7th ESTIDIA Conference feedback 2

Read the Participants’ feedback

Daniel Weiss <dweiss@slav.uzh.ch>, Professor Emeritus, University of Zürich, Switzerland

When I received the news that the next ESTIDIA conference would take place in Vilnius I was excited: for the first time since Soviet times when I had visited the Lithuanian capital, I would see this beautifully restored historical town again and come to know the impact of the Lithuanian independence on its outfit. Moreover, I was convinced that the conference would be held at the Vilnius University in the center of the old town, which would have meant a few minutes’ walk from my hotel. Founded by the Jesuits as an Academy in 1578, it represented the second oldest university in the Polish kingdom and the place where Piotr Skarga had preached his sermons against the Orthodox Church and where in the beginning of the nineteenth century the Polish national poet Adam Mickiewicz and more than a century later the future Nobel prize winner Czesław Miłosz had studied. So, one of the first things I did when I left for a stroll through the old town was to throw a look at this impressive complex of beautiful Renaissance buildings close to Vilnius’ most significant landmarks: the Town Hall, the Presidential Palace, and the Cathedral. Unfortunately, it turned out that this was by no means our conference venue: ESTIDIA 7 was located at the Mykolas Romeris University, far away from the center and in a modern complex of buildings embedded in a contemporary neighborhood. I had to google the name and found out that its owner was a professor of law and co-creator of the Lithuanian constitution in the 1930es with a multi-ethnical background: descendant of the Baltic German noble family Römer, which had become partly Polonized, he pursued his studies in St. Petersburg, Cracow, and Paris before acting as a judge and eventually obtaining the chair in the then Lithuanian capital of Kaunas and later in Vilnius. Therefore, he does not only ideally represents the multiethnic, multi-confessional, and multicultural town of Vilnius but also fits in the multilingual and multicultural profile of the ESTIDIA community much better than Vilnius University, which stands for the Polish catholic tradition. In choosing this venue, the organizers thus paid tribute to the small nation of Lithuania which has finally freed itself from the weight of its Polish (and also its more recent Russian) historical ties. Moreover, the discipline of law is intrinsically based on dialogue and debates “in utramque partem”, in other words: the very essence of this ESTIDIA conference. Needless to say, argumentation patterns and strategies belonged to the core of the program. But this program also encompassed a wealth of other types of dialogue, including real and fictional healthcare communication, humor in interaction, the war on Ukraine, and even human-robot relationships, not to mention the diversity of sources, such as AI-generated texts, Facebook and Reddit posts, real-life conversations, TV shows, YouTube comments, hip hop music, etc. All in all, it was this overwhelming multitude of topical themes, puzzling data, and cutting-edge methods that impressed me most. I am deeply grateful to the organizers who let me get acquainted with and immerse in this inspiring communicative universe, and I appreciate the excellent job done by the hosting university, which provided an impeccable organization of this conference.

7th ESTIDIA Conference feedback 1

Read the Participants’ feedback

Toader Adrian <toader.adrian@unitbv.ro>, Lecturer, University of Transilvania from Brașov, Romania, Faculty of Letters, Department of Theoretical and Applied Linguistics

This was my first time taking part in the ESTIDIA conference. What initially drew me to attend this event was the interesting topic, gravitating around the formation and use of dialogue in different social contexts. From the very beginning, I was pleasantly surprised by the organisers’ efforts which ensured that the conference ran smoothly, keeping the participants well-informed and always providing an open channel of communication throughout the event. In my opinion, what makes ESTIDIA an invaluable experience, for all those interested in dialogue in action, is the interdisciplinary and cross-cultural perspectives put forward by participants from different countries, with various specialties and research interests. I believe that exploring dialogue from multiple angles allows participants to better understand the complexity of the topic and, in my case, to find new analytical and theoretical directions for their own work. It is also important to note that the ESTIDIA members encapsulate a tight-knit community as one of their main foci is to bring together researchers with similar interests by establishing cohesive research groups, in the interest of bringing forward relevant, well-documented contributions in their respective fields of research. Another positive aspect that needs to be mentioned is the quality of the presentations, based on rich corpora, interesting hypotheses, and well-documented work.  ESTIDIA members are friendly and communicative, making every new participant feel comfortable, providing useful insight and always being willing to exchange ideas. I consider this to be one of the most important aspects of an international conference, and I was glad that my expectations were exceeded. I will definitely take place in future ESTIDIA events! 

