Calls for papers

Organisers: Isabelle Génin (Université Paris 3 Sorbonne-Nouvelle), Marie Nadia Karsky (Université Paris 8 Vincennes Saint-Denis), Bruno Poncharal (Université Paris 3 Sorbonne-Nouvelle)EA 1569 TransCrit, EA 4398 PRISMES / TRACT, with the contribution of RADAC (radac.fr) Over the centuries, Anglophone theatre has traditionally imported plays from the European continent (France, the Scandinavian countries, Germany, Russia...), most of the time adapting them. In the last forty years, however, British and other Anglophone playwrights have seemed to be increasingly inspired by canonical works, translating, adapting or rewriting them. Molière, Racine, Marivaux, Chekhov, Sophocles and Euripides, for instance, are all classics in the sense that they belong to a well-established theatrical canon, and many contemporary playwrights and poets turn to them at some time in their careers. Martin Crimp said he adapted Molière’s Misanthrope in 1996 as a way of overcoming the « writing block » he was then experiencing. What were the motivations of other authors such as Tony Harrison, for instance, whose Misanthrope, performed at the National Theatre in London in 1973, is one of the first in a long series of contemporary translations and adaptations of Molière’s plays ? In 1975, Harrison went on adapting 17th-century French theatre with his Phaedra Britannica, written after Racine’s Phèdre. Other poets and playwrights also adapted Racine’s play (Ted Hughes, Timberlake Wertenbaker) or Seneca’s (Sara Kane’s Phaedra’s Love was commissioned by the Gate Theatre in London in 1996). Euripides and Sophocles have been adapted, among others, by Timberlake Wertenbaker or April de Angelis. The list of canonical works and classics adapted for the contemporary stage in the Anglophone world is quite long: since the 1980s, there have been dozens of different translations and adaptations of The Seagull, not to speak of Chekhov’s other plays. Has surtitling—enabling audiences to see and hear plays in the original—had an impact on the number of translations and adaptations into English ? What seems to be paramount among contemporary playwrights is the desire to weigh their production against canonical works, as though the latter were a sounding board, amplifying the questions raised in our times. Past and present, familiar elements and their rediscovery in a new light interact on the stage in a paradoxical form of tension. What does the rewriting of canonical works reveal about playwriting and staging these last fifty years? Are there any recurrent themes? How do they fuel some of the stylistic concerns of contemporary dramatic writers? We have not mentioned Shakespeare, whose works are also a constant source of adaptations (by Bond or Barker, for instance), because what seems striking and well worth researching is the frequency with which contemporary Anglophone playwrights resort to works in foreign languages. What does crossing linguistic, historical and cultural lines bring them ? Both translations and adaptations have been mentioned – the fact is that in qualifying their work, contemporary playwrights often use the different terms « translation », « adaptation », and « version » without specifying their differences. As David Johnston points out in in Stages of Translation, theatre translators view translation as tied in with creation and linked to creative writing, though they are aware of the transient dimension of their work. Translations and adaptations are sometimes done by people working in pairs : when the contemporary playwrights do not know the language of the original, they often rely on a first, literal translation done by a professional translator and then move away from it in their final version. Whose voice is most heard in the translations and adaptations of canonical works by contemporary authors ? How do classic and canonical texts influence the writing of contemporary playwrights ? Do these translated or rewritten plays form part of a quest for new forms of theatre ? Do they participate in redefining writing for the stage, or do they echo forms of writing and preoccupations which might belong to more traditional lines ? Conference papers will also look into the concrete role played by foreign canonical works on the contemporary Anglophone stage. What plays, genres, and authors are mostly translated or adapted ? Are canonical works still dominant among translated and adapted foreign plays as they were a few years ago[2] ? How do different politics and policies have an impact on translation and adaptation ? And how does the situation vary according to the different Anglophone countries? Papers will be given in English or in French and will be 30 minutes long, followed by 10 minutes for questions. Abstracts are to be sent by 30 November 2017 to : Marie Nadia Karsky : mnkarsky@gmail.comIsabelle Génin : isagenin@club-internet.frBruno Poncharal : bruno.poncharal@orange.fr

