Calls for papers

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)

In the history of children’s literature, Heinrich Hoffmann’s controversial classic Der Struwwelpeter (1845) marks the transition to the modern type of writing for children – a vivid and dramatic picture book with the child protagonist centre stage. The stunning success of the book led to numerous translations and spin-offs across the globe, and the conference will take place on the occasion of the 160th anniversary of the first publication of Struwwelpeter in Polish. Special focus is thus on the journey of this children’s classic across various languages, historical epochs and translational cultures. We will also take this anniversary as a starting point to consider how such issues as morals, nonsense, grotesque, humour and the macabre – all part of Hoffmann’s Struwwelpeter – have been tackled in translations for children. Apparently universal, on closer inspection these issues prove to be culture specific categories. Likewise, their treatment in translation is dependent on a variety of factors, many of which result from culturally engrained concepts of writing and translating for children and the notion of appropriateness. As the concept of literature for children has changed, so have the ways in which mediators, from translators to critics, approach their work. Earlier translators tended to take considerable liberties when rendering texts for children, for example, toning down or, on the contrary, exaggerating the moralizing zeal of the original, or censoring the elements considered unsuitable for children such as cruelty and the macabre. Adaptations rather than translations for children were widespread and more readily accepted than today. We are interested not only in investigating renditions of textual production for children, but also in other material such as films and games created with the child recipient in mind. Translation is understood broadly, and thus includes such specific types as literary translation, audiovisual translation, localization and media accessibility. As the conference focuses on translation for children, we invite both practitioners (authors, publishers, translators) and scholars working in translation studies, children’s literature studies, book history, pedagogy and other related disciplines that can provide promising lines of research. We welcome proposals that work with a variety of methodologies, from established text analysis to empirical research and data-driven approaches (digital humanities). Conference languages are English and Polish. Conference publication (peer-reviewed) is planned.   Conference topics include, but are not limited to, the following: Translation for children - the role and function of morals in source texts and their translations - the aesthetics of horror and the macabre, black humour and nonsense from a historical and contemporary perspective - the concept of the child (reader) from the perspective of translators, publishers, illustrators - cultural traditions - the evolution of translational norms - translation and censorship - ideological shifts in translation - new genres and media in translation - double address and its implications for translation - translation for children in a (post)global world - new technologies and translation for children - methodological challenges in investigating translation for children - the professionalization of translation for children   Der Struwwelpeter and struwwelpetriades - local and national traditions in translations and adaptations of Struwwelpeter - the position and role of Struwwelpeter in various literary polysystems - the role of mediators: translators, publishers, illustrators, critics - intersemiotic and intermedial translation: adaptations for other media, e.g. digital picture books, stage, film, games, comics - the influence of Struwwelpeter translations and adaptations on the reception of the book - Struwwelpeter as an example of crossover - translator attribution in early foreign-language editions of Struwwelpeter - Struwwelpeter in popular culture   Translation didactics - children’s literature and other “children’s genres” in the translation classroom - the place of children’s literature in translator training curricula - audiovisual translation for children - the child (recipient) in the context of the professionalization of translator training - gamification and translation teaching   Conference topics will fall into three major themes: - translation practice - theoretical paradigms and methods in investigating translation for children (“Children’s Literature Translation Studies”) - teaching methodology and translator education   CONTACT: childrenmacabre2018@gmail.com For more information and registration see: www.childrenmacabre.up.krakow.pl Important dates: Deadline for submission of abstracts: October 30, 2017 Notification of acceptance: January 15, 2018 Deadline for registration: March 15, 2018

