Call for papers
CDDC 17-18/2022
INTERSEMIOTICITY, INTERGENERICITY, INTERMEDIALITY:
FROM TRANSLATION TO DRAMATISATION, ADAPTATION, PERFORMANCE
Roman Jakobson’s On Linguistic Aspects of Translation (1959) is still a much quoted
(re)source, above all for having introduced the concept of intersemioticity or transmutation
as “the interpretation of verbal signs by means of
signs of non-verbal sign systems”. For the 17thand 18th
issues of Concordia Discors vs.
Discordia Concors, we propose a reflection on translation and adaptation as
a passage, not only from verbal to non-verbal, but also from a genre to
another, and also from a medium to another.
Whether we see intersemioticity, along with Aba-Carina
Pârlog (2019) as a prism, or we consider it a metamorphosis or mutation, it is
always reinvention, extension, addition, and not a simple repetition of an “original”
text. Umberto Eco (2003) argues that intersemiotic translations or
transmutations (in Jakobsonian terms) are nothing but adaptations, as they
reshape previous texts due to their tendency to ‘say too much.’ Much like
translations, adaptations are usually judged in terms of their fidelity to a
prototext, even if a change of medium is involved. In keeping with the
so-called archontic literature, which
posits that texts based upon or referring to other texts are never simply
derivative or subordinate, they do not retell or repeat a story; they rather
build an archive that expands the textual world.
Intergenericity
explores the translation potential of generic interactions and
influences. Considering genre from a
linguistic perspective, as a text type, spoken or written, but also, from a
social perspective, as an “activity type” (Fairclough, 1992) closely connected
with the subject positions that are socially determined, we focus on the
relationship between authorial and
lectorial genericity. In the latter part of
the 19th century and the former of the 20th, novelists
used to “dramatise” their fiction, either in
order to protect it against unauthorised dramatisation or for much more
than reasons of copyright (see Henry James’ Daisy Miller, Thomas Hardy’s Tess of the D’Urbervilles, Joseph
Conrad’s The Secret Agent, or J. M. Barrie with his books featuring Peter Pan).
The process of self-adaptation
is, as shown by Richard James Hand (1996), illuminating because it reveals much
about the way these novelists saw their fiction as well as the broader
perception of their culture.
Due to the fact that Jakobson’s concept
of intersemiotic translation is limiting, as the source medium is traditionally
a written text, intermediality came to define various interactions among media,
dissociating the translation from its strictly linguistic meaning (Shober,
2010). According to Lars Elleström (2010), every medium is constituted of four
necessary conditions or basic modalities: material, sensorial, spatiotemporal
and semiotic, in such a way that even the apparently monomodal text is, in
fact, multimodal. Consequently, as intermediality is “the result
of constructed media borders being trespassed,’’ various signs may be part of
various systems at the same time without losing
their stability. We understand, therefore, intermedial translation both as the
adaptation and transmission of a literary work through another medium, and as interactions
among other different media, such as, for instance, Amy Lowell’s poetic
translation of Stravinsky’s music (Shober), or Marie Chouinard’s
choreographical translation of Hieronymus
Bosch’s painting The Garden of Earthly Delights (Montesi,
2021).
As Martha Dvořák (2012) claims, “text in the original etymological sense of textus (surface, material, base) signifying
the concrete bottom or supporting part has mutated – mutated to an immaterial mental
state, but also to other forms of material, other cultural media, transforming
intertextuality to intergenericity, intersemioticity, or rather,
intermediality”.
We kindly
invite subsmissions in English, French,
German, Italian or Spanish for the 17th and 18th issues of
the peer-reviewed academic journal Concordia Discors vs. Discordia Concors: Researches into
Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation
Strategies (http://condisdiscon.blogspot.com/2021) on one of the following subtopics (but not only):
§ musicalisation
of literature
§ ekphrasis
§ from
picaresque to picturesque
§ from
the book to the screen
§ from
the book to the stage
§ digital
art
§ movement
as translation
§ from
stage/screen to page; text as anchorage
§ the socio-cultural
meaning of the material expression of
signs; substances/surfaces of production (ink, gold, paint, etc./paper, canvas,
wood, etc.)
§ intermediality
and interartiality
§ adaptation
as reverence or subversion towards source texts
§ intermediality
in graphic novels
§ intersemiotic
translation and the burden of historical and cultural context
A special
section will be dedicated to interviews, reviews of publications, as well as
research progress reports in adjacent thematic areas.
Interviews and reviews of recent
books / plays / films / musical performances / art exhibitions are also
accepted, which need not relate to the topic at issue.
Contributions in
extenso should be sent no later than September 1st 2022 to the mail addresses indicated under CONTACTS.
