The Journal of English-Medium Instruction will publish its inaugural issue in early 2022. Please visit the journal’s website (https://benjamins.com/catalog/jemi) and find attached a call for papers for a themed issue to be published as the second issue in 2022.
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Università degli studi di Napoli “L’Orientale” Dottorato di ricerca in Studi Letterari, Linguistici e Comparati GRADUATE CONFERENCE 2020 La città che cambia: rappresentazioni, metafore, memoria Napoli, 21, 22 e 23 ottobre 2020 Palazzo Du Mesnil, Via Chiatamone 61/62 Call for Papers “Una città non è disegnata, semplicemente si fa da sola. Basta ascoltarla, perché la città è il riflesso di tante storie.” (Renzo Piano, 2000) Le città, nelle parole dell’architetto Renzo Piano, sono un luogo in eterno divenire, un contenitore mutevole di storie. Raccontano di tempi passati, angoli di storia, tradizioni e memorie che convivono accanto alle più impellenti urgenze espressive della modernità; e, allo stesso tempo, si proiettano verso il futuro. Sullo sfondo delle città, oggi come allora, si scrivono romanzi, opere cinematografiche e teatrali, si profilano personaggi, si immagina l’inimmaginabile, si generano discorsi che stabiliscono pratiche identitarie inclusive ed esclusive. Come testimonia Charles Baudelaire nella dedica dell’opera Lo spleen di Parigi (1869), è soprattutto la frequentazione di “città enormi” a far nascere il desiderio di nuove forme di scrittura. Caratterizzate da una profonda disomogeneità spaziale e politica, che regola l’entropia su cui l’immenso sistema si regge, le città si offrono inoltre come spazi aperti alla traduzione e alla contaminazione, dove i significati linguistici, culturali e sociali vengono di volta in volta rimediati, negoziati e ridefiniti. Ascoltare la città significa comprenderne le sue innumerevoli lingue, in quello spazio pubblico che è paesaggio calpestabile e, al contempo, leggibile e analizzabile, definito da Rodrigue Landry e Richard Y. Bourhis come Linguistic Landscape (1997). A partire dalle considerazioni esposte, nell’ambito della sesta edizione della Graduate Conference dell’Università degli studi di Napoli “L’Orientale”, invitiamo a proporre contributi che, tenendo presente lo spazio urbano come categoria critica, gravitino attorno alla rappresentazione dell’esperienza caleidoscopica della città. I temi che si intersecano sono molteplici, e, mirando ad un confronto interdisciplinare, tra le varie possibili, si propongono le seguenti linee: La città multilingue La città tradotta La città narrata La città mediata La città immaginata La città digitale La città sostenibile La città intelligente La città abitata La città identitaria La città accessibile La città valorizzata La città mappata La città antica La città sepolta La città futura La città riscoperta Le tematiche potranno essere esplorate tramite gli approcci di seguito proposti: Analisi Linguistica, Linguistica Diacronica/Sincronica, Sociolinguistica, Dialettologia, Linguistica Applicata, Linguistica Comparata, Linguistica dei Corpora, Analisi del Discorso, Indagini Lessicali Critica Letteraria, Letterature Comparate, Ecdotica e Filologia Studi Antropologici, Studi Etnografici, Studi Culturali, Studi Postcoloniali e di Genere Traduzione Letteraria, Traduzione Audiovisiva, Traduzione Specialistica, Machine Translation Arte, Teatro e Cinema NLP, Data Visualisation, Digital Storytelling, Distant and Close Reading, Image Recognition, Social Media Analysis Le metodologie consigliate non costituiscono un vincolo ai fini della proposta di contributo. Gli abstract, la cui lunghezza non dovrà superare le 300 parole (esclusi titolo e bibliografia essenziale), dovranno pervenire entro il giorno 31/05/2020 in formato .pdf, accompagnati da una breve biografia (max 100 parole), attraverso la piattaforma EasyChair. Il programma definitivo della conferenza (durante la quale saranno previsti momenti seminariali) verrà pubblicato a seguito della comunicazione dell’accettazione delle proposte, che avverrà entro il giorno 15/07/2020. Si precisa che gli interventi, in lingua italiana o inglese, avranno una durata massima di 15 minuti, e che è inoltre prevista una sessione poster. Successivamente, i relatori saranno invitati a sottoporre il loro contributo