Call For Papers

CfP

MonTI 17 (2025) – Q1 (SJR: Language and Linguistics)

Theatre translation. Performability and reception from intercultural perspectives

Editors: Susan Bassnett (University of Glasgow) and Catalina Iliescu-Gheorghiu (Universidad de Alicante)

Deadline for manuscript submission: 31 May 2024

Theatre has been underexplored in Translation Studies for many years (Bassnett 1998; Krebs 2007; Hale and Upton 2000), but today drama translation (both as translation process and product) is becoming increasingly visible. For example, translations are often included in the award categories in theatrical galas and festivals and mentioned in the promotion of theatrical productions, raising the interest of professionals and academia. On the other hand, areas of theatre such as opera translation or translating children’s theatre have received little scholarly attention.

This volume intends to counter such absences. Throughout the evolution of MonTI (Monographs in Translation and Interpreting), a number of important contributions have been made such as Lafarga (2013) on modernizing Spanish theatre through foreign texts (translations), and Serrano (2013) on the lack of printed translations of Austrian playwrights, to mention just two examples. However, there has not been a MonTI volume devoted to theatre translation and, since the implications of global phenomena such as migration and intercultural communication in our present lives and creative processes (both authorial and translational) can no longer be ignored, this volume 17 (2025) will seek to redress that imbalance.

Through translation, texts migrate and in doing so, they undergo acculturation, seen as the domestication of the cultural Other (Venuti 1993), inevitable in drama, a genre whose purpose is primordially to be staged and played for an audience in a given historic, socio-political context. Theatre translation often implies joint work and a symbiotic adjustment of different kinds of rewritings to construct an image of a writer or work (Bassnett/Lefevere 1998). In Aaltonen’s (2000: 52) opinion, misinterpretations (coming from acculturation and appropriation of the representations of the Foreign) are often justified by alleged better communication or mediation leading to an increase of understanding between cultures. Aaltonen’s (ibid) “mirror/window” metaphor explains how, instead of showing us the rest of the world, theatre translation often shows an image of ourselves, a controversial opinion that is open to debate. An important contribution to contemporary theatre translation is the work of David Johnston, an active theatre translator and scholar who sees the practice of translating for performance as an act of collaboration (2017), an exercise of physical imagination, a step towards a holistic understanding of both language and performance, into which textuality is incorporated and by which it is superseded (Johnston 2013).

Thematic lines:

  • Theatre translation and performability.
  • Theatre translation and reception (audiences, critics, specialized journalists).
  • Gender (women playwrights, translators, directors and dramaturgs) and intercultural perspectives (diaspora playwrights and translators) in theatre translation.
  • Translation and theatre traditions from different cultures (including the relationship between the physical and the textual).
  • Multiple identities and roles adopted by translators (whether consciously or not): the translator-cum-director with its inherent manipulation of play-texts and para-texts; the translator-creator (introducing modifications to optimize the audio-visual potential and cope with time and space constrictions); the playwright as self-translator; the translator-cum-cultural agent (promoting a country’s literature); the translator-adapter among other roles.
  • Decision-making in theatre translation. Imagological pressure (ethnotypes, stereotypes, myths, prejudice and so on) and censorship.
  • Translating theatre for children.
  • Multimodality and languages of scenic arts and their relation to translation/adaptation.
  • Accessibility in scenic arts: surtitles, audio-description, interpreting (signed or spoken).
  • Opera translation.

References:

Aaltonen, Sirkku. (2000) Time-sharing on Stage: Drama Translation in Theatre and Society. Clevedon, Buffalo, Toronto, Sydney: Multilingual Matters.