Abstracts:
§
should be submitted in English
and not exceed 150 words
§
should include 5 keywords,
as well a short bionote in English
(indicating author’s name, affiliation, academic / research areas of interst,
email)
§
should indicate the section
preferred (Comparative Literature, Constrastive Linguistics, Cross-Cultural
Strategies, Translation Strategies, Cross-Artistic Approaches, Reviews and
Presentations)
CONTACTS
Daniela Hăisan: danielahaisan@litere.usv.ro
Raluca
Balaţchi: raluca.balatchi@usm. ro
Daniela-Maria
Marţole: danielamartole@yahoo.com
REFERENCES
Byden, Diana; Martha Dvořák, eds., 2012, Crosstalk:
Canadian and Global Imaginaries in Dialogue, Wilfred Laurier University
Press
Brower, Reuben Arthur, ed., 1959, On
translation, Harvard Studies in Comparative Literature, vol. 23, Harvard
University Press
Dvořák,
Martha, 2012, “Rejoinders in a Planetary Dialogue”, in Diana Byden
and Martha Dvořák, eds., Crosstalk:
Canadian and Global Imaginaries in Dialogue, Wilfred Laurier University
Press, pp. 111-134
Eco, Umberto, 2003, Mouse or Rat. Translation
as negotiation, London: Orion Publishing Group
Elleström, Lars, ed., 2010, Media Borders.
Multimodality and Intermediality, London, Palgrave, Macmillan
Fairclough, Norman, 1992, Discourse and social
Change, Cambridge: Polity Press
Hand, Richard James, 1996, Self-adaptation:
The Stage Dramatisation of Fiction by Novelists, PhD thesis, http://theses.gla.ac.uk/1912/
Jakobson, Roman, 1959, “On
Linguistic Aspects of Translation”, in Brower, Reuben Arthur (ed), On
translation, Harvard University Press, pp. 232-240
Montesi, Vanessa, 1921, “Translating
Paintings into Dance: Marie Chouinard’s The Garden of Earthly Delights and the
Challenges posed to a Verbal-based Concept of Translation”, in The Journal of Specialised Translation,
35, pp. 166-185
Pârlog, Aba-Carina, 2019, Intersemiotic
Translation: Linguistic and literary Multimodality, Springer International
Publishing; Palgrave Pivot
Shober, Regina, 2010, “Translating Sounds:
Intermedial Exchanges in Amy Lowell’s Stravinsky’s
Three Pieces ‘Grotesque’ for String Quartet”, in Lars Elleström (ed) 2010, Media
Borders, Multimodality and Intermediality, London, Palgrave Macmillan, pp.
163- 175
Call for papers
CDDC 15-16/2021
Semanticity, Alterity, Creativity:
Building on Eugenio Coseriu’s Legacy
Eugenio Coseriu (1921-2002) emerged in full force on the international scene in 1958 with a
work that was to set the blueprint for the purport and overarching themes of his
life-long scientific endeavors: Sincronía,
diacronía e historia. El problema del cambio lingüístico. Katsuhiko Tanaka, one of the co-translators of the
first Japanese edition and himself a reputed linguist, notes in his explanatory
study: this book is not to be viewed as book in/of linguistics, but rather as “an
efficient weapon that enables one to deepen one’s own reflection on the
fundamental issues of man, language, society and culture” (1981). Tanaka and the other co-translator, Takashi Kamei, first proponent of the idea that Coseriu needs to be
considered “a linguist for the 21st century”, converge
in assessing the Coserian paradigm as a
theoretical outlook truly
ahead of its time, whose genuine
reception and full
development can only be effected under the aegis of a future century.
Coseriu’s project of an “integral linguistics”
embraces the systematic study of all the forms and aspects of language as a
cultural activity, i.e. as a free, purpose-oriented, infinite activity of
meaning creation on a dimension of alterity – creation for and with the other –,
as epitomized in what Coseriu defined as the three “primary essential
universals of language”: semanticity, alterity, creativity. Coseriu’s work lays out the map of a vast territory to be explored: a
grand design where the universal level of speaking in general, the historical
level of particular languages and the individual level of discourse are all
included in a coherent conceptual construction. The dynamic diversity reflected
in language varieties, the role of contexts and of all the circumstances of
speech in the production and interpretation of meaning, the emphasis on taking
poetic (literary) discourse as a privileged object for linguistic inquiry – since
it is in it that all the sense-generating potentialities of language can be
found in their full actualization – , these are just a few of the perspectives
that place Coseriu at odds with some of his contemporary (20th-century)
mainstream linguistic paradigms, and delineate a new path, whose success – or
failure – is to be decided in the decades to come.
In the year 2021, which marks the centenary of
Eugenio Coseriu’s birth, the InterLitteras
Research Centre of Ștefan cel Mare
University (Suceava, Romania) kindly
invites submissions in English, French,
German, Italian and Spanish for
issues no. 15 and 16 of the peer-reviewed academic journal „Concordia
Discors vs Discordia Concors:
Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural
and Translation Strategies” ( http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html ) dedicated to exploring Coseriu’s legacy for the
development of language studies in the 21st-century, and to reappraising his
life-long endeavors towards a systematic conceptual reconstruction of humane
sciences in general. In keeping with the journal’s profile, contributions adopting comparative
and contrastive perspectives, and aimed at unraveling the interplay of
language(s), discourse and culture are warmly welcomed.
