Shakespeare-Tagungen Weltweit

06.06.2017

Play in tongues: Early modern English theatre in translation

International Conference organized by The HIERONIMO Project (GVAICO2016-094)
at the University of Valencia
Valencia, 19-20 October 2017
DEADLINE EXTENSION FOR CFP: 30 JUNE 2017

In line with The HIERONIMO Project's aim to facilitate the research and translation of
early modern English drama, with a special focus on non-Shakespeare plays, this
international conference seeks to gather scholars and translators to discuss various
aspects of early modern English plays (1500-1710) as translated, retranslated, adapted
and/or imitated.
The revised Call for Papers is available at hieronimo.uv.es/call-for-papers_2017/
Invited speakers include Antonio Ballesteros, Fernando Cioni, Line Cottegnies, Hugo
Keiper, Salvador Oliva, Ángel-Luis Pujante, and Julio César Santoyo.
Calendar
Extended deadline for submitting proposals: 30 June 2017
Acceptance by Scientific Committee: 15 July 2017
Submissions are to be sent as text file (.doc, .docx, .rtf, .odt) to these two addresses
Juan.J.Calvo@uv.es , jesus.tronch@uv.es , with “Play in Tongues” as the email's
subject, and containing the following
Full name of author(s):
Professional status and affiliation:
Email address:
Provisional title of paper:
Summary (300 words maximum)
Keywords (5 maximum):
Especially welcome are papers on (though not limited to) the following topics:
Vector 1: Past translations
1.1 - Within each language and culture, the translation, adaptation and/or imitation, be it
of individual plays, complete works or of specific groupings, according to published
anthologies, sub-genre (e.g. Comedies, Tragedies. etc.), periods (pre-Elizabethan,
Elizabethan, Jacobean, Restoration) and similar sub-classifications: e.g. translations of
Ben Jonson into Spanish by María Martínez Sierra o María Lejárraga, and into German
by Wolf Heinrich Graf von Baudissin; Chefs d'oeuvre des théâtres étrangers... traduits
en français (Paris, 1827); the Italian translations published in the 1950s: Teatro
Elisabettiano (Bompiani, 1951) edited by Alfredo Obertello, Teatro elisabettiano
(Sansoni, 1955) by Mario Praz, Teatro inglese della restaurazione e del settecento
edited by Gabriele Baldini (Sansoni, 1957).
1.2 - Descriptive and/or evaluative studies on the work of a specific translator: e.g.
Aliocha Coll (Marlowe); Rafaello Piccoli, Mario Praz, Giorgio Melchiori; François-
Victor Hugo, Ernest Lafond, Felix Rabbe (Marlowe), Pierre Messiaen, etc.
1.3 - Contrastive studies of the translation or adaptation of a play in different languages:
e.g. the fortunes of Otway's Venice Preserved or of Congreve's The Way of the World
translated into French and Italian.
Vector 2: Future translations
2.1 - Works never before translated. Why would they be of interest? Scholarly and
academic reasons, literary and/or aesthetic revivals, wish to complete a given corpus.
2.2 - Reasons for retranslating: because previous translation(s) are scholarly or
academically obsolete; because previous translation(s) are linguistically old-fashioned;
because a new version is wanted for a specific mise en scène
Vector 3: Early modern English drama as translations
3.1 Descriptive, evaluative and/or contrastive studies of English plays (1500-1700) that
translate (in a broad sense) plot, situations, characters and themes in works in other
languages: e.g. John Rastell's The Beauty and Good Properties of Women and James
Mabbe's The Spanish Bawd as "translations" of the Spanish Tragicomedia de Calisto y
Melibea (La Celestina).
SCIENTIFIC COMMITTEE
Dirk Delabastita (University of Namur)
Pavel Drábek (University of Hull)
Pilar Ezpeleta Piorno (Universitat Jaume I)
Juan Vicente Martínez Luciano (Universitat de València (UVEG))
Alfredo Michel Modenessi (Universidad Autónoma de México)

Early Modern Debts: Bamberg, 21.-22. September 2017

A symposium entitled 'Early Modern Debts' will take place at the Otto-Friedrich-Universitaet Bamberg, 21-22 September 2017, organized by Dr George Oppitz-Trotman (Humboldt Fellow, Lehrstuhl für Britische Kultur).