The Centre for Legal and Institutional Translation Studies (Transius) will hold its next international conference on 18-20 June 2018 in collaboration with IAMLADP’s Universities Contact Group (UCG). The conference will provide a forum for dialogue between scholars and practitioners with a common interest in legal translation and institutional translation settings more generally. It illustrates the Centre’s commitment to fostering international cooperation and advocating translation quality in the field. The 2018 conference will combine keynote lectures, parallel paper presentations, a poster session and thematic roundtables, so that all participants, from high-level experts to translation trainees, can benefit from the exchange of experiences. Contributions on the following themes are welcome: Problems, methods and competence in legal translation, including comparative legal analysis for translation Terminological issues in legal and institutional translation The use of corpora and computer tools for legal and institutional translation practice and research Sociological and ethical issues in legal and institutional translation Developments and implications of institutional policies of translation and multilingual drafting Thematic specialisation in institutional translation (technical, scientific, financial, etc.) Translation quality control, quality assurance and management practices in institutional settings Court translation and interpreting Legal and institutional translator training We invite all interested individuals to submit their proposals on the conference topics. Institutional practitioners from UCG (IAMLADP) member organisations are also invited to submit proposals on the above topics, especially under thematic strands 2 to 8. Based on these proposals, thematic panels and roundtables will be organised to stimulate debate, and selected institutional partners will be invited to contribute to these sessions. SUBMISSION OF PROPOSALS The online submission process is now open. The deadline for the submission of all proposals is 10 November 2017. We welcome proposals for individual or collective contributions on the conference topics in English, French, German, Italian or Spanish for either of two formats: papers (for 20-minute presentations) or posters (of a maximum size of 100 x 120 cm). It will be assumed that the language of the abstract will be the language of the presentation. A maximum of two proposals may be submitted per author. Length of abstracts: between 200 and 250 words, excluding references. To submit a proposal and for further information, visit http://transius.unige.ch/en/conferences-and-seminars/tc18/cfp/

The time is past when digital technology in translation was no more than a supporting tool. The digital revolution is transforming the landscape of translation theory and practice. From translation memory tools to online corpora and databases, to machine translation and to cloud-based workspaces, technology is making translation more effective and time-efficient, while changing the roles and profiles of translators themselves. Furthermore, beyond enhancing and facilitating the translator’s work, the new technologies are making a profound impact on the very nature of our discipline. The conventional model of one-on-one agency and client is being replaced by a vast global network of faceless, and loosely connected, translators and customers, where the distinction between professional and non-professional translation is often blurred. New modes of translation, such as fansubbing, fandubbing, and crowdsourcing, are challenging the traditional structure of the translation market. Furthermore, translators (professional and otherwise) are using the new communication and collaboration tools to connect with other translators across geographical barriers, engaging translation in political, social causes on an unprecedented scale. We believe that such developments call for new ways of theorizing translation theory and practice—be it pedagogy and training, translation tools and strategies, as well as the cultural and socio-political aspects of translation. Thematic areas include, but are not limited to, the following: Arabic translation in the digital age. Translation and activism: online translator communities. Collaborative translation. Multimedia, and hypermedia translations Translating/communicating the Digital Humanities The changing face of the translation market: crowdsourcing, outsourcing fansubbing/fandubbing and non-professional translation Online databases and corpora Translation productivity software, ‘chunking’/micro-translations, collaboration tools and quality control New developments in machine translation Censorship/Manipulation in a digital age New landscapes beyond translation proper Transadaptation and transcreation   Submission of Abstracts The languages of the conference will be Arabic and English. Proposals should be submitted via the link on the conference page (http://www.tii.qa/en/9th-annual-international-translation-conference-translation-digital-age-translation-tools-shifting). Proposals should include the following elements: • Applicant’s institutional affiliation and contact information, including email• Abstract of at least 300 words which states: An introductory statement that outlines the background and significance of the studyA short description of the basic methodology adoptedA clear indication of the major findings of the studyA concluding statement • A short Bionote of no more than 100 words The deadline for proposals is November 12th, 2017. Papers accepted will be allocated 30 minutes in the program, which includes no more than 20 minutes for presentation and 10 minutes for questions/discussion. Accommodation and travel costs: CHSS will sponsor speakers; this will include economy flight tickets, accommodation, and transportation to and from the conference only. CHSS will also apply for the speakers’ visas; however the approval is subject to the State’s regulations. If you have any questions, please feel free to contact the Conference Organizing Committee at transconf@qf.org.qa.