The
following open list of thematic
areas and questions is offered for reflection and debate, in the spirit of
anti-dogmatism that constituted Coseriu’s own guiding principle throughout his
scholarly life:
- The philosophical foundations of
Coseriu’s “integral linguistics”, with a view to addressing a broader and more
radical question: Does linguistics (still) need philosophical foundations in
the 21st century?
- Critical confrontations with competing (and arguably more successful - in
a hypothetical box-office ranking of institutional endorsement -) theoretical
trends from 20th century linguistics
- Phenomena pertaining to the reception of Coseriu’s work in diverse
linguistic-cultural spaces and periods of time (ranging between poles of
acceptance / rejection, in-depth comprehension / partialization, creative
development / servile imitation)
- The topicality of Coseriu’s theoretical and methodological outlook for the
contrastive study of languages and texts
- The challenges of building the “text linguistics as a hermeneutics of
textual sense” envisaged by Coseriu, and delineating its interfaces with other
disciplines of textuality and discourse (such as stylistics, poetics,
semiotics, discourse analysis, text pragmatics)
-
Possibilities
and limitations of integral text linguistics as a framework for studying poetic
(literary) texts
- Coseriu’s contributions to translation theory
and practice, in particular his methodological dissociation between “rational”
vs “empirical” limitations of translation.
A special
section will be dedicated to interviews,
reviews of publications and presentations of projects related to Coseriu’s work and life, as well as research progress reports in adjacent thematic areas.
Interviews and reviews
of recent books / plays / films /musical
performances / art exhibitions are also accepted, which need not relate to the topic at
issue.
Deadlines:
Submission of abstract: March 31st, 2021
(via e-mail, to the addresses indicated under Contacts)
Notification of acceptance: April 15th, 2021
Submission of contribution in
extenso: July 15th, 2021
(via e-mail, to the addresses indicated under Contacts)
Abstracts:
¨ should be submitted
in English and not exceed 150 words
¨ should include 5 keywords as well as a short Bionote,
also in English (indicating author’s/s’ name,
affiliation,
academic/research areas of interest, etc), and e-mail
address(es)
¨ should indicate section preferred (Comparative
Literature; Contrastive Linguistics; Cross-Cultural
Strategies; Translation Strategies; Cross-Artistic Approaches;
Reviews and presentations) and language
of submitted manuscript (English, French, German, Italian or Spanish).
Both Abstracts and
Contributions in extenso should be
sent no later than the dates specified above to the
mail addresses indicated under CONTACTS
Guest editor of the issues: Emma Tămâianu-Morita (Kindai
University, Japan)
Editor-in-chief:
Gina Măciucă (Stefan cel Mare University, Romania)
CONTACTS
Gina Maciuca: ginamaciuca@litere.usv.ro
Lavinia Ienceanu: lavinia.ienceanu@yahoo.es
CONCORDIA 13-14
Call for papers CDDC 13-14
When 'not
bad' is in
fact 'very
good': understated vs overstated reality
When our
demographically- and climatically-challenged planet is actually overcrowded and
facing extinction in a more or less distant future, whereas the eloquence of
our highfalutin politicians could split rocks as they’re in reality laying it
on a bit thick – “not to put too fine a point on it” –, comparing extremes,
contrasting stances and eventually setting a fair limit to perilous
transgressions are no small accomplishments. And who better trained to do that
than comparatists, for, as Dennis Redmond (2003) adroitly put it, “Every
Comparatist is part Swiss banker and part global justice activist, with one
foot in a deeply exploitative cultural marketplace, and the other foot in the
struggle for free and fair cultural exchange”.
That is precisely why The InterLitteras Research Centre
kindly invites submissions in English,
French, German, Italian and Spanish
for issues no 13 and 14 of the academic journal „Concordia Discors vs Discordia Concors: Researches into Comparative Literature,
Contrastive Linguistics, Cross-Cultural and Translation Strategies” ( http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html ) on topics related to understatement and
overstatement, the guiding concepts of our major focus: When ‘not bad’ is in fact ‘very good’:
understated vs overstated reality. Interviews and reviews of books/plays/films/musical performances/art
exhibitions are also accepted, which need not relate to the topic at
issue.
Contributors are
being warmly invited to add to the following open list of subtopics proposed:
- the use and abuse of overstatement in the
media
- fake news: (involuntary) adherence and
condescension
- reading and interpreting reality
in the post-truth era
- artistic representations of death:
between understatement and overstatement
- overstatement vs euphemism
- euphemism vs political correctness
-
the strategy of euphemisation
-
meiotic
ways of narrating
- ambiguity generators and extricators in
literature and linguistics
- strategies of translating litotes
- the ‘betrayed betrayer’ (el burlador
burlado)
- the non-complying complier (and the other way
round)
- fantasy-reality-purgatory
- dystopian utopia vs utopian dystopia
- Locus
amoenus vs locus
corruptus/terribilis
Deadlines:
Submission of
abstract :
March 1st, 2020
(via e-mail, to the addresses indicated under Contacts)
Notification of acceptance: March 15th, 2020
Submission of contribution in extenso:
July 1st, 2020
(via e-mail, to the addresses indicated under Contacts)
Abstracts:
¨ should be submitted in English and not exceed 150 words
¨ should include 5
keywords as well as a short Bionote, also in English
(indicating author’s/s’ name, affiliation, academic/research areas of interest, etc), and e-mail address(es)
¨ should indicate section preferred (Comparative Literature, Contrastive Linguistics,
Cross-Cultural Strategies, Translation Strategies and Cross-Artistic Approaches) and language
of submitted
manuscript (English, French,
German, Italian or Spanish).
