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INTERNATIONAL CONFERENCE 1922/2022 – TOTAL MODERNISM: CONTINUITY, DISCONTINUITY, AND THE EXPERIMENTAL TURN Centro Studi “Arti della Modernità” 18-19-20 May 2022 – Torino (Italy) CALL FOR PAPERS The year 1922 signals neither the birth of modernism nor its comprehensive scope, but it can certainly point to a decisive divide marking ends and beginnings. Some key works of literary High Modernism were conceived, written, or completed in that year—T.S. Eliot’s The Waste Land, James Joyce’s Ulysses, Alban Berg’s Wozzeck, Rainer Maria Rilke’s Duineser Elegien, Kafka’s The Castle, Proust’s Sodome et Gomorrhe, just to name the most obvious ones. On the theoretical side, Arnold Schönberg published his Theory of Harmony, Viktor Shklovsky expanded on his idea of defamiliarization (“art as device”) in the direction of a theory of prose, Clive Bell and Roger Fry elaborated on “significant form”. Just as importantly, the year 1922 saw the emergence of other crucial cultural productions that the canon of modernism has been slow—or reluctant—to incorporate, such as cinema, cabaret, dance, popular music. A Dialogue between High and Low? Recent scholarship has drawn attention to explicit connections between high-brow modernist masterpieces and a host of other “low-brow” cultural forms, as the new arts were deemed then, which demand their inclusion into the canon of modernism, just as Benjamin, Kracauer and others were soon to point out. The year 1922 seems to highlight a historical watershed where traditional binary oppositions of high and low, old and new, order and chaos appear to be disrupted by the formation of more complex hierarchies. How did “high culture” uptake the popular arts and what was the meaning and outcome of such cross-fertilization? On the other hand, in what ways and to what results did the popular arts absorb modernist experimentation? Are those transformations, connections, and turns still of some interest to us today? What differentiates the high and the low? How do we define them? If we contrast the 2010s artistic productions and those ground-breaking experiments, do we find continuities or discontinuities and in what sense? Thinking back to 1922 from today, can we still talk of experimental art? Can a past revolution be inherited and in what way? The Centro Studi Arti della Modernità (http://centroartidellamodernita.it/) is organizing an International Conference on 1922/2022 – Total Modernism: Continuity, Discontinuity, and the Experimental Turn to be held in Turin in May 2022. The conference will be held in person unless circumstances change. We will keep updating should problems arise for international travel. This conference seeks contributions addressing these decisive aspects of modernism in its golden year of 1922, a year in which, as Jean-Michel Rabaté has suggested, “one might be tempted to replace ‘high modernism’ with ‘total modernism’” or argue that the main problematic “object of high modernism is totality just before it turns into totalitarianism” (Rabaté 2015). It is this claim for high modernism as “total modernism”, and its reverberations today, that this conference is committed to examine, exploring the ways in which “one sees a metamorphosis of the Wagnerian Gesamtkunstwerk into an artistic totality that combines all media (music, poetry, painting, staging, dancing, and film) and, moreover, superimposes the most experimental and the most popular” (Rabaté 2015). Academic Advisors: Alexander Etkind (European University, Florence), Marie-Laure Ryan (Independent Scholar), Jens Brockmeier (American University, Paris), Andrei Bronnikov (Independent Scholar), Roxana Preda (University of Edinburgh), Ann Banfield (University of California, Berkeley). Conveners: Franca Bruera (University of Turin), Giuliana Ferreccio (University of Turin), Roberto Gilodi (University of Turin), Luigi Marfè (University of Padova), Daniela Nelva (University of Turin), Massimiliano Tortora (University of Turin). Keynote Speakers: Jean-Michel Rabaté (University of Pennsylvania), Ann Banfield (University of California, Berkeley, possibly on zoom), Peter Nicholls (New York University), Thomas Macho (Humboldt, IFK Wien), Raffaele Donnarumma (University of Pisa), Hubert Roland (Université Catholique de Louvain), Sigrid Weigel (Zentrum für Literatur- und Kulturforschung, Berlin). The Conference Advisory Board will consider proposals for papers addressing, but not limited to, the following topics: • Form vs. Performance • Ends and Beginnings • The relation between words, things and ideas in literature and philosophy • Aesthetic autonomy / aesthetic totality • Citation, displacement, fragmentation • Plurilingual, Transnational modernism • Subjectivity and anti-subjectivism • Gesamtkunstwerk as the expression of an epoch • International Style: The Bauhaus, the Vhkutemas and others • Architecture: Le Corbusier and Frank Lloyd Wright • Classicism old and new • New music and the new visual arts • Photography and Cinema • Ballet, cabaret, popular music • Dada vs. Surrealism • Cosmopolitan diaspora • Conservative revolutions • East European Modernism • American vs. European Modernism • Expatriates in Paris, London, Berlin, Vienna • The city as total space Proposals of about 250 words may be submitted to convenors through centrostudiartimodernita@gmail.com, by 15 December 2021, together with a bio-bibliographical profile. Proposals will be read and evaluated by 15 January 2022. The time of delivery for each paper should be no more than 20 minutes. Registration fee for Participants: 70 euros; Graduate Students and PhDs: 40 euros. The conference languages will be English, French and Italian. A number of conference presentations will be selected for publication in Cosmo: Comparative Studies in Modernism (ISSN 2281-6658, http://www.ojs.unito.it/index.php/COSMO) the digital international, peer-reviewed journal of the Centro Studi Arti della Modernità. Accepted contributions will be published in Cosmo’s June 2023 issue.

