partners as their intellectual equals, for example, were often construed as ‘labours of love’, thus masking their specific constellations of agency, creativity, and gain (Brown 2018). To advance Translation Studies from the vantage point of the labour, we invite panel contributions addressing the work/labour dimension of translation in the following contexts, among others: translation crowdsourcing for for-profit and not-for-profit/humanitarian organisations self-managed and user-initiated forms of online collaborative translation historical or contemporary case studies of analogue collaborative translation translation’s relationship with digital labour, fan labour, playbor, or affective labour. For more information, click here Deadline for submissions: 1 October 2021

  It is assumed after Zanettin (2008) that translated comics may be analysed within a localization framework as they are often republished as updated, repackaged, redesigned ‘products’ adjusted to different cultural conventions or age groups at different moments in time. Similar to software localization, the translation of comics may involve not only the translation of textual content but also the transformation of non-textual, graphic content. Comics translation may not simply involve the insertion of text into a pre-existing matrix of panels and speech balloons, but may involve modifying colours, panels, images, icons, speech balloons, font size and lettering, the reading direction, book covers, paratexts and formats. What is also significant from the point of view of translation is the fact that the verbal and the visual modes interact and both contribute to the creation of meaning on a comic book page (Borodo 2015). As in subtitling, the visual can thus play an auxiliary role in translation (Borodo 2016) as some meanings in the original text may also be simultaneously communicated by images. This meaning overlap between words and images may be exploited by the translator and potentially lead to textual condensation and lower textual density in speech balloons. Textual density can, however, also be related to other factors such as different cultural conventions, the cultural status of comics in a given context or the fact that comics may be addressed to a new and diversely conceptualized audience. It is thus assumed that the translation and localization of comics is a complex linguistic, but also visual, technical, cultural, publishing and marketing process that is referred to in this issue as ‘reimagining comics’ – an umbrella concept which encapsulates transforming the textual, adapting the visual and redesigning comics for new audiences. Be it a digitally distributed scanlation of Japanese manga, a Franco-Belgian comic book album translated for a new audience, Argentinian comic strips published in the format of comic books in Eastern Europe, a localized version of an American superhero narrative, or even a glocal retelling such as Spiderman India or Egyptian Zein the Last Pharaoh – ‘reimagining comics’ by different cultural agents behind the translation and publication process lies at the heart of all such translation enterprises. Submissions of papers are invited in, but not limited to, the following topics: - Comic books, comic strips and graphic novels in translation - Franco-Belgian BDs in translation - The translation of American comics - The translation of Japanese manga - Comics translation in Central and Eastern Europe - Scanlation, fandom translation initiatives - The translation of e-comics - Graphic transformations in comics - Comics translation as a form of localization  - The verbal-visual relationship in translated comics - The history of comics translation - Ideology and censorship in translated comics - Marketing and publishing strategies across cultures - Glocal retellings of globally distributed comics Submitting proposals: To submit a paper, please send your abstract proposal (300 words, excluding references) and a short biosketch as a Word document by email to michal.borodo@ukw.edu.pl by 15 September 2021. Full articles (between 7,000 and 8,000 words, including references) should be submitted before 31 July 2022. Following the peer-review process, this special issue will be published in the spring of 2023. Important dates: 15 September 2021: Deadline for submitting abstract proposals 30 November 2021:   Notification of acceptance 31 July 2022:             Submission of full papers 30 November 2022:   Reviewers’ reports 15 March 2023:         Submission of final revised papers Spring 2023:              Publication of special issue BIBLIOGRAPHY: Borodo, M. (2015) ‘Multimodality, Translation and Comics’, Perspectives: Studies in Translatology 23(1): 22-41. Borodo, M. (2016) ‘Exploring the Links between Comics Translation and AVT’, TranscUlturAl: A Journal of Translation and Cultural Studies 8(2): 68-85. Kaindl, K. (1999) ‘Thump, Whizz, Poom: A Framework for the Study of Comics under Translation’, Target 11: 263-288. Kaindl, K. (2004) ‘Multimodality in the Translation of Humour in Comics’ In E. Ventola, C. Charles & M. Kaltenbacher (Eds.), Perspectives on Multimodality, 173-192, Amsterdam: John Benjamins. Zanettin, F. (2014) ‘Visual Adaptation in Translated Comics’, InTRAlinea 16. Zanettin, F. (Ed.) (2008) Comics in Translation. Manchester: St. Jerome.