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 translationTerminological issues in legal and institutional translationThe use of corpora and computer tools for legal and institutional translation practice and researchSociological and ethical issues in legal and institutional translationDevelopments and implications of institutional translation policiesThematic specialisation in institutional translation (technical, scientific, financial, etc.)Translation quality control, quality assurance and management practices in institutional settingsCourt translation and interpretingLegal and institutional translator training We welcome proposals for individual or collective contributions on the conference topics in English, French, German, Italian or Spanish in either of two formats: papers (for 20-minute presentations) or posters (of a maximum size of 100 x 120 cm). 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. The deadline for the submission of all proposals is 10 November 2017. The online submission process will open in October. Further information on it will be circulated in September 2017 through the Transius Centre’s website, newsletter and Twitter account. A maximum of two proposals may be submitted per author. It will be assumed that the language of the abstract will be the language of the presentation.   IMPORTANT DATES Deadline for the submission of abstracts: 10 November 2017Notification of acceptance: 20 December 2017Early registration: 15 November 2017 – 15 January 2018Standard registration: 16 January 2018 – 31 March 2018Late registration: 1 April – 31 May 2018Conference dates: 18-20 June 2018   REGISTRATION AND PRACTICAL INFORMATION The registration process and other practical information will be available from September 2017. Students and staff from UCG (IAMLADP) universities and institutions will be exempt from participation fees. Members of ASTTI, ASTJ, AITC, AIIC, DÜV and Jus Lingua will be entitled to a special registration fee. More information: transius@unige.ch. Website: http://transius.unige.ch/en/conferences-and-seminars/tc18/

In the words of Salman Rushdie, (im)migrants who have been borne across the world are translated (wo)men. Through the process of translation, i.e. transculturalism, they come from one culture and enter another one, while during the process something can get lost, but something can also be gained. The special issue of the interdisciplinary translation and cultural studies journal TranscUlturAl, “Lost and found in transcultural and interlinguistic translation,” will explore what can be lost and found in the process of cultural and linguistic translation, or transculturalism and interlingualism. Canada is a country of colonization and (im)migration, of settlers and newcomers who have been borne across, and who have (had) to deal with the various challenges that arise from the move from one culture to another, from one sociolinguistic system to another, and of Indigenous groups who have been subjected to the arrival of colonizing settlers and immigrants, and who have been subsequently faced with the challenges of forced “transculturation” into the immigrant cultures and languages. While the latter Indigenous groups have benefited little, if at all, from transculturalism, many, if not most, settlers and immigrants have gained from their transcultural and interlinguistic experience. In fact, it is the potential for gain that motivates them to take the often difficult decision to be borne across. Clearly then these forms of translation are double-edged swords. Articles on gainful, productive or successful transcultural (cultural translation) and interlinguistic (linguistic translation) experiences of Indigenous peoples, settlers and (im)migrants as possible models will be welcome, in addition to research on failed attempts at transcultural and interlinguistic translation, notably on the impact of immigration on Indigenous populations. We are seeking a broad range of disciplinary perspectives: Indigenous studies, linguistics, literature, political science, sociology, translation studies, for example, as well as a broad range of ethnic (for example, Armenians, First Nations, Jews, German-speaking Transylvanians) and geographical perspectives (Brazil, Canada, European countries, the United States, among others, to open up possibilities for comparative analyses). Possible topis include, but are not limited to: • Canada’s First Nations and Inuit peoples, and transcultural and interlinguistic translation• Canada’s (im)migrant populations, transcultural and interlinguistic translation• Other countries or regions built on (im)migration and issues of transcultural and interlinguistic translation: Australia, Europe, Saudi Arabia, Latin America, the United States• Displaced persons (emigrants, (im)migrants and refugees), and transcultural and interlinguistic translation: e.g., Armenians, Jews, German-speaking Transylvanians (e.g., Banat Schwaben and Saxons)• Feeling “at home,” Heimat and identity Please send your 250-word proposal and a short biobibliography (maximum 1 page), in English or French, to Gillian.lane-mercier@mcgill.ca, Michel.mallet@umoncton.ca, and denise.merkle@umoncton.ca by 1 September 2017. The deadline for submitting your 6000 to 8000-word article is 31 December 2017. Evaluator reports will be sent to authors by the end of March 2018. Further details: https://journals.library.ualberta.ca/tc/index.php/TC/announcement/view/342

CFP: InVerbis Special Issue (2018) TRANSLATING THE MARGIN: LOST VOICES IN THE AESTHETIC DISCOURSEGuest Editors: Alessandra Rizzo (University of Palermo) and Karen Seago (City, University of London) Copy-editor: Maila Enea (University of Roehampton) With extensive work mobility, mass migration and globalisation, translation and interpretation in cultural institutions, digital contexts and open public spaces have assumed a pivotal role in the negotiation of a wide range of lingua-cultural transactions across a variety of media, genres and platforms. Cultural and linguistic fluidity has encouraged the growth of scenarios of multilingual and multicultural encounters, where translating and languaging practices in facilitating communication across cultures and languages have become central but they too often still occupy marginal positions. This is particularly the case when we go beyond the purely linguistic role of translation and we look at it as a communicative bridging device or a highly culturally- and linguistically-specific form of knowledge translation. 