per la pubblicazione degli atti, a cura del Comitato organizzativo e del Comitato scientifico del Collegio dei docenti del Dottorato. Per ulteriori informazioni, rivolgersi al Comitato organizzativo all’indirizzo e-mail gclorientale2020@gmail.com o consultare il sito Unior e le pagine ufficiali dell’evento: Unior Facebook Twitter Il Comitato organizzativo *** University of Naples “L’Orientale” Doctor of Philosophy Programme in Literary, Linguistic and Comparative Studies GRADUATE CONFERENCE 2020 The Changing City: Representations, Metaphors and Memory Naples, 21-23 October 2020 Palazzo Du Mesnil, Via Chiatamone 61/62 Call for Papers “Una città non è disegnata, semplicemente si fa da sola. Basta ascoltarla, perché la città è il riflesso di tante storie.” [A city is not designed, it simply creates itself. It is enough to listen to it, because it is the reflection of many stories.] (Renzo Piano, 2000) Cities, according to the architect Renzo Piano, are places that are continually being created, they are ever-shifting repositories of stories. They tell of times past, giving glimpses of history, traditions and memories which live alongside the most compelling expressive needs of modernity; and at the same time they thrust themselves towards the future. Against the backdrop of cities, novels, plays and films are written, characters are sketched, the impossible is imagined, discourses are generated which establish inclusive and exclusive identity practices. As Charles Baudelaire outlines in the dedication of Le Spleen de Paris (1869), the inhabitation of “enormous cities” gives rise to new written forms. Characterised by a profound spatial and political inhomogeneity, which governs the entropy on which the immense system is balanced, cities offer themselves as spaces open to translation and contamination, where linguistic, cultural and social meanings are continually remediated, negotiated and redefined. Listening to the city means understanding its innumerable languages, in a public space which can be both read and tread on, defined by Rodrigue Landry and Richard Y. Bouthis as Linguistic Landscape (1997). Starting from these considerations, the sixth edition of the Graduate Conference of the University of Naples “L’Orientale” invites contributions which, addressing the critical categories of urban space, gravitate around the representation of the kaleidoscopic experience of the city. Multiple intersecting themes are present, so, with the aim of promoting an interdisciplinary debate, the proposed lines of research are as follows: The multilingual city The translated city The narrated city The mediated city The digital city The smart city The ancient city The buried city The city of the future Imagining the city Inhabiting the city Rediscovering the city Mapping the city Enhancing the city Identity and the city Accessibility and the city Sustainability and the city The themes above can be explored through the following critical approaches: Linguistic Analysis, Synchronic/Diachronic Linguistics, Sociolinguistics, Dialectology, Applied Linguistics,Comparative Linguistics, Corpus Linguistics,
‘A Glass of Godly Form’: Shakespeare as the Voice of Established Power special issue of Parole Rubate / Purloined Letters (http://www.parolerubate.unipr.it/) edited by Giuliana Iannaccaro and Alessandra Petrina In recent years, a large number of Shakespearean studies have investigated the use of Shakespeare’s works in order to question and debunk the way in which the political, religious and cultural establishment has supported its hegemonic agenda for centuries through the voice of the Bard. In the last forty years at least, Shakespeare’s plays have catalysed the creative efforts of artists in all fields: stage adaptations, transpositions, parodies, and translations, which have come under critical scrutiny since the 1980s, have often been made to speak the voice of the oppressed and marginalised to react against a dominant, Anglo-centric ideology. Scholars from all over the world have enthusiastically taken up the challenge and analysed this new and unexpected lease of life given to the writer. Together with contemporary re-readings of Shakespeare’s plays as a way to speak forcefully – and, paradoxically, ‘authoritatively’ – against oppression, discrimination and