The journal publishes original research articles (not published or submitted elsewhere) that are not longer than 6,500 words (including references) which not only report on translation and interpreting issues involving Latvian, Lithuanian and Estonian (either represented in the respective countries or in the EU), but also involving other lesser-used languages and related contexts. For full guidelines on submissions, visit http://segments.lttb.lv/?page_id=15

Samuel Beckett’s importance for both Irish and Universal literature is unquestionable. He has actually reached the level of cultural icon in recent years. Beckett’s international recognition was established with Waiting for Godot (1953), a work originally written in French which he immediately rendered into English, a model he would repeatedly use all through the rest of his life. In fact, he translated into French most of the works he wrote in English, becoming the most important C20th bilingual writer. Bilingualism in Beckett could be said to have reached aesthetic status: when Beckett seemed to “fail again” without being able to advance any more, bilingualism offered him the possibility to progress. As a matter of fact, writing in another language seemed the only possible way to further develop for a type of literature that was self locked up. As a result of this process, by the end of his life, as Sinead Mooney points out, Beckett had created an unstable and complex canon in which, from the end of World War II onwards, a consistent difference between original and translation becomes more difficult. Beckett was conscious of the enormous importance bilingualism and self-translation had in his literary production and he is known to have helped many translators of his works, showing a keen interest in the way in which his novels and plays were translated into other languages. However, despite the international recognition provided by the 1969 Nobel Prize in Literature, unfortunately his works still remain somewhat unknown in Spain. The aim of this conference is to analyse Beckett’s presence in the Spanish cultural life during the last sixty years with special attention to the Spanish renditions of his works. Although almost all his novels, dramatic works and prose and poetic texts have been translated into Spanish, the quality of those versions greatly varies. Apart from that, many of Beckett’s emblematic texts are now out of print and others are found in very limited editions. This conference intends to provide a forum for debate about the translations of Beckett’s works into Spanish, so that the conclusions of the studies presented here may contribute to future research and reception of his works. For the International Conference “Samuel Beckett: Literature and Translation”, interdisciplinary proposals, either in Spanish, French or English, on the following topics (but not exclusively) are welcome: • Samuel Beckett and bilingualism in his works • Translations of Samuel Beckett’s works into Spanish and other peninsular languages: An analysis of particular cases and the state of the arts • Samuel Beckett’s reception in Spain • Censorship of Samuel Beckett’s works in Spain • Beckett and self-translation into English and French • Critical trends in the interpretation of Samuel Beckett’s works • Samuel Beckett’s philosophical thought • Beckett’s exploration of other artistic forms • An analysis of Samuel Beckett’s works   Proposals should be sent by e-mail to the following address: samuel_beckett@unex.es, before 30th September 2017, and should include: Title Participant’s name, institutional affiliation and e-mail address 200-300-word abstract

This special issue aims at investigating and presenting concrete examples of translation as a linguistic and cultural expedient that reveals migrant and refugee experiences as counternarratives. The objective is to demonstrate, on the one hand, how translation is involved in the production and dissemination of counter-narratives aiming at the re-telling of experiences of displacement as a result of conflict, persecution, and famine. And, on the other hand, how the migrant presence in the receiving country acts as a stimulus to the creation of an international network of filmmakers, musicians, artists and activists who are capturing and responding to individual stories of struggle and success in the migrant and refugee communities. Deadline: 15 September 2017 for submission of proposal (approximately 700 words excluding references) and short bio-bibliographical profile to: Alessandra Rizzo (University of Palermo), alessandra.rizzo@unipa.it Karen Seago (City University London), karen.Seago1@city.ac.uk Further information: http://www.unipa.it/dipartimenti/scienzeumanistiche/.content/documenti/CFPInverbis.pdf