Both
Abstracts and Contributions in extenso should be sent no later than the dates
specified above to:
CONTACTS
CONCORDIA 11,12
Call for papers CDDC 11-12
The Id of the Underworld vs the Superego of Heaven: Psychologically-Based Approaches
MOTTO
Psychoanalysis must “ conquer
the whole field of mythology….We must also take hold of biography […][and]
smuggle psychoanalysis into ethnopsychology”
(Sigmund
Freud, Letter to Ludwig Binswanger, 1913)
Founded in 2009, CONCORDIA DISCORS vs DISCORDIA CONCORS:
Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural
and Translation Strategies (CDDC)
As an added incentive, in 2019 we
will be commemorating 80 years since Sigmund Freud reluctantly succumbed in
London to his „dear neoplasm”, leaving behind, besides a priceless legacy –
psychoanalysis: hooted or derided by his opponents, and worshipped by his
disciples – , his formidable spirit, which nowadays looms larger than ever as
„one of the profoundest [...] investigators into the obscure depths of the
human souls” (cf Haverlock Ellis, The
World of Dreams, 1911).
With this conjunction of events in
mind, and since, moreover, 10 is usually the age when children set out on their
lifelong inward-looking ‚self-centered’ voyage, CDDC’s editorial team have decided to devote 2019’s issues 11 and
12 to psychology-oriented approaches to/in/on literature, language,
translation, cultural and artistic studies.
Submissions in English, French, German, Italian, Romanian and Spanish are being therefore warmly invited from fellow academics
and researchers all over the world on topics related to psychology, the guiding concept of our major focus: The Id of the Underworld vs the Superego of Heaven:
Psychologically-Based Approaches. Interviews and reviews of books/plays/films/musical
performances/art exhibitions
are also accepted, which need not relate to the topic at issue.
As regards subtopics invited, since
again, the province of psychology is as a rule taken to subsume fields as
diverse as ethnopsychology,
neurolinguistics, psychoanalysis, psychobiography, psychodrama, psychohistory, psycholinguistics, psychonomics,
psychopathology, psychophysics, a.s.f., the editors chose to refrain from
applying any ill-advised constraints by making suggestions in this respect, so
contributors can safely consider that „sky is the limit”,...provided they keep
within the bounds of literature, language and linguistics, translation, the
arts, as well as culture at large, and as long as they keep in mind Freud’s
guiding motto
Flectere si nequeo superos,
Acheronta movebo (Virgil, Aeneid VII, 312),
translated by Freud as „if I
cannot move heaven, I will stir up the underworld”.
Deadlines:
Submission of abstract : 1 November 2018
(via e-mail, to the addresses indicated under Contacts)
Notification of acceptance:
15 November 2018
Submission of contribution in extenso: 1 May 2019
(via e-mail,
to the addresses indicated under Contacts)
Abstracts:
¨
should be submitted in English and not exceed 150 words
¨
should include 5
keywords as well as a short Bionote, also in English (indicating author’s/s’
name, affiliation, academic/research areas of interest, etc), and e-mail
address(es)
¨
should indicate section preferred (Comparative Literature, Contrastive Linguistics,
Cross-Cultural Strategies, Translation Strategies and Cross-Artistic Approaches) and language of submitted manuscript (English, French, German,
Italian, Romanian or Spanish).
Both Abstracts and Contributions in extenso should be sent no later than the dates
specified above to:
CONTACTS
CONCORDIA 9,10
Call for papers
Transcending Old Boundaries into New
Territories: Comparatistic Vistas
MOTTO
The New is not a
threat to the Old; in fact it is the absence of the New which permits the
destruction of the Old. Each is the indispensable corrective upon and index of
the other.
(Dennis Redmond, 2003)
The InterLitteras Research Centre
kindly invites submissions in English,
French, German, Italian and Spanish
for issues no 9 and 10 of the academic journal „Concordia Discors vs Discordia Concors: Researches into Comparative Literature,
Contrastive Linguistics, Cross-Cultural and Translation Strategies” (http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html) on
topics related to inter- and
transdisciplinarity, the guiding concepts of our major focus: Transcending Old Boundaries into New Territories:
Comparatistic Vistas. Interviews and reviews of books/plays/films/musical performances/art
exhibitions are also accepted, which need not relate to the topic at
issue.