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. Migration and change are indissolubly linked, not only for the migrant but also at the point of arrival, generating changing contexts, the reshaping of cultural landscapes and artistic contacts in the visual and performing arts. Artistic interventions such as installations, museum exhibitions, video art, documentaries and theatrical performances engage and interrogate the experience and impact of migration. Maya Ramsay’s art exhibition Countless, Porto M in Lampedusa, Yasmin Fedda’s documentary Queens of Syria, Sue Clayton’s documentaries Hamedullah. The Road home and Calais children: A case to answer, Kevin McElvaney’s #RefugeeCamerasproject, Gabriele Del Grande et al.’s On the Bride’s Side, Francesco Rosi’s Fire at Sea, to list but a few, articulate counter-narratives to the dominant image of “the Migrant” constructed in the media. Most of these stories are narrated through the arts, including ink jet prints, sewn works of text on canvas (e.g. Odisseo Arriving Alone), multichannel sound installation of conversations (e.g. Nel Mezzo del Mezzo, Arte Contemporanea nel Mediterraneo), moments shared, and stories retold through English translations and interpretations (e.g. individual and collective experiences in refugee camps and centres in Calais, Lampedusa, Idomeni). In these environments of marginality and diversity, translation emerges as a force in the mediation of counter-narratives and extends its massive potential for intervention in the aesthetic andcultural fields to the political sphere. Translation as the practice of language and culture transfer interprets migrant stories, renders labels and panels in migrant museums and art exhibitions, and subtitles the voice of migrants in documentaries and videos, where lost voices can speak from the edge, gain visibility and become “subjects of power”. The aim of this volume is to shed light on the role of translation in the depiction of the margin from a metaphorical viewpoint, but also from a practical perspective, in order to point out how marginal realities shift from liminal spaces into niche places of arrival. Contributions are invited to rethink translation as a form of interpretation, adaptation, de- and re-contextualization, transcreation and recreation of popular and artistic genres that give voice to underrepresented languages and cultures. The principal areas of interest include, but are not limited to, the following topics: -Aesthetic forms in contexts of crisis (past and present) -Marginality and liminality, urban spaces, centres -Creative cultural industries vs. media discourse -Films, documentaries, TV programmes, web blogs, video art -Museum texts, installations, exhibitions -Popular genre-specific translation strategies and constraints -Translation as re-narration, re-creation, re-voicing -Translation as a social activity, difference and power - Translating regionalised voices, dialects, minority languages -Fansubbing, amateur translation, abusive translation, activism, creative subtitling -Prosumer, self-mediated translation vs. mass-mediated translation -Visual and verbal diversity in language variables -Linguistic and cultural issues in the interpretation of art texts. Deadlines15 September 2017 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.uk30 September 2017 Notification of accepted / rejected proposals1 December 2017 Submission of article to guest editors2 March 2018 Feedback from peer review to authors/revision31 March 2018 Submission of revised articles to guest editorsFinal acceptance of articles is subject to double blind peer-review process.June 2018 Publication

In recent years, ‘translation’ has become an increasingly widely used metaphor within and across disciplines to describe, broadly, the processes by which knowledge is generated, shared and applied. At the same time, ‘collaboration’ has emerged as a buzzword in translation circles. Discussions of the latter frequently centre on recent technological advances and the expanded potential for collaborative translation they afford. Indeed, collaborative translation is key, both conceptually and as a practice, in, for example, localization or audiovisual translation. Similarly, crowdsourced translation projects of popular fiction titles and online fansubbing projects are translation phenomena that directly depend on modern technology for their collaborative translation efforts (cf. Howe 2006; O’Hagen 2009; O’Brian and Schäler 2010; Massidda 2015; Jiménez-Crespo 2017). These relatively new phenomena, which are closely linked to the advent of Web 2.0 and frequently involve amateur translators working together while renouncing part of their individual interests and claims to ownership of the resulting translation, not only shed new light on questions of authorship and agency in translation (cf. Jansen and Wegener 2013) but also raise fresh issues of translation quality and translational ethics in particular. However, translation as a collaborative effort involving a myriad of both human and textual stakeholders is not a recent, let alone new phenomenon and can be traced far back into the history of translation (cf., for example, Bistué 2017). What is more, it can and indeed has been argued that all translation is, by definition, an intrinsically collaborative endeavour (Cordingley and Frigau Manning 2017). Are there, however, also arguments to be advanced in favour of a conception of collaboration as intrinsically translational? And why do they matter? Scholars from disciplines with a stake in collaborative processes, such as Carlile (2004) or Schwimmer (2017), are increasingly utilising translational thinking to interrogate received notions of collaboration, and they are turning to translational models to advance theorisations of co-creative knowledge generation and decision-making processes that, in turn, may also prove capable of enriching and indeed enlarging Translation Studies’ own master concept. In spite of recent attempts, such as Gambier