TRANSLATOLOGIA is seeking original, previously unpublished papers to be included in the second issue of 2020. Contributors may want to focus on any creative industry in their discussion of the concepts of universal accessibility and translation issues.
UNESCO has defined the sector of the cultural and creative industries (CCI) as the field whose principal purpose is the production or reproduction, promotion and dissemination of goods, services and activities of “a cultural, artistic or heritage-related nature” (DCMS 2002; UNESCO 2017). Born in the UK, these industries rely on creativity, intellectual property and human skills and talent and span a variety of activities in at least 11 sectors: “advertising, books, gaming, architecture, music, movies, newspapers and magazines, performing arts, visual arts, radio, TV and design” (Interreg Europe 2017). Their vibrancy reflects in the growth of cities’ cultural activities, creative economy and acting environments, while, at the same time, being the engine of digital economies. CCI tend to encourage citizens’ participation and to boost cities’ attractiveness and urban development.
Drawing on theoretical frameworks from a range of academic fields (e.g. translation studies, museum studies, tourism studies, media studies), and on methodological models based on multimodality, systemic functional linguistics, and audiovisual translation, this special issue seeks to open up a collaborative and supportive space for the understanding of how and to what extent translation as an instrument of accessibility for all can mobilise and control cultural, cognitive, linguistic and political experiences. Studies on universal accessibility as an essential tool for facilitating access to knowledge have shed light on different strategies for the promotion of inclusion through translation within the CCI context (Jiménez Hurtado et al. 2012; Jiménez Hurtado & Soler Gallego 2015). Research on the quality of accessible products as well as on the classification of access services addressed to persons with sensory impairments has been conducted over the years (Díaz Cintas et al. 2007; Díaz Cintas et al. 2010; Di Giovanni & Gambier 2018; Romero Fresco 2019). Yet, there is still a need to explore the role of translation as a device which breaks social, ethnic and linguistic barriers, and to debate the concept of accessibility as a human right for all users (Greco 2016). From these perspectives, accessibility rests on the principle of universality and is based on the removal of cultural and social differences.
Against this backdrop, translation and accessibility, in tandem with new technological solutions, have rapidly gained ground in the creative industries as fundamental conduits for the transmission of information and knowledge for all. The symbiosis between the cultural creative industries and access services has been made possible thanks to audiovisual translation, which happens to be one of the fastest growing areas contributing to the dissemination of “acceptable”, “adaptable” and “available” cultural and artistic contents, both via mass media communication (i.e. broadcasting, cinema, publishing, streaming, etc.) and within public cultural contexts (i.e. museums, theatres, festivals, street art, etc.).
While proposing reflections on wider theoretical and methodological perspectives, this special issue fosters a discourse which not only advances new models of experimentation, analysis and application within the CCI sector, but which also touches on the seductiveness of multimodal productions. The ultimate aim is to evaluate the extent to which translation, as a form of accessibility that deals with phenomena of an intralingual, interlingual and intersemiotic nature, interrelates with CCI.
How can translation, as an instrument of accessibility for all, contribute to the spread of knowledge addressed to audiences with sensory impairments (i.e. the blind and partially sighted people, and the deaf and hard of hearing people), but also to a wider public made of adults, children, men and women, who may be interested in the transmission of cultural contents through the support of specific technological triggers?
Deadline for submissions: 20 September 2020
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