Contributors are being warmly
invited to add to the following open list of subtopics proposed:
-Liminal excess
-Liminal journeys
-Initiation
-Bildungsroman
-Experimental writing / literature
-Cyclicity (from old to new to old
back again)
-Old vs new in translation
(theory)
-Effacement of the boundaries of high
and low culture
-Globalisation and
boundary-effacement consequences
-Genre / culture permeability
-The permeability of language borders
Deadlines:
Submission of abstract : 1 November 2017
(via e-mail, to the
address indicated under Contacts)
Notification of acceptance: 15 November 2017
Submission of contribution in extenso: 15 January 2018
(via e-mail, to the
address indicated under Contacts)
Abstracts:
¨
should be submitted
in English and not exceed 150 words
¨
should include 5 keywords as well as a short Bionote, also in English (indicating author’s/s’ name, affiliation, academic/research areas of interest, etc), and e-mail address(es)
¨
should indicate section preferred (Comparative
Literature, Contrastive Linguistics, Cross-Cultural Strategies, Translation
Strategies and Cross-Artistic Approaches) and language of submitted
manuscript (English, French,
German, Italian or Spanish).
Both Abstracts and Contributions in extenso should be sent no later than the dates
specified above to:
CONTACTS
CONCORDIA 7,8
Call for papers
ARTS TREK. CROSS-ARTISTIC
APPROACHES
The InterLitteras Research Centre kindly invites submissions in English, French, German, Italian and Spanish for issues no 7 and 8 of the academic journal
„Concordia Discors vs Discordia
Concors: Researches into Comparative Literature, Contrastive Linguistics,
Cross-Cultural and Translation Strategies” (http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html) on topics related to inter- and transdisciplinarity, the guiding concepts of our major
focus: Arts Trek. Cross-Artistic Approaches. Interviews and reviews
of books/plays/films/musical performances/art
exhibitions are also
accepted, which need not relate to the topic at issue.
For the past six decades or so, academic education has gone through a
series of reforms that involved the replacement of traditional academic
disciplines by holistic, integrated approaches, more closely related to
pragmatic life aspects, with the shaping of a new concept, interdisciplinarity, as a natural consequence thereof. The dissolution of disciplinary interests
and constraints and the assimilation of various types of disciplinary knowledge
broadened the critical perspectives thus facilitating access to various
research fields, catalysing reactions to new stimuli and, most importantly,
inviting new types of audience. As many other notions that took shape in the
20th century to name realities, phenomena, procedures, methods and techniques -
some of which had been active ever since Antiquity - , the syncretic approach
of various fields arises from the need to unify heterogeneous elements from
different disciplines and results in the
birth of interdisciplinarity, alongside related research areas such as: transdisciplinarity, multi- and pluridisciplinarity.
The two issues set out to bring together researches from various artistic
fields which, in the spirit of Robert Frodeman's simple definition of interdisciplinarity,
choose to focus outward, away from their group of peers (Frodeman, 2014, Sustainable
Knowledge. A Theory of Interdisciplinarity, p. 36).
Viewed as dialogue between different media,
combination between textual messages and non-verbal systems, permutation that
intermingles texts and images, interpenetration, interference of languages of
art, on the one hand, and of these and verbal language, on the other hand,
artistic interdisciplinarity covers a wide range of topics that may include,
but are not restricted to, the following:
- Hypotyposes: where literature
meets painting
- Architecture and translation: the
construction of spatial meaning
- Translation and
intermediality
- Voyages, journeys and trips
in visual and non-visual arts
- Photography between science, art and
practice
- Word and image in children’s books
- Artistic creativity
and psychopathology
- Bricolage and
improvisation in contemporary art
- Heterogeneous spaces
- Autobiography vs.
self-portrait
- Literary texts on
screen: literary fiction as source, pretext or text-discourse matter
represented/interpreted/overinterpreted by audio-visual means
- Adaptation as transcultural and
transartistic/transdisciplinary phenomenon in performing arts
- The phenomenological model in arts and literature: sensory fiction, presence
effects vs meaning effects, phenomenological experiences
- The language of
drama vs the language of stage: from Shakespeare to multimedia theatre
- Films as texts,
texts as films: screenplays and the problem of words turned into images
- Plastic arts: the
way from concept to image and back
- Representations of
gender in contemporary TV fiction
- Posthumanism in TV
discourse
- Iconotexts in
printed and audio-visual advertising
- Graphic music (musical
graphics)
- Musical composition
and mathematical determinism
- Philosophy and music
(modes and systems of thought)
- Psychology and music (music therapy)
Deadline:
Submission of contribution in extenso: 15 September 2016
Contributions should also include
the following:
-
an Abstract (150 words), and 5 keywords in English;
-
a short Bionote, also in English, indicating author’s name,
affiliation, academic/research areas of interest, etc;
-
section preferred
(Cross-Artistic Approaches, Comparative Literature, Contrastive Linguistics,
Cross-Cultural and Translation Strategies) and language of submitted manuscript;
-
author’s/authors’
e-mail address(es),
and should be sent no later than
the date specified above to:
Apel la colaborare
ARTS TREK. ABORDĂRI TRANSARTISTICE
Centrul de
cercetare InterLitteras are plăcerea de a vă invita să publicați în
numerele 7 și 8 ale revistei academice ”Concordia Discors vs Discordia
Concors: Researches into Comparative Literature, Contrastive Linguistics,
Cross-Cultural and Translation Strategies” (http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html ).