and van Doorslaer (2016), to chart the intersections of translation with the concerns of academic fields as diverse as biosemiotics, cognitive neuroscience, sociology, gender studies, and military history, or Blumczynski’s (2016) perceptive exploration of the increasing ubiquity of the translation concept in other disciplines, a systematic transdisciplinary dialogue and, crucially, proper transdisciplinary collaborations between Translation Studies and other disciplines continue to prove an elusive goal. Further efforts on the part of Translation Studies are certainly needed to bring concrete insights from the study of interlingual translation to bear on uses of the translation category in other disciplines (cf. Zwischenberger, in press) so as to develop, as Bachmann-Medick (2009, 4) puts it, “new research approaches [that] begin to elaborate a more sophisticated and detailed translation perspective in methodological and analytical terms” rather than “stubbornly stick to the path of purely metaphorical uses of the translation concept.” Even more importantly, however, we argue that such new research approaches also crucially depend on Translation Studies paying closer critical attention to, and developing a more acute transdisciplinary awareness of, the translational dimension inherent in the concept of collaboration itself. This proposed special issue posits the blended concept of ‘translaboration’ as an experimental category and “generic space” (Fauconnier and Turner 1998) in which translation and collaboration can be brought into open conceptual play with one another. ‘Translaboration,’ originally coined by a group of transdisciplinary researchers at the University of Westminster, London, in 2015 (cf. Alfer 2015, Alfer, in press), allows scholars both within and outside of Translation Studies to explore, articulate, and put to the test connections, comparisons, and contact zones between translation and collaboration, and to reveal the potential inherent in aligning these two notions in both theory and practice. As a new investigative space, the ‘translab’ thus functions as a transdisciplinary site where a number of core components of (col)laboration, of which process, structure, purpose, interpersonal communication and trust are among the most salient (Gray 1989; Wood and Gray 1991), can not only be shown to have a bearing on our conceptualisations of translation but also reveal themselves as inherently translational. This special issue is based on the successful one-day workshop organised by the Translab group from the University of Westminster in September 2016 and will explore the concept of translaboration both from within the discipline of Translation Studies and from outside of it. We welcome proposals for conceptual papers as well as case studies and empirical research contributions that address some of the following questions or aspects of translaboration (though please note that this is not intended as an exhaustive list of possible topics): Translation as collaboration o How can translation be considered, conceptualised, and described as a collaborative activity? o What role do new technologies play in both facilitating and potentially hampering collaborative translation processes and what is their impact on power differentials and questions of ownership of translational processes? o What impact do intermediaries, contractual constraints, and/or highly regulated work processes have on translation as a collaborative practice? o What questions do collaborative translation practices raise in relation to translation quality and/or translational ethics? Collaboration as translation o How can collaboration be considered, conceptualised, and described as a translational activity? o What is the role of language(s) in the creation and structuration of collaborative communities of practice? o How can core components of collaboration, such as process, structure, purpose, interpersonal communication and trust, be shown to have a bearing on both the concept and the practices of interlingual translation? o How can concepts and practices of interlingual translation enrich (our understanding of) collaborative knowledge-generation, knowledge-transfer, and/or decision-making processes? Translaboration as a mode(l) of inter-/transdisciplinary research o What kinds of collaborations are or should be taking place between Translation Studies and other disciplines or fields of research, and what conceptual coordinates are necessary to bring such collaborations to fruition? o How can the investigative category of ‘translaboration’ contribute to lifting applications of the ‘translation’ concept in other disciplines beyond a merely metaphorical plane? o How can a translaborative framework articulate a more systematic and active acknowledgement of the history of Translation Studies’ own many intersections with other disciplines?   To propose a paper, please send your abstract (700-800 words excluding references) to both editors of the Special Issue: Alexa Alfer (A.Alfer01@westminster.ac.uk) and Cornelia Zwischenberger (cornelia.zwischenberger@univie.ac.at)   Deadline for proposals: 30 November 2017 All contributors will be notified of the outcome of their submissions by 31 January 2018. All accepted contributors will receive further instructions and information with their notification of acceptance. All accepted contributions will be double blind peer-reviewed. Publication schedule: 31 August 2018 Submission of full paper September 2018 - February 2019 Double-blind peer review process and subsequent revisions 31 May 2019 Submission of final versions of papers to guest editors 31 July 2019 Submission of full manuscript and accompanying documentation to permanent editors 2020 Publication   Full call for papers: https://www.benjamins.com/series/target/cfp_target_32.pdf