Monday 9 February 2015

CALL FOR CONTRIBUTIONS

Call for papers CDDC 17-18/2022

INTERSEMIOTICITY, INTERGENERICITY, INTERMEDIALITY:

FROM TRANSLATION TO DRAMATISATION, ADAPTATION, PERFORMANCE

            Roman Jakobson’s On Linguistic Aspects of Translation (1959) is still a much quoted (re)source, above all for having introduced the concept of intersemioticity or transmutation as “the interpretation of verbal signs by means of signs of non-verbal sign systems. For the 17thand 18th issues of Concordia Discors vs. Discordia Concors, we propose a reflection on translation and adaptation as a passage, not only from verbal to non-verbal, but also from a genre to another, and also from a medium to another.

Whether we see intersemioticity, along with Aba-Carina Pârlog (2019) as a prism, or we consider it a metamorphosis or mutation, it is always reinvention, extension, addition, and not a simple repetition of an “original” text. Umberto Eco (2003) argues that intersemiotic translations or transmutations (in Jakobsonian terms) are nothing but adaptations, as they reshape previous texts due to their tendency to ‘say too much.’ Much like translations, adaptations are usually judged in terms of their fidelity to a prototext, even if a change of medium is involved. In keeping with the so-called archontic literature, which posits that texts based upon or referring to other texts are never simply derivative or subordinate, they do not retell or repeat a story; they rather build an archive that expands the textual world.

Intergenericity explores the translation potential of generic interactions and influences. Considering genre from a linguistic perspective, as a text type, spoken or written, but also, from a social perspective, as an “activity type” (Fairclough, 1992) closely connected with the subject positions that are socially determined, we focus on the relationship between authorial and lectorial genericity. In the latter part of the 19th century and the former of the 20th, novelists used to dramatise” their fiction, either in order to protect it against unauthorised dramatisation or for much more than reasons of copyright (see Henry James’ Daisy Miller, Thomas Hardy’s Tess of the D’Urbervilles, Joseph Conrad’s The Secret Agent, or J. M. Barrie with his books featuring Peter Pan).

The process of self-adaptation is, as shown by Richard James Hand (1996), illuminating because it reveals much about the way these novelists saw their fiction as well as the broader perception of their culture.

Due to the fact that Jakobson’s concept of intersemiotic translation is limiting, as the source medium is traditionally a written text, intermediality came to define various interactions among media, dissociating the translation from its strictly linguistic meaning (Shober, 2010). According to Lars Elleström (2010), every medium is constituted of four necessary conditions or basic modalities: material, sensorial, spatiotemporal and semiotic, in such a way that even the apparently monomodal text is, in fact, multimodal. Consequently, as intermediality is the result of constructed media borders being trespassed,’’ various signs may be part of various systems at the same time without losing their stability. We understand, therefore, intermedial translation both as the adaptation and transmission of a literary work through another medium, and as interactions among other different media, such as, for instance, Amy Lowell’s poetic translation of Stravinsky’s music (Shober), or Marie Chouinard’s choreographical translation of Hieronymus Bosch’s painting  The Garden of Earthly Delights (Montesi, 2021).

As Martha Dvořák (2012) claims, text in the original etymological sense of textus (surface, material, base) signifying the concrete bottom or supporting part has mutated – mutated to an immaterial mental state, but also to other forms of material, other cultural media, transforming intertextuality to intergenericity, intersemioticity, or rather, intermediality”.

 

We kindly invite subsmissions in English, French, German, Italian or Spanish for the 17th and 18th issues of the peer-reviewed academic journal Concordia Discors vs. Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies (http://condisdiscon.blogspot.com/2021) on one of the following subtopics (but not only):

§  musicalisation of literature

§  ekphrasis

§  from picaresque to picturesque

§  from the book to the screen

§  from the book to the stage

§  digital art

§  movement as translation

§  from stage/screen to page; text as anchorage

§  the socio-cultural meaning of  the material expression of signs; substances/surfaces of production (ink, gold, paint, etc./paper, canvas, wood, etc.)

