Uncategorized

The international conference “Virginia Woolf & Simone de Beauvoir: Intersections and Resonances” (Paris, 29th-30th Sept 2022) aims to rethink the relationship between the two ‘mothers’ of second-wave feminisms in a synchronic and diachronic understanding of reception and influence. The organisers invite proposals for individual or collective papers as well as for roundtables on themes connected to Woolf and/or Beauvoir, both within and beyond their literary and philosophical productions. The deadline for proposals is 20th June 2022; notifications of acceptance will be sent by 30th June. For further information do not hesitate to contact the organisers at woolfbeauvoir22@gmail.com or luca.pinelli@unibg.it

Teaching and Researching Children’s Literature in the Digital Age: New Perspectives and Technologies An International Symposium 24 June 2022 Hosted on Zoom by Ca’ Foscari University of Venice Over the last two years, the COVID-19 pandemic has accelerated the already ongoing process of digitization of resources and creation of online tools for teaching and research. This period saw the rise of new websites and databases, including in the area of children’s literature and culture. As our individual space became smaller and confined to our homes, the web became a locus for the sharing of information, resources, and experiences. The past months have seen numerous projects, databases, and conferences being devoted to the challenges and opportunities posed by this sudden shift in academic teaching and research. Now that we are starting to come back to in-person teaching and research, this study day intends to be an occasion to showcase innovative research and the tools created to respond to the pandemic emergency and meant to outlast it, becoming important resources for the academic and wider community, especially in the face of the new challenges that we are currently facing. It will be a chance to initiate an international conversation on what this shift and the new resources that derive from it entail for Children’s Literature scholars and how we may deploy these emergency tools in the long run to improve teaching and research, making them more accessible at all levels to both students and researchers around the world. We welcome proposals – including from postgraduates and ECRs – for 15-min presentations on topics including, but not limited to: innovative teaching methods/tools and digital technologies databases digital archives and repositories digital collections ebooks and digital libraries digitization projects websites research projects social media the limits of digital research methods Please submit a 200-word abstract and 100-word biography to childrenslitita@unive.it by the 31/05/2022.

Call for Papers LAVENDER LANGUAGES AND LINGUISTICS CONFERENCE The 28th Lavender Languages Conference will be hosted in Catania (Italy) from 23 to 25 May 2022, both onsite and online. The Conference has an intense and fruitful commitment towards investigating language use and representation concerning lesbian, gay, bisexual, trans, heterosexual, and/or queer life, as well as language and sexuality more broadly. The Conference supports a broad idea of “language” which encompass all areas of semiosis, including pronunciation, lexical choice, grammar, semantics, pragmatics, sociolinguistics, (critical) discourse analysis, and the analysis of communication in various text genres, modes (spoken, written, signed, multimodal, non-verbal) and media. Historical, literary, cultural, and descriptive studies are also welcomed, as are performance-centered presentations and poster displays. The Conference proudly maintains a “no attitudes” atmosphere, which will continue in Catania (IT): all attendees should feel welcome in what will be a supportive and collaborative conference space. We are pleased to announce our plenary speakers: Jeremy Calder – University of Colorado (USA) tbc Adriana Di Stefano – Università degli Studi di Catania (ITA) tbc Busi Makoni – Penn State University (USA) Metalinguistic discourses of styling the other: The discursive construction of liminal masculinities. Pietro Maturi – Università degli Studi di Napoli Federico II (ITA) Gender and language in Italian: an ongoing struggle toward inclusivity” Tommaso M. Milani – University of Gothenburg (SWE) Queer stasis Eva Nossem – Saarland University (D) tbc Since its origin, in 1993, the Conference has always included papers and posters addressing a very wide range of topics and themes, and we do hope to keep that diversity maintained at LavLang28. We invite abstracts for presentations that explore both macro and micro contexts, but which acknowledge the need to position research into site-specific practices within broader contexts of social, cultural, and linguistic theory. Specific interest will be devoted to papers and panels that address future directions for language and sexuality inquiry. The language of presentation is English, research on languages other than English is greatly encouraged. Possible topics include, but are by no means limited to: • LGBTQ+ discourse • Literary and media representations of LGBTQ+ life • (Anti)homophobic and transphobic discourses, and other languages of discrimination • Pornography and/or the language of desire • Queer linguistics and (hetero/homo)normativity • Queer lexicology and lexicography • LGBTQ+ in Institutions: policies and inclusiveness • Variationist approaches to LGBTQ+ language/identity • Intersectionality, language, and sexual identity • Language, sexuality, and affect • Language, sexuality, and pedagogy Abstracts are invited for individual papers and panels. INDIVIDUAL PAPERS Abstracts for individual papers should be no more than 500 words, reference included. They should include the presentation title and the presenter’s name, affiliation, and email address. Abstracts should describe the paper’s focus, research method, findings, and ties to language and sexuality interests. Proposals will undergo a review process. PANELS Every panel can be made of 5 papers maximum. Scholars willing to organize a panel should submit a 300-word proposal together with the list of participants’ names and titles of contributions (5 max) to lavlang28@unict.it. Panelists will send their proposals as individual papers for the review process. Panel organizers are welcome to advertise a call for submissions to their panel via our website, where we will have a section entitled “Sessions under development”; please contact lavlang28@unict.it. DATES The deadline for panel and paper presentations is 1st March. Abstract submission, through Easychair (https://easychair.org/my/conference?conf=lavlang28), will open on 15th January. Notification of acceptance will be communicated on18th April. Further information concerning LavLang28 (registration, travel, accommodation) can be found on the conference website: http://www.lavlang28.unict.it/.