The symposium will take place after a three-day practical workshop run by director, actor and translator Catherine Hargreaves, professor at ENSATT, France. Speakers are invited to register for the workshop in addition to the symposium if they wish (see description below). Call for Papers While the domestication of cultural references is often seen as crucial in theatre translation, pursuing efficacy in speeches is just as important: the translator needs to have an ear for the potential performance of the text and its ‘speakability’. The demands of the stage tend to cut short the ethical debates on the positioning of translation between source and target text, and justify the choice for adaptation rather than translation. Over the past decades, translators and critics have defended the need to test translations on the stage, and the cooperation between the different agents of the theatrical project – in other words, the interdependence between translation, adaptation and interpretation. Collaborative translation benefits the actor by alleviating their verbal obstacles (Johnston 2004), and the director by assisting them in the interpretation of the text, as well as its reception, favouring the clarity and credibility of the text (Peghinelli 2012). Sometimes collaborative translation also benefits the translators themselves, as it elevates their subaltern status and gives them visibility (Fernandes 2010); or benefits the source text, as it helps to retain the effects produced by the original (Zatlin 2005). This practice also benefits theatre translation as a discipline, as it can open up several avenues of research. For example, because the idiom generally aspires to embrace the target culture’s sociolect in a given time and to be as efficient as possible, studying the history of all available translations prepared for performance of a particular play could bring some insights into the evolution of language usage and the norms of theatrical efficacy. Just as the practice and the study of stage-oriented translations have entailed the emergence of theatre anthropology as an almost autonomous area of research, such historical study has the potential to open up to theatre sociolinguistics as a new subfield of the discipline. This study day may also focus on the flaws of collaborative translation, and aims to foster debate on the practice. First, collaborative translation relies heavily on the notions of ‘speakability’ and ‘performability’, which are still under-conceptualised and sometimes controversial. Second, the necessity and the legitimacy of collaborative translation and naturalistic-driven theatrical writings can legitimately be criticised. While case studies are welcome, we will favour proposals that particularly contribute to the theoretical reflection on collaborative translation. Papers should not exceed 20 minutes and suggested themes are as follows (although this list is not prescriptive):- Mechanisms and purpose of collective translation- Politics of rehearsals: power struggle and visibility of the translator- Collective translation and commercial theatre- Ethical considerations- Social sciences: sociolinguistics, historiography, anthropology, rehearsal ethnography- Defining, pursuing or rejecting ‘speakability’ Please send your abstract or any questions to cedric.ploix@st-hughs.ox.ac.uk by 15th October 2017. The committee will review the abstracts in the following week. The symposium will end with an open workshop in which speakers will be given the opportunity to join for free or to attend (knowledge of French not essential for this workshop), followed by a round table. Workshop The workshop will explore the relationship between language and acting. How can the use of different languages influence an actor's presence, develop his practical skills and sensitivities and modify meaning? What happens on stage when a same scene is played in different languages? Or in several languages at the same time? After a series of exercises, designed to reveal how the rhythm and sound of a given language carry the history and cultural background of a society, the participants (theatre practitioners and literature students) will work on performing English and French versions of the same scenes and on improvisations linked to multilingual devised theatre. Time will be spent on analyzing the different performances and figuring out together if the stage can and/or should influence the translation of a play. The authors and translators of the plays will be invited to join the workshop. The scenes will be taken from English and French contemporary plays. Knowledge of French is required to participate, but no theatre experience is required.Lunches will be provided. Registration for the workshop (11th-13th January, 10am - 4pm): £30 (£15 for students).Registration for the symposium: (13th January): £20 (£10 for students)