§  intermediality and interartiality

§  adaptation as reverence or subversion towards source texts

§  intermediality in graphic novels

§  intersemiotic translation and the burden of historical and cultural context

A special section will be dedicated to interviews, reviews of publications, as well as research progress reports in adjacent thematic areas.

Interviews and reviews of recent books / plays / films / musical performances / art exhibitions are also accepted, which need not relate to the topic at issue.

Contributions in extenso should be sent no later than September 1st 2022 to the mail addresses indicated under CONTACTS.

Abstracts:

§  should be submitted in English and not exceed 150 words

§  should include 5 keywords, as well a short bionote in English (indicating author’s name, affiliation, academic / research areas of interst, email)

§  should indicate the section preferred (Comparative Literature, Constrastive Linguistics, Cross-Cultural Strategies, Translation Strategies, Cross-Artistic Approaches, Reviews and Presentations)

CONTACTS

Daniela Hăisan: danielahaisan@litere.usv.ro

Raluca Balaţchi: raluca.balatchi@usm. ro

Daniela-Maria Marţole: danielamartole@yahoo.com

REFERENCES

Byden, Diana; Martha Dvořák, eds., 2012, Crosstalk: Canadian and Global Imaginaries in Dialogue, Wilfred Laurier University Press

Brower, Reuben Arthur, ed., 1959, On translation, Harvard Studies in Comparative Literature, vol. 23, Harvard University Press

Dvořák, Martha, 2012, Rejoinders in a Planetary Dialogue”, in Diana Byden and Martha Dvořák, eds., Crosstalk: Canadian and Global Imaginaries in Dialogue, Wilfred Laurier University Press, pp. 111-134

Eco, Umberto, 2003, Mouse or Rat. Translation as negotiation, London: Orion Publishing Group

Elleström, Lars, ed., 2010, Media Borders. Multimodality and Intermediality, London, Palgrave, Macmillan

Fairclough, Norman, 1992, Discourse and social Change, Cambridge: Polity Press

Hand, Richard James, 1996, Self-adaptation: The Stage Dramatisation of Fiction by Novelists, PhD thesis, http://theses.gla.ac.uk/1912/

Jakobson, Roman, 1959, On Linguistic Aspects of Translation”, in Brower, Reuben Arthur (ed), On translation, Harvard University Press, pp. 232-240

Montesi, Vanessa, 1921, Translating Paintings into Dance: Marie Chouinard’s The Garden of Earthly Delights and the Challenges posed to a Verbal-based Concept of Translation”, in The Journal of Specialised Translation, 35, pp. 166-185

Pârlog, Aba-Carina, 2019, Intersemiotic Translation: Linguistic and literary Multimodality, Springer International Publishing; Palgrave Pivot

Shober, Regina, 2010, “Translating Sounds: Intermedial Exchanges in Amy Lowell’s Stravinsky’s Three Pieces ‘Grotesque’ for String Quartet”, in Lars Elleström (ed) 2010, Media Borders, Multimodality and Intermediality, London, Palgrave Macmillan, pp. 163- 175

Call for papers CDDC 15-16/2021

Semanticity, Alterity, Creativity:

Building on Eugenio Coseriu’s Legacy

 

    Eugenio Coseriu (1921-2002) emerged in full force on the international scene in 1958 with a work that was to set the blueprint for the purport and overarching themes of his life-long scientific endeavors: Sincronía, diacronía e historia. El problema del cambio lingüístico. Katsuhiko Tanaka, one of the co-translators of the first Japanese edition and himself a reputed linguist, notes in his explanatory study: this book is not to be viewed as book in/of linguistics, but rather as “an efficient weapon that enables one to deepen one’s own reflection on the fundamental issues of man, language, society and culture” (1981). Tanaka and the other co-translator, Takashi Kamei, first proponent of the idea that Coseriu needs to be considered “a linguist for the 21st century”, converge in assessing the Coserian paradigm as a theoretical outlook truly ahead of its time, whose genuine reception and full development can only be effected under the aegis of a future century.