Sterne and the Grand Tour: Places, Postures, Portraits Fourth International Laurence Sterne Foundation Conference, Naples 28-30 October 2021 Sterne’s eccentric Grand Tour through Italy culminated in Naples, where he arrived ‘Shandaically’ enough just in time for the pre-Lenten festivities in February 1766. For the Fourth Conference in Naples the ILSF warmly welcomes proposals that focus on Sterne’s artful investment in all aspects related to the Grand Tour. Topics may include the following: The Grand Tour in the eighteenth century and Sterne’s narrative ‘detours’ Sterne in Italy between antique and modern arts Sterne and learned wit The metaphor of writing as travelling and Sterne’s travesties and postures Sterne’s authorial masks and the festive repertoire of the carnivalesque We also welcome proposals for themed panels. Abstracts (max 300 words) should be sent to Peter de Voogd (theshandean@fastmail.fm) and to Maria Laudando (cmlaudando@unior.it). The deadline is 31 July 2021. More info: http://shandean.org/wp-content/uploads/2021/03/ILSF-Conference-2021.pdf ilsf-conferences

5th International Edition   Translation Symposium  Audiovisual Translation and Computer-Mediated Communication: Fostering Access to Digital Mediascapes   7-8 October 2021  Call for papers  Due to the outbreak of the COVID-19 epidemic and in the wake of the decision of the Rector of the University of Palermo to cancel conferences and cultural events to be held at the institution, we have had to take the difficult decision to postpone the symposium to 7-8 October 2021. Stay connected for further news.  Organisers  Department of Humanities – University of Palermo  PhD in Studi Umanistici – Department of Humanities – University of Palermo  Department of Political Sciences and International Relations (DEMS) – University of Palermo Department of Foreign Languages, Literatures and Cultures – University of Bergamo Centre for Translation Studies (CenTraS), University College London (UCL)  Postgraduate course in Subtitling for the Deaf and Audio Description for the Blind (SOSAC-PALERMO)  Location  University of Palermo – Department of Humanities  Complesso Monumentale Sant’Antonino/Palazzo Chiaramonte Steri  Piazzetta Sant’Antonino, 1 – Palermo  Confirmed Speakers  Patricia Bou-Franch (University of València); Paola Catenaccio (University of Milano “Statale”); Larissa  D’Angelo (University of Bergamo); Jorge Díaz Cintas (University College London); Elena Di Giovanni  (University of Macerata); Eleonora Federici (University of Ferrara); Gian Maria Greco (University of  Warsaw); Iris Guske (Kempten School of Translation & Interpreting); Anna Jankowska (University of  Antwerp); Maria Olalla Luque Colmenero (University of Granada); Irene Ranzato (University of Rome  “Sapienza”), Maria Grazia Sindoni (University of Messina); Nuria Sanmartín Rincart (Universidad de  Valencia).  With the participation of Gabriele Uzzo (PhD student, University of Palermo, Accessibility Manager,  SudTitles), Maila Enea (Hogarth), Maria Luisa Pensabene (Audiodescriber, and Contract Lecturer,  University of Palermo), Silvia Torta (Project Manager, Transperfect). Organising Committee  Jorge Díaz Cintas (University College London), Stefania Maci (University of Bergamo), Giulia Adriana  Pennisi (University of Palermo), Alessandra Rizzo (University of Palermo), Cinzia Spinzi (University of  Bergamo), Marianna Lya Zummo (University of Palermo).  Scientific Committee  Rocío Baños, University College London, Lindsay Bywood, University of Westminster, Floriana Di Gesù,  University of Palermo, Frederic Chaume, Universitat Jaume I, Jorge Díaz Cintas, University College London,  Sabine Hoffmann, University of Palermo, Arista Kuo, Nanyang Technological University, Singapore, Stefania  Maci, University of Bergamo, Serenella Massidda, University of Roehampton, Josélia Neves, Bin Khalifa  University, Qatar, Jan Pedersen, University of Stockholm, Giulia Adriana Pennisi, University of Palermo, Nina  Reviers, University of Antwerp, Alessandra Rizzo, University of Palermo, Pablo Romero-Fresco, University of  Vigo, Oleg Rumyantsev, University of Palermo, Maria Grazia Sciortino, University of Palermo, Cinzia Spinzi,  University of Bergamo, Agnieszka Szarkowska, University of Warsaw, Iván Villanueva, Universidad Peruana de  Ciencias Aplicadas, Juan Zhang, Huazhong Agricultural University, Wuhan, China, Antonino Velez, University of  Palermo, Marianna Lya Zummo, University of Palermo.  