Sunt acceptate lucrări în limbile engleză, franceză, germană, italiană și spaniolă pe teme legate de inter-
și transdisciplinaritate, tema volumului fiind Arts Trek. Abordări transartistice.,
precum și recenzii de carte, interviuri, cronici de film, teatru, spectacole
muzicale sau expoziții de artă.
Începând cu
a doua jumătate a secolului al XX-lea, sistemul academic a suferit o serie de
reforme care prevedeau eliminarea disciplinelor academice tradiționale în
favoarea unei abordări holiste, integrate, mai apropiate de aspectele
pragmatice ale vieții, și care au dat formă unui nou concept: interdisciplinaritatea.
Dizolvarea intereselor şi constrângerilor disciplinare şi integrarea mai
multor tipuri de cunoaştere disciplinară au fluidizat perspectivele critice,
permiţând accesul la domenii diverse, catalizând reacţii la stimuli noi şi, cel
mai important, invitând noi tipuri de audienţă/public.
Ca multe
alte noțiuni fabricate în secolul al XX-lea pentru a denumi realități,
fenomene, procedee, metode și tehnici, unele existente încă din Antichitate,
abordarea sincretică a mai multor domenii vine din necesitatea contopirii unor
elemente eterogene din diverse discipline și duce la nașterea interdisciplinarității,
alături de noțiuni proxime ca obiect de studiu, precum transdisciplinaritatea,
multi- și pluridisciplinaritatea.
Numerele noastre
îşi propun să aducă împreună cercetători din domenii diverse ale artei, care,
în spiritul definiţiei simple pe care o
dă Robert Frodeman (2014, Sustainable Knowledge. A Theory of
Interdisciplinarity) interdisciplinarităţii, aleg să-şi concentreze atenţia
în afara grupului de cercetare al disciplinei de care aparţin.
Dialog
între diferite suporturi, combinare între mesaje textuale și sisteme
non-verbale, permutare care poate apropia textul și imaginea, interpenetrare,
interferență între limbaje artistice diferite, sau între acestea și limbajul
verbal, interdisciplinaritatea în artă poate viza teme precum cele de mai jos,
însă propunerile noastre sunt strict orientative:
-
Hipotipoze: unde literatura se întâlnește cu pictura
- Arhitectură și
traducere: construirea sensului ”spațial”
- Traducere și intermedialitate
-
Tipuri de călătorii în artele vizuale și
non-vizuale
- Fotografia între știință, artă și (punere în) practică
- Cuvânt și imagine în cărțile pentru copii
- Creativitate
artistică și psihopatologie
- Bricolaj și
improvizație în arta contemporană
- Spații hibride
- Autobiografie vs.
autoportret
- Ecranizarea textului
literar: ficțiunea literară ca sursă, pretext sau materie textual-discursivă
reprezentată / interpretată / suprainterpretată integral cu mijloace
audio-vizuale
- Adaptarea ca
fenomen transcultural si transartistic/ transdisciplinar in artele scenei
- Modelul fenomenologic în arte și literatură: ficțiuni
senzoriale, efecte de prezență și trăiri fenomenologice
- Limbaj dramatic și limbaj
scenic- de la Shakespeare la teatrul multimedia
- Filmul ca text, textul ca film: scenariul
cinematografic și problema vizualizarii expresiei verbale
- Arta plastică: traseul de la concept la imagine și retur
- Limbajul sexelor în ficțiunea TV contemporană
- Postumanismul în discursul televizat
- Iconotextul
publicitar în arta reclamei tipărite și audio-vizuale
- Muzica grafică
(grafismul muzical)
- Compoziția muzicală
și determinismul matematic
- Filosofia şi muzica (Sisteme şi moduri de gândire)
- Psihologia şi muzica (Terapia prin muzică)
Articolele in
extenso vor fi trimise până la 15 septembrie 2016
și vor include, de
asemenea:
-
Un rezumat
(150 cuvinte) și 5 cuvinte-cheie în
engleză;
-
O scurtă bionotă (cu indicarea numelui, a afilierii instituționale, a
ariilor de interes academic și/sau de cercetare etc), și aceasta în engleză;
-
Secțiunea pentru care se
optează (Abordări Transartistice, Literatură Comparată, Lingvistică
Contrastivă, Strategii Interculturale și Traductologice), și limba în care e redactat articolul
(engleză, franceză, germană, italiană, spaniolă);
-
Adresa/adresele de e-mail a(le) autorului/autorilor
Call
for Papers
MASCULINE
AND FEMININE:
EITHER,
NEITHER, BOTH OR MORE?
The Inter Litteras Research
Centre kindly invites submissions in English, French, German, Italian or
Spanish for issues no 5 and 6 of the academic journal “CONCORDIA DISCORS vs
DISCORDIA CONCORS: Researches into Comparative Literature, Contrastive
Linguistics, Cross-Cultural and
Translation Strategies” on the topic MASCULINE
AND FEMININE: EITHER, NEITHER, BOTH OR MORE?