Several internationally renowned scholars, including Prof. Lena Orlin (Georgetown) and Prof. Lorna Hutson (St Andrews) have stated an intention to come; the theme has already excited significant interest for its timeliness and focus. It promises to be an exciting and important event. More details can be found at the conference website: early-modern-debts.space

Call for Papers

 

Staging the Truce in Early Modern Literature and History: Toulouse, 27. Oktober 2017

Timothy Hampton reprises Grotius’ definition of truce as “the slumber of war” to show how early modern European playwrights staged that moment of negotiation as a paradox, as “an action that spends action, and by that very gesture reinstates power as potentiality” (Early Modern Diplomacy, Theatre and Soft Power, Palgrave, 2016, 28). A truce is thus a true moment of action, but an action that runs in parallel to a continuing state of war. However, it seems even nowadays to be confused with or taken as a form of static procrastination. If its outcome can prove sterile, the concept of truce and its performance should not be dismissed as fruitless. On the contrary, truce should be seen, as later suggested by Carl von Clausewitz, as an opportunity to be seized. This conference wishes to examine truce, its distinctive nature, and to see beyond its mere use as a delaying tactic.
If moments of truce are often recounted, their operational dynamic is often overlooked. Hence, this conference wishes to investigate the form, the assets and the challenges of truce in early modern political and religious conflicts. It intends to test the viability of this fundamental concept by confronting historical instances and literary representations of truce. The conference will thus focus on the form and on the agents of truce during historical conflicts as well as the way literature and especially theatre represented and even tested this moment of the “suspension of the actions of war”. The conference will emphasise not only the temporal nature of truce, but its practical and concrete aspects. The conference will also focus on the shortcomings of the concept and the practice of truce, and forensic papers on the failure of episodes of truce are sought.


We welcome papers examining early modern European and non-European literature and/or history and dealing with the following issues (non-exhaustive list):

·         the legal forms and languages of truce: how the Roman, canon and feudal laws considered truce

·         historical episodes of truce: the conclusion of truce and treaties, and the viability of a truce

·         the use of art as a form of truce, as a moment of suspension which gives the opportunity of a debate, a dialogue or a resistance

·         material methods of truce: art, printing, editorial projects, literature, gift-giving etc

·         the role of truce in literature, in specific genres such as the epic, the tragic and the tragicomic genres

·         the agents of truce: official and non-official agents, ambassadors, traders, marginal political figures…

·         the specificity of truce in religious conflicts: do the form and the method of truce change in the context of religious conflicts?

·         truce and “perpetual negotiation”: Richelieu’s concept and the truce

·         peace and truce: difference or synonymy in terms of action and representation

Please send 300-500-word abstracts and a short bio to nrivere@univ-tlse2.fr , jeanne.mathieu1@gmail.com and nathalie.vienne-guerrin@univ-montp3.frby 1st June 2017. Confirmation of acceptance by 15th June 2017.

 


Shakespeare Unbound: 2018 Conference of the French Shakespeare Society: Paris, 18.-20. Januar 2018

The Société Française Shakespeare is dedicating its annual conference to “Shakespeare Unbound”. The topic addresses Shakespeare’s propensity to negotiate with dominant ideologies, his ability to break and renew formal and cultural rules and his long-lasting influence in creating innovative dramatic and poetic forms, new words and thoughts, “And all that faith creates or love desires, / Terrible, strange, sublime and beauteous shapes” (Shelley), Prometheus-like.

The conference topic also points to the ways in which Shakespeare’s work has come down to us: through bound Quartos and Folios, emended, truncated, annotated, as well as through unbound scripts and performances, “faithful” or “adapted”, many of which exceed the place of the stage, flowing down into the audience, out onto the streets, showing up on screens, in anime, graphic novels and narrative recreations and appropriations — contributing to the aesthetic liberation of drama, poetry, the visual arts, music, etc.

This conference will provide an occasion for academics, theatre, performance and arts practitioners to discuss Shakespeare and his contemporaries’ abilities to question and renew the boundaries of art.