Synopsis  Research on (audiovisual) translation, computer-mediated communication, technology and accessibility  has gained momentum in recent years (Díaz Cintas & Massidda 2020). Accessibility, understood as the  set of procedures, mechanisms and practices aimed at the provision of inclusive services addressed to a  general public, has grown as a methodological and theoretical framework in academia. For many, it should  be entrenched in society as a human right (Rizzo 2019; Greco 2018), since its ultimate goal is to facilitate  universal access to knowledge, thus breaking not only linguistic and cultural barriers but also sensory  ones (Di Giovanni 2018).  Against the backdrop of digital mediascapes, accessibility has become an instrument of mediation and  communication across a variety of discursive perspectives (Catenaccio 2018; Federici 2019), and its  function is guaranteed and strengthened by the vast array of audiovisual translation modes practised in  the industry as well as by the proliferation of visual and linguistic performative narratives on the web  (Bou-Franch 2019; Sindoni 2013). In the digital space (i.e. websites, blogs, web collectives, social  networks), accessibility guarantees the provision of some measures that make discourse more accessible  for all users (Luque, Soler, 2019). These rapid and encompassing developments are increasingly affecting  education and translation training (Spinzi 2019).  The combination of two domains, namely, audiovisual translation and computer-mediated  communication, to secure accessible digital platforms, entails both usability and inclusion, specifically  conceived for the design, creation and development of (audio)visual digital spaces that are addressed to  all citizens and make knowledge universally accessible. Such an approach has opened up new horizons  of global interaction, which cannot but involve interlingual activities. Among them, practices like amateur  translation, fandubbing and cybersubtitling (Díaz Cintas 2018a) have become crucial to the construction  of digital networks for the spread of computer-mediated knowledge (Zummo 2018; Díaz Cintas 2018b).  In broader terms, the promotion of access services to information in digital settings recognises the need  for adapting, simplifying, reinforcing, manipulating and/or translating written and spoken messages in  order to make them accessible to anyone, thus, including people with different (temporary or contingent)  cognitive abilities, speakers of other languages, sensory-impaired persons, and regular citizens. In light of  recent scholarly research in audiovisual translation and thanks to the “affordabilities of information and  communication technologies and their alleged democratising power” (Díaz Cintas 2018a: 127), the  symposium aims to explore the links between new forms of translation and the language of the multiple  digital discourse types inhabiting the cyberspace (Maci 2013). Encouraging knowledge dissemination  while at the same time challenging conventional media, the event is open to students, academics, teachers,  and professionals interested in the role and potential of access services, of which interlingual translation  is a component, in the promotion and propagation of digital discourses.  Call for Papers  We welcome contributions that reflect on the intersections between digital mediascapes and audiovisual translation, including accessibility to the media.  Send your abstracts (300 words) to: sosac@unipa.it  Deadline for submission of abstracts: 1st June 2021  Notification of acceptance: 1st July 2021  Registration fee: 60 euros.  Publication: a selection of papers will be published in a special issue of the peer reviewed and indexed  journal Translation and Translanguaging in Multilingual Contexts (John Benjamins).   Link to the website:   https://www.unipa.it/dipartimenti/scienzeumanistiche/5th-International-Edition-Translation Symposium-Audiovisual-Translation-and-Computer-Mediated-Communication-Fostering-Access-to Digital-Mediascapes–00001/  References  Catenaccio, P. 2018. “Web-mediated stakeholder communication in the biotech industry: the discursive  construction of dialogic illusion”. Altre Modernità, pp. 48-63.  Díaz Cintas, J. 2018a. “Subtitling’s a carnival’: New practices in cyberspace”. Journal of