racism, there are fewer (but no less significant) recent critical investigations that take up the challenge of exploring a more dated but persistent phenomenon: the use of Shakespeare’s status as a ‘classic’ within the English, and indeed worldwide, literary tradition in order to impose and enforce political and cultural domination. Shakespeare (as an icon of quintessentially English principles and values) has become, very early in the history of British imperialism, one of the basic cultural products of the colonial enterprise within and without the national borders. Before representing the voice of the oppressed, between the eighteenth and the twentieth century Shakespeare was celebrated as the ideal spokesman for those who wanted to extol the voice of the English Bard in order to enforce and justify a white, male, anglocentric / protestant / suprematist discourse. With the rise of Bardolatry in England and events such as David Garrick’s first Shakespeare Jubilee the establishment of Shakespeare as a national myth proved inexorable. That myth enhanced the rising popularity of the playwright and singled him out as the ideal mouthpiece for national and nationalistic sentiments. The present volume proposes to investigate Shakespeare as an ideological prop of established power or conservative discourse. Given the general mandate of Parole rubate, we focus on words rather than on visual or non-verbal adaptations, and indeed invite explorations on textual and philological issues. The collection of essays edited by Regula Hohl Trillini, Casual Shakespeare (Routledge, 2018) is proposed as a possible model for this kind of investigation, as is (in a more specifically literary frame) Kate Rumbold’s Shakespeare and the Eighteenth-century Novel (Cambridge University Press, 2016). The European appropriation of Shakespeare has been studied, among others, by Ton Hoenselaars and Clara Calvo (The Shakespearean International Yearbook (European Shakespeares, Routledge, 2008) and more recently by Balz Engler (Constructing Shakespeare, Signathur, 2019). One recent work retracing the steps of the colonial appropriation of Shakespeare is Leah S. Marcus’ How Shakespeare Became Colonial (Routledge, 2017). Quotations and misquotations from Shakespeare’s plays, often taken disastrously out of context, supported the image of the writer as the repository of a supposed national greatness that became, in turn, the greatness of the dominant classes. We welcome investigations both of Shakespeare in ‘his own words’, and of the Shakespeare of rewritings, parodies, adaptations – even of attributed words that do not belong to him, as well as of incoherent/inconsistent textual references to his plays and to his very lines. We also welcome contributions that explore the way in which the very icon of the poet was enough to legitimise both English and European educational syllabi, and the ‘exportation’ of British culture abroad. Considered a pillar of the national and colonial educational enterprise, the very name of Shakespeare was also evoked by the repositories of pedagogical programs, in order to lay claim to an acquired ‘universal’ knowledge and to dignify their own aesthetical, spiritual and especially moral advancement. Please send an abstract (ca. 500 words) and a short bio (max 200 words) in Italian or in English by 30 June 2020, to the following email addresses: giuliana.iannaccaro@unimi.it alessandra.petrina@unipd.it *** ‘Sacro specchio della moda’: William Shakespeare, voce del potere numero speciale di Parole Rubate / Purloined Letters http://www.parolerubate.unipr.it/ a cura di Giuliana Iannaccaro e Alessandra Petrina In anni recenti, molti studi dedicati a Shakespeare si sono concentrati sull’uso dei suoi testi per interrogare e denunciare la loro appropriazione da parte del potere politico, religioso, o culturale: per molto tempo la voce del Bardo è stata di supporto all’ideologia dominante. Negli ultimi quarant’anni, i drammi shakespeariani hanno catalizzato lo sforzo creativo e artistico di chi li ha messi in scena, adattati, trasposti, parodiati o tradotti. Tali rielaborazioni danno spesso voce agli oppressi e/o ai marginalizzati, stimolando il pubblico a ripensare i rapporti di forza all’interno della società e a reagire contro un’ideologia culturale anglocentrica. Studiosi