The chapters in this volume afford an opportunity to reconsider international connections and conflicts along with their histories and futures from the specific standpoint of translation as a dynamic activity, not a static one performed by the translator only. Although the chapters in this volume consider a wide range of languages and cultures, all circle around the following issues: Translation as re-narration Translation as cultural re-presentation Translation and knowledge re-production Translation and identity The ethics of translation (De)globalizing cultures through translation   The proposed publication is collating proposals and papers that aim to achieve the following objectives: To provide a comprehensive, state of the art account of the complex field of translation studies with a focus on cultural representation. To highlight the main frames (be they characterization frames, interpretive frames, identity frames, etc.) in addition to the the non-verbal factors which play a fundamental role in forming the final shape of the product. To shed some light on the actual act of translating in which ‘self’ is well-presented and beautified and ‘other’ is deformed and made ugly. To fill the gaps left unplugged by available publications on translation as intercultural communication and cultural presentation.   Topics may include: (De)globalizing cultures through the nexus of translation Intercultural aspects of idiomatic expression Master discourse of translation Discourse and translation Cultural representation through translation Remapping realities through translation Literary translation versus literary trans-creation Translation and identity Politics of translation studies and professional translation The sound and image of power Translation as re-narration Strategies and constraints of translating culture-specific terms/expressions Audiovisual manipulations Translation traffic from weak cultures Domesticating selfness versus foreignizing otherness The ethics of translation   Contributions to this volume, which is scheduled to appear in October 2018, should be submitted by e-mail to: Victoria Carruthers: victoria.carruthers@cambridgescholars.com Dr Ali Almanna: a_abid12@yahoo.co.uk Dr Juan Juan José Martínez Sierra: juan.j.martinez@uv.es   Documents should be between 5,000-10,000 words and submitted as a Word document, formatted in Times New Roman with font size 12 and 1.5 spacing. If you experience any difficulty submitting your abstract, please send an email to admin@cambridgescholars.com   Key dates Submission of Abstracts: End of November 2017 Notification of Decisions: End of December 2017 Deadline for Chapters: End of April 2018 Reviews from External Reviewers and Editors: End of June 2018 Deadline for Revised Chapters: End of August 2018 Publication Date: October 2018   Further information: https://cambridgescholarsblog.wordpress.com/2017/07/28/call-for-papers-reframing-realities-through-translation/   For enquiries, style sheet, and suggestions or comments, please contact: Dr Ali Almanna: a_abid12@yahoo.co.uk or Dr Juan Juan José Martínez Sierra: juan.j.martinez@uv.es

MANUSYA: Journal of Humanities is a peer-reviewed journal sponsored by Chulalongkorn University. The main objective is to provide an intellectual platform for lecturers, graduate students and researchers in the field of humanities to publish their research articles. The journal publishes papers on various issues in the humanities within the disciplines of history, philosophy, language, information studies, literature, music, dance, dramatic art, visual art, creative art, architecture, environmental design and applied art. For further details and to submit an article, please visit http://www.manusya.journals.chula.ac.th/index.php

Scholars of the Cultural Cold War continue to explore cultural production and reception, ranging from high culture to everyday experiences, exploring the role and politics of print, propaganda, and culture mainly in the US and Europe (e.g. Hixson 1997; Berghahn 2001; Barnhisel and Turner 2010; Barnhisel 2014). Cultural interactions across the Iron Curtain divide have also been explored (Romijn et. al. 2012; Vowinckel et.al. 2012; Mikkonen and Koivunen 2015). Yet these studies rarely take into account the field of translation and its significance for determining how ideas and intellectual output actually enters another culture. Much of this research to date has concentrated on East-West exchanges and the relevance of (often covert) translation for the dissemination of ideas to bypass censorship (Finn and Couvée 2014). The various roles performed by translators, editors, and publishers during the Cold War were therefore crucial, both for disseminating the cultural and intellectual output of the colonial powers and superpowers, and (from a more positive and as yet less acknowledged perspective) for the development of indigenous publishing in the non-aligned countries, i.e. those which were indirectly implicated in the Cold War (Rubin 2014; Scott-Smith and Lerg 2017). Scholars of Translation Studies have also explored the politics and ideology of translation (Calzada Perez 2002; Merkel 2010), but they have largely focused on censorship and its strong, rather subversive impact on the field of cultural production in the former Eastern bloc, Spain, Italy, and Portugal, among others (TTR 2002; Billiania 2007; Ní Chuilleanáin et al. 2009). The field has hardly explored the role and impact of the Cultural Cold War on the