Call for Papers Convegno Internazionale  1920-2020: un secolo di parole e immagini per raccontare l’amnesia 23-24 settembre 2021, Urbino (Università di Urbino Carlo Bo) Il Convegno verterà sulle forme di rappresentazione letteraria e audiovisiva (nel senso più ampio e inclusivo rispetto al panorama multimediale) dei vuoti di memoria causati da deficit neurologici (la malattia di Alzheimer e altre forme di demenza) o da traumi psichici (dovuti a fenomeni di portata storica e dunque collettivi o a eventi personali), e sulle loro manifestazioni linguistiche nel mondo classico e in ambito italiano, inglese, americano, francese, tedesco e russo. Circa la dimensione artistico-letteraria, l’attenzione si concentrerà sui generi e le strategie retorico-stilistiche adottati da artisti e scrittori per descrivere, raccontare, rappresentare l’oblio; per quanto concerne il piano del linguaggio, si lavorerà invece sull’elemento verbale, o iconico, inteso come sintomatologia del vuoto di memoria. LINEE DI RICERCA * Asse delle OPERE LETTERARIE, GRAFICHE E AUDIOVISIVE – gli interventi faranno riferimento alla rappresentazione, negli ultimi cento anni, in ambito italiano, francese, inglese, americano, tedesco e russo, anche nell’ottica del riuso di modelli culturali del mondo classico, dei seguenti fenomeni: 1) il vuoto di memoria causato dalla degenerazione neurofisiologica, identificato con l’Alzheimer e altre patologie consimili; 2) le amnesie e rimozioni post traumatiche di derivazione psicologica (ivi compresi i casi della allomnesia o ricordi falsati), legati sia a fenomeni storici (con alcuni momenti cruciali quali le due guerre mondiali, la Shoah, il terrorismo internazionale, le vicende dei migranti) sia ad accadimenti personali (malattie, incidenti, lutti). Che si adotti una prospettiva diacronica (evoluzione del problema, sua rappresentazione e autorappresentazione nella modernità) o sincronica (declinazioni tra loro coeve del problema) potranno essere prese in considerazione varie tipologie di scritture quali romanzi, autobiografie e autofinzioni, poesia, letteratura grafica e canzoni, oltre a opere audiovisive (film, serie tv, spettacoli teatrali). Tra gli obiettivi principali perseguiti, la possibilità di analizzare e indagare, anche dal punto di vista antropologico, analogie e differenze nella rappresentazione dei disturbi della memoria in relazione ai diversi contesti culturali in cui uno stesso schema narrativo e/o simbolico viene utilizzato (sempre in prospettiva tanto sincronica quanto diacronica): si pensi soltanto all’evoluzione funzionale del mito di Edipo nella cultura contemporanea, con la trasformazione del tema dell’ignoranza della colpa in quello della rimozione traumatica della memoria della colpa stessa, anche grazie al filtro sincronico della rilettura psicanalitica di questo mito. Alla luce dei problemi sopra evidenziati, il Convegno intende esplorare le questioni relative al tema dei “vuoti di memoria” in due direzioni principali, la prima relativa alla narrazione letteraria, grafica e audiovisiva; la seconda legata alle dinamiche linguistiche. I temi delle malattie degenerative, del dolore e della morte sollevano interrogativi bioetici che letteratura e cinema consentono di avvicinare da prospettive inedite e feconde, con una complessità di sguardo che si propone di affiancare e integrare la letteratura medica specialistica. Il fatto creativo permette di approfondire i dilemmi etici connessi a questi temi, e può incidere a fondo sulla nostra comprensione delle loro implicazioni e sulla necessità di elaborare risposte collettive, oltre a favorire un dialogo e uno scambio interdisciplinare che abbraccia campi del sapere tra loro lontani come la bioetica, le scienze cognitive, le teorie culturali, la critica letteraria, la Visual Culture e la linguistica. Si chiede ai relatori di conformarsi a queste due linee di ricerca: non saranno infatti accettate proposte