Bassnett, Susan. (1998) “Still Trapped in the Labyrinth: Further Reflections on Translation and Theatre.” En: Bassnett, Susan & André Lefevère (eds.) 1998. Constructing Cultures: Essays in Literary Translation. Clevedon: Multilingual Matters, pp. 90-108.

Hale, Terry & Upton, Carole-Anne. (2000) “Introduction.” In: Upton, Carole-Anne (ed). Moving Target. London and New York: Routledge, pp. 1-13

Johnston, David. (2013) “Professing translation. The acts-in-between.” Target 25:3, pp 365–384. doi 10.1075/target.25.3.04joh

Johnston, David. (2017) “Narratives of Translation in performance: Collaborative Acts.” In: Cole, Emma & Geraldine Brodie (eds.) 2017. Adapting Translation for the Stage. London and New York: Routledge, pp. 236-249.

Krebs, Katja. (2007) Cultural Dissemination and Translational Communities. German Drama in English Translation 1900-1914. London & New York: Routledge.

Lafarga, Francisco. (2013) “La traducción de piezas extranjeras como vía hacia la modernidad en el teatro español del siglo XVIII”. MonTi. Monografías de Traducción e Interpretación 5, pp. 299-324. https://doi.org/10.6035/MonTi.2013.5.13.

Serrano Bertos, Elena. (2013) “Un déficit documental en la historiografía de la traducción en España: consideraciones acerca del teatro (Austriaco) representado y no editado. MonTi. Monografías de Traducción e Interpretación 5, pp. 193-211. https://doi.org/10.6035/MonTi.2013.5.7.

Venuti, Lawrence. (1993) “Translation as cultural politics: Regimes of domestication in English.” Textual Practice 7:2, pp. 208-223.

Calendar and deadlines for submission:

Authors interested in participating in this issue should upload the full text of the article in one of the official languages of the journal (English, Catalan, Spanish, French, German or Italian) to https://www.e-revistes.uji.es/index.php/monti/about/submissions before 31 May 2024. They must include the title and a 150-word abstract in English and in a second language chosen from among the official languages of the journal (Catalan, Spanish, French, Italian or German). In September-October 2024, the journal will communicate the acceptance or rejection of proposals. The monograph is scheduled for publication in spring 2025.

https://www.e-revistes.uji.es/index.php/monti/announcement/view/209

Contact info:

Queries concerning the academic content of the monograph may be addressed to any of the editors in the following languages: Spanish, Catalan, English.

iliescu@ua.es

Cornelia Ilie. 2024. Manufacturing Dissent: Manipulation and Counter-Manipulation Strategies in Times of Crisis.

Title: Manufacturing Dissent: Manipulation and Counter-Manipulation Strategies in Times of Crisis
Editor: Cornelia Ilie
Publisher: John Benjamins (Amsterdam)
Year: 2024

Cornelia Ilie. 2024. Manufacturing Dissent: Manipulation and Counter-Manipulation Strategies in Times of Crisis. Amsterdam: John Benjamins.https://benjamins.com/catalog/pbns.339

Spotlighting case studies of manipulation practices at the onset of the Covid-19 crisis in different countries and socio-political circumstances, the authors expose context-specific discourse and argumentation strategies of ‘infodemics’ (misleading information and fake news), public policy mismanagement, deceptive online and offline communication tactics, and conspiracy narratives, which end up disrupting community social cohesion. In addition to targeting manipulation-driven dissent across discourse genres through corpus-based investigations, a major strength of this volume consists in debunking manipulation while foregrounding compelling acts of counter-manipulation.
The volume’s breadth of topics, depth of analytical insights and range of methodological frameworks provide unique perspectives by capturing crisis-related manipulations across a worldwide political and cultural spectrum (Austria, Brazil, China, the Czech Republic, Portugal, Sweden, Switzerland, United Kingdom, United States), with a focus on the scale and extent of multifaceted repercussions. Reaching beyond the boundaries of pragmatics and discourse analysis, this book should be a valuable resource for researchers and practitioners of rhetoric, argumentation, media studies, social and political sciences.