professionalization of translation, the development of a publishing industry in the developing countries, or the formation / transformation of the broader field of cultural production in each context. There is an opportunity to combine the interests of the Cultural Cold War and Translation Studies in order to investigate in more detail the theory and practice of translation for cultural/intellectual dissemination beyond the transatlantic region. On the one hand, scholarship on the Cultural Cold War can bring important insights on the cultural diplomacies of the Western and Eastern powers, and how translation was recognized as an essential part of the ‘science’ of propaganda and cultural relations. On the other hand, Translation Studies’ sustained interest in the sociology of translation, and in particular, the “agent-grounded research” path (Buzelin 2010: 8; Milton and Bandia 2009) can offer new perspectives on the worldview and cultural assumptions and practices of actors in the Cultural Cold War. By using Bourdieu’s Field of Cultural Production as the basic framework for analyzing cultural transfer through translation, this special issue will collect a set of studies that emphasize the cross-cultural importance of translation for the global spread of ideas and cultural values during the Cold War. Deadline for submissions: 1 January 2018   For full details, visit http://www.atisa.org/call-for-papers-coldwar

In recent years, the field of translation studies has come to focus not only on the outcomes and applications of traditional academic research, but also, increasingly, on project-based “action research”, in which academics, professionals working in the field, and representatives of the language industry all play an active role. At the same time, projects focused specifically on the role and use of corpora in translator training and professional translation practice (corpus-based translation studies) have come to supplement traditional corpus linguistics research. A similar tendency can be observed in the growing role of semantically enriched multilingual text resources in the field of digital humanities, seen, for example, in the dedicated platforms developed by the network of Maisons des Sciences de l’Homme in France. In this context, then, this one-day workshop aims to stimulate dialogue between researchers, professional translators, language industry entrepreneurs and students in translation, including from the MA in Multimedia Translation (T2M) course offered at the University of Burgundy.   This workshop aims to bring together, and build on, three main observations: corpus-based research has tended to focus on microlinguistics, including terms, collocations and recurring syntagms. The results of such research can be observed, for example, in the functioning of termbases and translation memories.professional translators have increasingly come to recognize the importance of the “macro” dimension of source texts, including macrolinguistic structures and generic markers. This dimension has long been recognised in the field of technical communication.the growing body of research on the textual architecture modelling at different levels of granularity (seen, for example, in the Text Encoding Initiative) has made it possible to compare convergent and divergent structures within multilingual corpora.   This workshop aims to stimulate discussion between professional translators, developers of CAT and MT tools, and researchers in the fields of Applied Linguistics, translation studies and information technology, around the question of how to manage generic criteria: for academics: how can research results in text linguistics be modelled?for professionals: what software solutions exist? how can new research be incorporated into these tools?for translator trainers: how can these innovations be brought to bear when training translators in the use of corpora?   Proposals are requested for one of two formats: 20-minute academic papers, to be followed by discussion time as part of a thematic panel;15-minute presentations of software solutions, whether at prototype or commercial stage. The day will end with a round table discussion whose content will be determined by the proposals received. Language industry representatives will be offered the chance to demonstrate their products during the day. Academic proposals should be written in English or French, and include a title, a 500-word abstract, 5 keywords and a short bionote. Proposals for software presentations should include a 500-word description of the tool concerned (including its purpose, functions and architecture), along with a brief presentation of the company and of the state of the project. Proposals are due by September 20th at the latest, and should be sent to laurent.gautier@ubfc.fr and will.noonan@ubfc.fr.   Further information: https://laugautier.wordpress.com/2017/05/13/rd-workshop-on-technology-in-translation/