che non abbiano un’evidente pertinenza rispetto al tema del convegno e a tali linee-guida. * Asse LINGUISTICO – a partire da un corpus di testi letterari e/o audiovisivi pertinenti ai temi indagati, gli interventi procederanno a un’esplorazione dei livelli linguistici (sintattico, lessicale, morfologico, discorsivo, soprasegmentale) che meglio evidenziano, in termini sintomatologici, fenomeni traumatici o patologici di oblio e vuoti di memoria, oltre allo studio delle parti del discorso utilizzate per sopperire alla dimenticanza. Tale studio sarà svolto, anche con l’uso dei corpora, in modo contrastivo rispetto alle produzioni linguistiche ricavate da casi reali di pazienti che soffrono delle patologie indagate (afasia, Alzheimer e amnesia in generale). Tra gli obiettivi ad ampio spettro quello di mostrare come la narrazione, contribuendo a modificare la percezione dei fenomeni amnesici, possa fungere da vettore di resilienza tanto individuale quanto collettiva (nella sua dimensione figurativa, interpretativa, curativa o addirittura catartica). La parola e/o l’immagine consentono infatti sia l’avviamento di un lavoro di consapevolezza, riscoperta, reintegrazione dell’io, sia una messa in rilievo dell’impatto che tanto le lacune post-traumatiche quanto le malattie neuro-degenerative hanno sulla conservazione della memoria culturale (esemplari in tal senso i casi dei reduci di guerra, dei sopravvissuti all’Olocausto e ai recenti attentati terroristici, dei migranti). ADESIONE AL CONVEGNO: Proposte di una relazione (20 minuti di presentazione e 10 di discussione) Deadline invio proposte: 30 marzo 2021 A chi: amnesiedautore@uniurb.it In quali lingue: italiano, inglese, francese, tedesco, spagnolo. Come: ogni proposta deve contenere le seguenti informazioni: A) titolo dell’intervento; B) abstract di lunghezza massima di 1200 battute (spazi inclusi); C) breve profilo bio-bibliografico (max 10 righe) del proponente; D) indicazione dell’asse a cui si desidera aderire. Il Comitato scientifico vaglierà l’effettiva pertinenza delle proposte rispetto all’argomento e all’articolazione del Convegno. Le proposte dovranno riguardare da vicino i temi sopra indicati e potranno muoversi in prospettiva interdisciplinare, interdiscorsiva o intermediale, e su uno scacchiere geografico esteso alle culture sopra indicate. L’esito della selezione sarà comunicato entro il 15 maggio 2021. Modalità di svolgimento: il convegno avrà luogo in presenza, nel caso in cui dovessero protrarsi le restrizioni Covid-19 verrà svolto in modalità telematica. La partecipazione al convegno è gratuita, non sono previsti rimborsi missioni. DEFINIZIONE DEL PROGRAMMA La pubblicazione del programma definitivo è prevista per il mese di luglio 2021 sul sito https://amnesiedautore.uniurb.it/?page_id=229.  È prevista una pubblicazione scientifica con referees. COMITATO SCIENTIFICO Margareth Amatulli (Università di Urbino) Alessandra  Calanchi (Università di Urbino) Giovanna Carloni (Università di Urbino) Gloria Cocchi (Università di Urbino) Roberto Danese (Università di Urbino) Riccardo Donati (Università di Salerno) Claus Ehrhardt (Università di Urbino) Giuseppe Ghini (Università di Urbino) Maryline Heck (Université de Tours) Brian Hurwitz (King’s College London) Aurélie Moioli (Université Côte d’Azur) Massimiliano Morini (Università di Urbino) Salvatore Ritrovato (Università di Urbino)

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)

Il giorno 13 novembre si svolgerà a Parma, presso la sede della Casa della Musica (P.le San Francesco 1) una giornata di studi dal titolo “Rooting Eco-criticism: British Romanticism and the Environment”, patrocinata dal CISR (Centro Interuniversitario di Studi Romantici). La giornata è stata organizzata dai docenti di Letteratura Inglese dell’Università di Parma, Prof.ssa Gioia Angeletti e Prof. Saglia, e coinvolge studiosi di Romanticismo inglese da varie università italiane e dall’Università di Vechta, Germania, allo scopo di riflettere su come temi cogenti della contemporaneità, quali la sostenibilità ambientale, il rispetto per il mondo naturale e animale, le preoccupazioni socio-ecologiche, fossero già sentiti e rappresentati nella letteratura inglese tra Sette e Ottocento.  