di tutto il mondo hanno raccolto questa sfida e celebrato la nuova ‘giovinezza’ delle opere shakespeariane. Oltre alle riletture contemporanee di Shakespeare come risposta forte (e paradossalmente ‘autorevole’) all’oppressione, alla discriminazione e al razzismo, altri approcci critici si sono occupati – forse in misura minore, ma non meno significativa – di un fenomeno più datato e più persistente: l’uso dello status di ‘classico’ di Shakespeare nella tradizione letteraria inglese (se non mondiale) per imporre o rafforzare un’ideologia dominante. Shakespeare, icona di principi e valori essenzialmente inglesi, diviene in quest’ottica uno dei prodotti culturali fondamentali dell’imperialismo britannico, all’interno e all’esterno dei confini nazionali. Prima di diventare portavoce degli oppressi, lo scrittore, tra il diciottesimo e il ventesimo secolo, è stato celebrato come bandiera di un discorso anglocentrico, protestante, suprematista, maschilista e razzista. La nascita del culto di Shakespeare, con fenomeni come il Giubileo creato da David Garrick nel 1769, ha portato alla mitizzazione nazionale del bardo: il mito così fondato ha contribuito alla crescente popolarità del drammaturgo, proponendolo come espressione primaria di sentimenti nazionali e nazionalistici. Questo volume si propone di investigare Shakespeare come supporto ideologico del potere
The Organizing Committee of the Workshop on ‘Law, Language, and Gender: the way forward’ (7-8 July 2020 IALS, London) has decided to extend the deadline for the submission of paper proposals until 31 May 2020. Due to the emergency reasons related to COVID-19, in order to safeguard participants, students and staff, and align to the new policies concerning travels and events, the School of Advanced Study has decided to postpone events in June/July of this year. The rescheduled date will be announced by the Organizing Committee of the Workshop as soon as it is confirmed.
Dear all, In addition to the communication published in the AIA Newsletter, please find attached the link to the 5th International Edition of the Translation Symposium entitled “AUDIOVISUAL TRANSLATION AND COMPUTER-MEDIATED COMMUNICATION: FOSTERING ACCESS TO MEDIASCAPES”, which will be held in the Department of Humanities at the University of Palermo on 15-16 October 2020. The organisers: University of Palermo, University of Bergamo, University College London https://www.unipa.it/dipartimenti/scienzeumanistiche/.content/documenti/sinossiPalermoEN_postponed.pdf?fbclid=IwAR3DZ52PjUP37CECHSkClb6PRvMYPY8_TxjjTs6eGMCKFOUcqUw5LY-3Jwo
The British Society for Eighteenth-Century Studies Società Italiana di Studi sul Secolo Diciottesimo Seventh International Joint Conference The Travelling Self: Tourism and Life-Writing in Eighteenth-Century Europe All Souls College, Oxford, 2-3 July 2020 Call for papers The eighteenth century saw the invention of modern tourism and a startling proliferation of new kinds of life-writing. This conference will explore how travellers wrote about themselves while they were away from home, and how our historical understanding of the phenomenon of travel – including domestic travel, but focusing on the Grand Tour – has relied on, but also been restricted by, travellers’ own accounts, whether they seek to project a specific image of themselves (public or private, true or self-censored) or are unaware of how much they are giving up. Letters, diaries, journals, travelogues and any kind of personal reminiscences – either real or fictional – may provide textual evidence of the ‘travelling self’. Biotourism, the selves on tour, absent selves and the life-writing of travel are some of the approaches which colleagues might like to envisage. Proposals are invited for 20-minute papers. Abstracts in Italian, English or French (c. 200 words) should be sent by April 15th to Catriona.Seth@mod-langs.ox.ac.uk and giovanni.iamartino@unimi.it ********* The British Society for Eighteenth-Century Studies Società Italiana di Studi sul Secolo Diciottesimo Seventh International Joint Conference The Travelling Self: Tourism and Life-Writing in Eighteenth-Century Europe All Souls College, Oxford, 2-3 July 2020 Avviso Risale al secolo XVIII la nascita del turismo moderno e la sorprendente proliferazione di nuovi tipi di narrativa (auto)biografica. Il convegno intende analizzare come i viaggiatori scrivevano di sé mentre erano lontani da casa, e come la nostra comprensione storica del fenomeno del viaggio – compresi i viaggi all’interno dei confini nazionali, ma con interesse prioritario per il Grand Tour – ha avuto il suo fondamento, ma forse anche il suo limite, nei resoconti degli stessi viaggiatori, ora desiderosi di proiettare una particolare immagine di sé (pubblica o privata, genuina o censurata), ora inconsapevoli di quanto rivelano. Lettere, diari, resoconti, libri di viaggio e ricordi personali di ogni tipo – reali o di fantasia che siano – possono fornire documentazione testuale dell’ “io viaggiante”. Il bioturismo, l’io in viaggio, l’io assente, e la narrazione biografica del viaggio rappresentano alcuni degli approcci che potrebbero essere considerati. Si sollecitano proposte per comunicazioni di 20 minuti. Un abstract di circa 200 parole in lingua italiana, inglese o francese va inviato entro il 15 aprile 2020 a Catriona.Seth@mod-langs.ox.ac.uk e giovanni.iamartino@unimi.it
SHAKESPEARE’S ROME INTERNATIONAL SUMMER SCHOOL (SRISS) Roma Tre University 30 June – 5 July 2020 The Shakespeare’s Rome International Summer School, an international intensive programme, aims at exploring in depth the themes and motifs of Shakespeare’s Roman corpus, while the city of Rome, with its theatres, archaeological sites and artistic resources will offer participants a unique opportunity to complement their study outdoor. For the fourth edition two curricula are available: one for undergraduate students (BA) and one for postgraduate students (MA, PhDs, Postdocs, ESL teachers). The course is taught in English and the programme includes morning lectures, workshops, walking lectures and an acting workshop at the Silvano Toti Globe Theatre. Teachers 2020 Victoria Bladen, Maria Del Sapio Garbero, Michael Dobson, Massimo Giuseppetti, Coen Heijes, J.P.M. Jansen, Consuelo Lollobrigida, Domenico Lovascio, Luca Marcozzi, Robert Miola, Maddalena Pennacchia, Loredana Scaramella, Ramie Targoff, Maria Wyke. Deadline for registration: 15 April 2020 Visit: https://bacheca.uniroma3.it/sriss/ Info: sriss@uniroma3.it
The reception of Shakespeare’s plays reflects the history of the interpretation of his dramatic language. Playwriting implies cohesive textual and physical structures through which words resonate, that is why a play can never be taken as a definitive text; on the contrary, it stands for the precarious nature of the theatrical word which changes as it is voiced in performance or as it becomes the voice of linguistic, cultural, historical or political stances. For these reasons, the conference will take into consideration material aspects related to performance: much as the Shakespearean text is peppered with words that are now archaic and with familiar words whose original meanings have changed, so too the means of stage representation also undergo constant change, change inflected by the shifting behaviours animating the social world outside the theatre. This admission is hardly shocking: all participants in a production (translator, actors, directors, scholars?) are trying to make it speak, which means that they must speak for it, by it, and that it will speak in their present voices. The role and functions of oral/aural aspects of Shakespeare’s dramatic language will -also and necessarily- be part of our investigation: linguistic perspectives have recently taken a fresh look at ‘speech-related’ written genres, and have offered important clues as to the historical use of language as face-to-face interaction. Possible issues to be tackled include: the discovery of dialect in the early modern period as a question of cultural authority conveying both the perception of the ‘Other’, and the definition of a national ‘Self’; the idea of alternative Englishes, defined by their value or status relative to other English dialects (including the King’s English); material traces of orality in objects of writing on stage; the performative representation of different accents and their cultural and ideological impact; the question of original pronunciation; linguistic, literary and performative multilingual interaction between the native tongue and its dialectal variants, or with foreign languages.