In a world of blurred
boundaries, clear-cut distinctions verge on unethical or unpolitically
correct, readily punishable statements,
which makes it hard to even dream of asserting or analysing as thorny an
issue as (gender) identity.
We get to ask ourselves where
do we stand in an ever-expanding extropian society / habitat? Do meaningful,
natural, age-old differences between masculinity and femininity fade away
when faced with the supremacy of the in-between?
Reflections on these and
other related topics are welcome in one of the four sections: Comparative Literature, Contrastive Linguistics, Cross-Cultural
and Translation Strategies.
Papers are invited to explore the
“feminine”, the “masculine”, or both in their multifaceted aspects, possible lines of
approach including the following:
¨ - Feminine vs Masculine Corpo(reality): anorexia, steatopygia etc;
corporeal narratology
¨ - Gender in the Media (or how messages related to the “feminine” and “masculine” are embedded in
advertising, literature, film, (text) books, media, news etc)
¨ - Motherese (characteristics
of the speech used by mothers when talking to their babies/toddlers/infants)
vs Fatherese (characteristics of the speech used by fathers
when talking to their babies/toddlers/infants)
¨
-Masculine / Feminine /
Feminist Linguistics: active vs passive, verbalization vs nominalization as
indexes of masculinity/femininity; politeness and gender; gendered talk-in-interaction: feminine/masculine idiolect, dominance vs difference, competitive
or socially rejective (displaying indexes of power) vs cooperative or
socially supportive (providing back-channel, latching on to topics, inviting
approval); eroticization of language (indexes of erotomorphism)
¨
- Gender-Specific and
Gender-Neutral Pronouns / Names
¨
- Women and / in Translation (feminist theories of translation; translation of women-writers; portraits
of women-translators; women and / in self-translation; gender-sensitive
translation; androcentric vs androdeviant strategies)
¨
- Feminine / Masculine
Writing (Sapphic literature, Narratives of
Singleness, Heroes and Heroines, feminine vs masculine
creativity)
¨
- Gender Theory
(transgender; transsexuality; transhumanism)
¨ - Gender Roles, Gender Stereotypes/Archetypes
( Lilith, Eve, Penelope, Medea; Ulysses, Hercules, Achilles), Syndromes (Anna
Karenina, Red Riding Hood, Snow White, Sleeping Beauty, Ugly Duckling),
Complexes (Electra vs Oedipus) and Typologies (the saint, the adulteress, the
widow, femme fatale, the nymph, the mermaid, the muse, The Parcae,
The Three Graces, The Amazons, donna
angelicata vs donna endemoniata;
the titan, the superhero, the beggar, the bachelor, the dictator (Cacique/Caudillo),
the werewolf, Apollonian vs Dionyssian; the hero(ine) vs the antihero(ine),
the murderer/ess vs the self-murderer/ess, Beauty vs Beast, Don Juan vs Doña
Juana) in various cultures
-
- Gender Identities and
Tendencies (“femininities” and “masculinities”): effemination versus
(symbolic) emasculation, misogyny vs misandry, sterility vs fertility,
lustfulness vs abstinence, priapism vs impotence; lumbersexuality – the new masculinity?,
homosexuality/lesbianism, postmodern chivalry, vice vs virtue, periphery vs
centre, animus vs anima, yin vs yang; machismo, Marianism, bovarysm, picaresca/sicaresca )
¨ - Gender-Based Discrimination (sexist language: patronizing of women only?,
evolution of sex-marked words)
EXTENDED DEADLINES:
Submission of abstracts: 30 September 2015
(via e-mail, to the addresses
indicated under Contacts for each of the 5 languages)
Notification of acceptance: 15 October 2015
Submission of contribution in extenso: 15 January 2016
Abstracts:
¨
should not exceed
150 words
¨
should also include
5 keywords as well as the author’s name, affiliation and e-mail address
¨
should indicate
preference for section (Comparative Literature, Contrastive Linguistics, Cross-Cultural
and Translation Strategies) and language (English, French, German, Italian or
Spanish).
CONCORDIA DISCORS
vs DISCORDIA CONCORS has already been included in JourList, “The Central
European Journal for Social Sciences and Humanities” (cejsh.icm.edu.pl), as
well as eight university libraries in Europe, Asia and Africa, and will
shortly be submitted for inclusion in CEEOL and IndexCopernicus, as well as
in a further series of top-ranking databases.
English and Italian: ciprianpopa@litere.usv.ro
Apel la colaborare
MASCULIN ŞI FEMININ:
CARE
PE CARE SAU ORICARE?
Centrul de Cercetări Inter
Litteras are plăcerea de a vă invita să participaţi la realizarea
numerelor 5 şi 6 ale revistei academice “CONCORDIA DISCORS vs DISCORDIA
CONCORS: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies”
cu lucrări în limba engleză, franceză, germană, italiană sau spaniolă pe teme
legate de MASCULIN ŞI FEMININ.