Seminar: Back to the future: English from past to present FACOLTÀ DI SCIENZE LINGUISTICHE E LETTERATURE STRANIERE, CENTRO DI LINGUISTICA UNIVERSITÀ CATTOLICA (C.L.U.C.) Monday 4th March 2019 Aula Magna “Tovini”, 9.30am Via Trieste 17 – Brescia Programme 9.30 Opening remarks Sara CIGADA, Direttore Centro di Linguistica Università Cattolica del Sacro Cuore (C.L.U.C) Chair: Maria Luisa MAGGIONI 9.45 La storia della lingua come storia della società e della cultura Giovanni GOBBER, Preside Facoltà di Scienze Linguistiche e Letterature Straniere, Università Cattolica del Sacro Cuore 10.15 The English language: a living creature. Crosscurrents of change in the morphology and syntax of English Paola TORNAGHI, Università degli Studi di Milano-Bicocca 10.45 Coffee break Chair: Sonia PIOTTI 11:30 The importance of Italian in the making of English Laura PINNAVAIA, Università degli Studi di Milano 11.45 Legal English: comparing the language of British laws and European Union laws from a diachronic perspective Francesca SERACINI, Università Cattolica del Sacro Cuore 12.15-14.30 Pause Chair: Amanda MURPHY 14.30 “We the People of the United States” and our Linguistic Heritage Pierfranca FORCHINI, Università Cattolica del Sacro Cuore 15.00 English Lingua Franca and the rise of the lyric video Olivia MAIR CACCIARI, Università Cattolica del Sacro Cuore 15.30 Coffee break Chair: Costanza CUCCHI 16.00 Surfing the net for the History of English Maria Luisa MAGGIONI, Università Cattolica del Sacro Cuore 16.30 Thr-ough the Ages: a diachronic approach to English spelling-to-sound correspondences Sonia PIOTTI, Università Cattolica del Sacro Cuore 17.00 Conclusion Scientific Committee: Maria Luisa Maggioni; Amanda Murphy; Sonia Piotti The event is free of charge. Participants are invited to register by 25th February 2019 at the following link: https://goo.gl/ezTeru Note per i docenti – Il seminario rientra nelle iniziative di formazione e aggiornamento dei docenti realizzato dalle Università automaticamente riconosciute dall’Amministrazione scolastica, secondo la normativa vigente, e dà luogo – per gli insegnanti di ordine e grado – agli effetti giuridici ed economici della partecipazione alle iniziative di formazione. Note per gli studenti – Il convegno rientra nelle tipologie di esperienze che danno luogo ai crediti formativi riconoscibili per l’esame di Stato (conclusivo del II ciclo di studi) come recita il D.M. 49 del 25.02.2000, nonché ad eventuali crediti formativi universitari.

Call for Papers: International Conference Translation as Political Act /La traduction comme acte politique/ La traduzione come atto politico Date: Thu, 9th May – Fri, 10th May 2019 Location: University of Perugia, Italy Organisers: Dipartimento di Scienze Politiche (Università di Perugia) in collaboration with the Genealogies of Knowledge Project (University of Manchester) Invited key note speakers Mona Baker, University of Manchester, UK Nicole Doerr, University of Copenhagen, Denmark Fruela Fernandez, Newcastle University, UK & Universidad Complutense, Spain Lynne Franjié, Université Lille 3, France Guy Rooryck and Lieve Jooken, Ghent University, Belgium Organizing Committee: Diana Bianchi (Università di Perugia, Italia), Jan Buts (University of Manchester, UK), Henry Jones (University of Manchester, UK), Francesca Piselli (Università di Perugia, Italia), Federico Zanettin (Università di Perugia, Italia) Detailed information about the conference and on how to submit abstracts can be found at: http://home.translationaspoliticalact.net/