Adaptation has long had a negative reception within the discipline of Translation Studies. It is quite normal to be confronted with negative perceptions of adaptation - long since regarded as ''the extreme limit of translation'' (Vinay and Darbelnet 1958, Vázquez-Ayora 1977, among others), a distinctive translation operation, and even an ''act of betrayal'' or ''a lack of respect'' (Bensoussan 1988) - whenever matters concerning equivalence, fidelity or primacy of the source text are raised. And this, notwithstanding calls by numerous authors for it to be considered an integral part of the translation operation (Hurtado 1990, Bastin 1990, Gambier 1992, et al.) and demands by others for it to be established as an independent field of study (Hutcheon et O’Flynn 2006, Raw 2012, Cattrysse 2014). All of which gives rise to two crucial questions. a) Is adaptation, strictly speaking, a part of the translation operation? b) Should adaptation, as a field of study, extend to adaptation-translation? a) The ubiquity of the adaptive influence in modern professional translation is undeniable, be it in advertising or in broadcasting, or in the localization of software, video games and telephony. Does this imply the existence of a translational process or approach? Adaptation practices are equally at work in literature, fiction, poetry, and theatre. Should this be seen as a denial of the Other or merely as a modern-day imperative? Is adaptation essentially ethnocentric? Where does one draw the line between adaptation and appropriation? b) Adaptation Studies is, in fact, well established today. The Adaptation Studies Association will hold its 12 th Annual Conference this September. There is a growing stream of conferences and, with every passing day, a new publication: Hutcheon and O’Flynn (2006), Sanders (2006), Raw (2012, 2013) and Cattrysse (2014), among others. From its Film Studies and Art History beginnings, Adaptation Studies has grown to span numerous other fields (Translation Studies included?). How can each enrich the other? Can adaptation be described as cultural, technological, linguistic? The transfer of a written work to film is undoubtedly a form of adaptation and, by the same token, a type of translation (Gambier 2003; Gambier 2004). Lastly, adaptation will, at times, cater to the linguistic peculiarities of a group; for example, by way of simplified literary classics targeting a youth audience or through the use of regionalisms in translated works destined for readers in a specific geographic locale. Addressing such a complex and wide-ranging subject in the context of the conference will, hopefully, signal the foundations of an interdisciplinary approach to adaptation and, concomitantly, lead to the proposal of new problematics and perspectives. Call for Papers: Suggested topics for discussion: Translation and adaptation Leaving aside book-to- film adaptations (the most typical example), how does the shift from one semiotic system to the next compare with translation? What are the points of contact and divergence between Translation Studies and Adaptation Studies? Are equivalence, loss, and compensation still of relevance today? If not, by what have they been superseded? In developing such lines of research, how should we define translation and adaptation? How does the transition from one semiotic system to another take place? An Interlinguistic Perspective Can one properly describe as ‘translations’, adaptations destined for new audiences, such as a child-targeted simplification of a beloved literary classic or legal documents written in plain language? How do such adaptations impact the culture of theirnew audiences, assuming that every language conveys a distinctive culture? An Intralinguistc Perspective Are there discernible boundaries between what is considered translation and what is termed as adaption? Do rewriting, pastiche, and parody go hand-in- glove with translation and adaptation? What about plagiarism? What are the potential ethical issues raised in such cases? Papers should not exceed 20 minutes. Your proposal (in English, French or Spanish) should include the two following documents: - A 300-word abstract in Word format, which will be included in the conference program- A completed form (below). The information you provide in the form will not be used to evaluate the quality of your proposal; rather, it will be included in the grant application that CATS will submit to the Social Sciences and Humanities Research Council of Canada (SSHRC). Please send your proposal to the organizers, Valérie Florentin and Georges L. Bastin, to the following address: act.cats2018@gmail.com by September 30, 2017. Proposals should include the following information: Surname (Family name) Affiliation country Affiliation Diplomas (please start with the most recent)4 Lines Maximum Positions recently held, as well as positions related to this event (please start with the most recent)5 Lines Maximum Recent publications as well as those related to this event (please start with the most recent)10 Lines Maximum Title and abstract (100 -150 words) Relevance of your paper to the conference (100 - 150 words)