Într-o lume a contururilor
vagi, distincţiile tranşante sunt considerate fie imorale, fie incorecte
politic şi, prin urmare, sancţionabile, ceea ce face ca abordarea genului sau
a identităţii de gen să fie o sarcină foarte dificilă. Ajungem să ne întrebăm
care este locul nostru într-o societate şi un habitat extropiene. Mai au sens
diferenţele clasice, fireşti, vechi de când lumea, între masculinitate şi
feminitate, între alb şi negru, într-o lume în care predomină cenuşiul?
Aşteptăm reflecţiile dvs pe această temă şi altele înrudite pentru cele
patru secţiuni ale revistei: Literatură comparată, Lingvistică contrastivă,
Studii culturale, Traductologie.
Contribuţiile circumscrise
„femininului” şi „masculinului” pot avea legătură sau nu cu următoarele
subteme:
¨ (Corpo)r(e)alitatea feminină vs (Corpo)r(e)alitatea masculină: anorexia,
steatopigia; naratologie corporală
¨
Genul în media (mesaje
legate de “feminin” şi “masculin” produse în publicitate, literatură,
cinematografie, cărţi, manuale, ştiri etc.)
¨
Motherese (caracteristici
ale discursului matern) vs Fatherese (caracteristici ale discursului patern)
¨
Lingvistică
patriarhală vs. Lingvistică feministă: activ vs pasiv, verbalizare vs
nominalizare ca indicii ale masculinităţii / feminităţii; politeţea şi genul; limbaj feminin / masculin, supremaţie vs diferenţă,
competitivitate şi putere vs
cooperare şi solidaritate; erotizarea limbajului (indici ai erotomorfismului)
¨
(Pro)nume care trădează
sau ascund genul
¨
Femei în traducere (teorii feministe ale
traducerii; scriitoare în traducere; portrete de traducătoare; figura
autotraducătoarei; traducerea care ţine cont de specificitatea de gen;
strategii androcentrice şi androdeviante)
¨
Scriere feminină /
Scriere masculină (literatura safică, naraţiuni
despre celibat, eroi şi eroine, creativitate la feminin/masculin)
¨
Teoria genului (transgen(eritate); transsexualitate; transumanism)
¨
Roluri
de gen, stereotipuri şi arhetipuri de gen (Lilith, Eva, Penelopa,
Medeea; Ulise, Hercule, Ahile), sindroame (Anna Karenina, Scufiţa Roşie,
Albă-ca-Zăpada, Frumoasa din pădurea adormită, Răţuşca cea urâtă), complexe
(Electra vs Oedip), tipologii (evlavioasa, adulter(in)a, văduva, femeia
fatală, nimfa, sirena, muza, cele trei graţii, parcele, amazoanele,
femeia-înger vs femeia-demon; titanul, supereroul, cerşetorul, burlacul,
dictatorul (Cacique/Caudillo), vârcolacul, Apollo vs Dionyssos; erou vs
anti-erou, eroină vs anti-eroină, criminalul / criminala vs sinucigaşul /
sinucigaşa, Frumoasa şi Bestia, Don Juan vs Doña Juana) în diferite culturi
¨
Identităţi
şi tendinţe de gen (tipuri de feminitate şi masculinitate): efeminare vs
emasculare (simbolică), misoginism vs misandrie, sterilitate vs fertilitate,
concupiscenţă vs abstinenţă, priapism vs impotenţă; lumbersexualitatea – noua
masculinitate?, homosexualitate / lesbianism, cavalerism postmodern, viciu vs
virtute, periferie vs centru, animus vs anima, yin vs yang; cultul
masculinităţii, Marianism, bovarism, picaresca/sicaresca
)
¨ Discriminare de gen
(limbaj sexist: prerogativă a sexului “tare”?, evoluţia cuvintelor cu denotații/conotaţii
sexuale)
TERMENE-LIMITĂ:
Trimiterea rezumatelor: 30 Septembrie 2015
(prin e-mail, la adresele
indicate mai jos pentru fiecare dintre cele 5 limbi)
Confirmarea acceptării: 15 Octombrie 2015
Trimiterea lucrării in extenso: 15 Ianuarie 2016
Rezumatele:
¨
nu trebuie să
depăşească 150 de cuvinte
¨
trebuie să includă
şi 5 cuvinte-cheie, precum şi numele, afilierea instituţională şi adresa de
e-mail a autorului
¨
trebuie să
specifice secţiunea vizată (Literatură comparată, Lingvistică contrastivă, Studii
culturale, Traductologie) şi limba în care este redactată lucrarea (engleză,
franceză, germană, italiană, spaniolă).
CONCORDIA DISCORS
vs DISCORDIA CONCORS figurează deja în JourList, “The Central European
Journal for Social Sciences and Humanities” (cejsh.icm.edu.pl) şi în
bibliotecile a opt universităţi din Europa, Asia şi Africa şi va fi în curând
supusă evaluării în vederea includerii în CEEOL şi IndexCopernicus, precum şi
în alte baze de date recunoscute pe plan internațional.
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