SaM Shakespeare and the Mediterranean International Summer School in Verona Romeo and Juliet 1-8 July 2020 SaM – Shakespeare Summer School in Verona Skenè Research Centre http://skene.dlls.univr.it/en/ Verona University Since classical antiquity, the Mediterranean has been a breeding ground for cultural formation and transformation, extraordinarily capitalised on by Shakespeare, who set many of his plays there, re-elaborating narratives, cultural models, theatregrams, epistemological perspectives, and visual and material art forms. In turn, Italy and the other Mediterranean cultures are nowadays responding to the aesthetic and cultural stimuli of those plays, with ever new interpretations and reinterpretations. SaM Summer School will approach Shakespeare and the Mediterranean from a double perspective that integrates source studies and performance studies: from the Mediterranean sources of Shakespeare to Shakespeare as a source of new adaptations and rewritings in the heart of the Mediterranean. This first edition will concentrate on Romeo and Juliet Romeo and Juliet in a Mediterranean context. The Summer School is open to Italian and foreign students, teachers, and performers. Participants will be divided into two groups: 1) Master’s and Doctoral students, as well as highschool teachers (Group A). 2) Acting School students and graduates as well as performers (Group B). The course is organised as a cycle of lectures and workshops over a week. Students in Group A will be provided with reading materials by mid-June. End-of-course essays will be due by July 20, 2020. A test on the reading material provided in June will be held on July, 1 2020. The Summer School will admit up to 50 participants (25 for Group A and 25 for Group B). Classes will be held in English (Group A) and Italian and English (Group B). Applications will open on February 15, 2020, and will close on April 30, 2020. Admitted candidates will be notified by May 15, 2020 and the deadline for the tuition fee is May 25, 2020. Staff Valentina Adami (University of Verona) Guido Avezzù (University of Verona) Chiara Battisti (University of Verona) Jaq Bessell (University of Surrey) Silvia Bigliazzi (University of Verona) Victoria Bladen (University of Queensland) Simona Brunetti (University of Verona) Andrea Coppone (performer) Bianca Del Villano (University of Naples l’Orientale) Sidia Fiorato (University of Verona) Rosy Colombo (Sapienza University of Rome) Jason Lawrence (University of Hull) David Lucking (University of Salento) Felice Gambin (University of Verona) Lucia Nigri (University of Salford-Manchester) Nicola Pasqualicchio (University of Verona) David Schalkwyk (Queen Mary University of London) Emanuel Stelzer (University of Verona) Savina Stevanato (University of Roma Tre) Laura Weston (GSA, University of Surrey) Tzachi Zamir (Hebrew University of Jerusalem) Roberta Zanoni (University of Verona)
CfP: Human Reproduction and Parental Responsibility: New Theories, Narratives, Ethics https://journals.fupress.net/call-for-paper/human-reproduction-and-parental-responsibility-new- theories-narratives-ethics/ Phenomenology and Mind invites submissions for a special issue dedicated to “Human Reproduction and Parental Responsibility: New Theories, Narratives, Ethics”. We welcome contributions that are related – but not limited – to the following questions: How do conceptions and cultural representations of parental responsibility inform bioethical, legal and political approaches towards the introduction and use of reproductive technologies? Conversely, to what extent have new reproductive technologies been altering the concepts of parenthood and parental responsibility? What are the emergent transformations and moral challenges associated with new forms of parenting? How can artistic practice create a space for political and bioethical reflection, and what is the role of specific forms, genres and media (e.g. performance and video art; Science Fiction; life writing etc). How have stories about parents and children evolved? How will they evolve in the future? What is the impact of advanced reproductive technologies on legal and philosophical debates about biological and social parenthood, gender, and the rights of the unborn? How do planetary environmental pressures affect theories and narratives of parenthood? What is the meaning of procreative liberty, parental responsibility and procreative beneficence on a warming planet? Deadline for submissions: 15 March 2020 Notification of acceptance: May 2020 Publication of the issue: December 2020 Guest editors: Simona Corso (Università degli Studi Roma Tre) simona.corso@uniroma3.it Florian Mussgnug (UCL) f.mussgnug@ucl.ac.uk Virginia Sanchini (San Raffaele University; University of Milan; KU Leuven)sanchini.virginia@hsr.it Confirmed invited authors: Rachel Bowlby (UCL); Carmen Dell’Aversano (Università di Pisa); Roberto Mordacci (Università San Raffaele); Laura Palazzani (Università di Roma Lumsa) Zoe Papadopoulou (visual artist, London); Aarathi Prasad (UCL); Maria Russo (Università San Raffaele).