ESPRit Conference, Budapest Call for Papers Conference theme: Periodicals beyond Hierarchies: Challenging Geopolitical and Social “Centres” and “Peripheries” through the Press Time and venue: 8– 9 September 2022, Museum of Fine Arts – Central European Research Institute for Art History (KEMKI) – Artpool, Budapest, Hungary. The hybrid event is co-organized with the Petőfi Literary Museum (PIM) – Kassák Museum. Scientific committee: Gábor Dobó (PIM–Kassák Musem); Dávid Fehér (KEMKI); Emese Kürti (KEMKI – Artpool); Eszter Őze (KEMKI – Artpool); Evanghelia Stead (UVSQ Paris Saclay); Merse Pál Szeredi (PIM – Kassák Musem). Contact persons: Gábor Dobó (dobo.gabor@pim.hu), Merse Pál Szeredi (szeredi.merse.pal@pim.hu), and Eszter Őze (eszter.oze@szepmuveszeti.hu). Call for papers: For the first time in East-Central Europe, the European Society for Periodical Research (ESPRit) convenes its 2022 (10th) international conference in Budapest, Hungary, to focus on the following theme Periodicals beyond Hierarchies: Challenging Geopolitical and Social “Centres” and “Peripheries” through the Press The conference should reflect on how periodicals challenge, transform or interpret the notion of “centres” and “peripheries” in a context of permanently shifting and historically unstable situations. Papers should investigate these questions through essential forums of the public sphere, namely periodicals, from the mid-18th century to the present day. The generation of knowledge, social dialogue, and transnational communication (both textual and visual) hosted by periodicals gave visibility and platforms to politically and economically “peripheral” areas, as well as socially marginalized groups. At the same time, other journals provided means to maintain cultural and political hegemony of “central” social classes or global powers. We invite scholars to reflect on the ways periodicals represented, created, maintained, or challenged, even deconstructed the notions of “centre” and “periphery” as related to the status of their community, audience, editorial board or geographical areas. We are particularly interested in encounters, and negotiations between geopolitical or social “centres” and “peripheries” taking place in periodicals. The conference should focus on matters, including but not limited to, such as: • Theoretical reflections on “centres” and “peripheries” and the possible contribution of Periodical Studies to define the shifting meaning of this conceptual model • Circulation, adaptability and reworking of periodical models and genres, including the mainstream press; middlebrow periodicals and “little magazines” • Hybridity, performativity, materiality – how researching periodicals opens up new perspectives in literary, art and media history? • Shifting, emerging, and declining geopolitical centres and the press, from the Napoleonic wars to the end of the Cold War and beyond • Challenging the concept of “Eastern”, “Western”, “Southern” and “Central” – the periodicals in the entangled history in Empires – from a post-Empire perspective • Colonization, decolonization, and the periodicals – a postcolonial perspective • The effect of dominant discourses on marginal/”peripheral”/”provincial”/local contexts – and vice versa. • The role of journals in social conversation, including the voice of marginalized groups in/out of/against the mainstream press: the rise of counter-publics in periodicals • The diachronic and political dimension of artistic canons, and the role of periodicals in canonizing, theorizing, and financing art and culture • De-centring established cultural “centres” through a transnational network of “little magazines”. Establishing “imagined communities” (a term coined by Benedict Anderson) in periodicals The working language of the conference is English. We welcome proposals from researchers at all stages of advancement. Proposals of around 250 words (references not included) for 20- minute papers and a short CV (no more than 200 words) should be sent to 2022esprit@gmail.com by February 28 2022. We also welcome proposals for joint panels of three papers. Please include a brief rationale for the panel along with an abstract and CV for each presenter. Updates can be found on the 10th ESPRit Conference website, forthcoming. We look forward to welcoming you to the Museum of Fine Arts, Budapest!

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