    Coseriu’s project of an “integral linguistics” embraces the systematic study of all the forms and aspects of language as a cultural activity, i.e. as a free, purpose-oriented, infinite activity of meaning creation on a dimension of alterity – creation for and with the other –, as epitomized in what Coseriu defined as the three “primary essential universals of language”: semanticity, alterity, creativity. Coseriu’s work lays out the map of a vast territory to be explored: a grand design where the universal level of speaking in general, the historical level of particular languages and the individual level of discourse are all included in a coherent conceptual construction. The dynamic diversity reflected in language varieties, the role of contexts and of all the circumstances of speech in the production and interpretation of meaning, the emphasis on taking poetic (literary) discourse as a privileged object for linguistic inquiry – since it is in it that all the sense-generating potentialities of language can be found in their full actualization – , these are just a few of the perspectives that place Coseriu at odds with some of his contemporary (20th-century) mainstream linguistic paradigms, and delineate a new path, whose success – or failure – is to be decided in the decades to come.

 

    In the year 2021, which marks the centenary of Eugenio Coseriu’s birth, the InterLitteras Research Centre of Ștefan cel Mare University (Suceava, Romania) kindly invites submissions in English, French, German, Italian and Spanish for issues no. 15 and 16 of the peer-reviewed academic journal „Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies” ( http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html ) dedicated to exploring Coseriu’s legacy for the development of language studies in the 21st-century, and to reappraising his life-long endeavors towards a systematic conceptual reconstruction of humane sciences in general. In keeping with the journal’s profile, contributions adopting comparative and contrastive perspectives, and aimed at unraveling the interplay of language(s), discourse and culture are warmly welcomed.

    The following open list of thematic areas and questions is offered for reflection and debate, in the spirit of anti-dogmatism that constituted Coseriu’s own guiding principle throughout his scholarly life:

- The philosophical foundations of Coseriu’s “integral linguistics”, with a view to addressing a broader and more radical question: Does linguistics (still) need philosophical foundations in the 21st century?

- Critical confrontations with competing (and arguably more successful - in a hypothetical box-office ranking of institutional endorsement -) theoretical trends from 20th century linguistics

- Phenomena pertaining to the reception of Coseriu’s work in diverse linguistic-cultural spaces and periods of time (ranging between poles of acceptance / rejection, in-depth comprehension / partialization, creative development / servile imitation)

- The topicality of Coseriu’s theoretical and methodological outlook for the contrastive study of languages and texts

- The challenges of building the “text linguistics as a hermeneutics of textual sense” envisaged by Coseriu, and delineating its interfaces with other disciplines of textuality and discourse (such as stylistics, poetics, semiotics, discourse analysis, text pragmatics)

- Possibilities and limitations of integral text linguistics as a framework for studying poetic (literary) texts

- Coseriu’s contributions to translation theory and practice, in particular his methodological dissociation between “rational” vs “empirical” limitations of translation.

 

    A special section will be dedicated to interviews, reviews of publications and presentations of projects related to Coseriu’s work and life, as well as research progress reports in adjacent thematic areas.

 

    Interviews and reviews of recent books / plays / films /musical performances / art exhibitions are also accepted, which need not relate to the topic at issue.

Deadlines:

Submission of abstract: March 31st, 2021

(via e-mail, to the addresses indicated under Contacts)

 

Notification of acceptance: April 15th, 2021

Submission of contribution in extenso: July 15th, 2021
(via e-mail, to the addresses indicated under Contacts)

Abstracts:

¨ should be submitted in English and not exceed 150 words

¨ should include 5 keywords as well as a short Bionote, also in English (indicating author’s/s’ name, affiliation, academic/research areas of interest, etc), and e-mail address(es)

¨ should indicate section preferred (Comparative Literature; Contrastive Linguistics; Cross-Cultural Strategies; Translation Strategies; Cross-Artistic Approaches; Reviews and presentations) and language of submitted manuscript (English, French, German, Italian or Spanish).

 

Both Abstracts and Contributions in extenso should be sent no later than the dates specified above to the mail addresses indicated under CONTACTS

 

Guest editor of the issues: Emma Tămâianu-Morita (Kindai University, Japan)

Editor-in-chief: Gina Măciucă (Stefan cel Mare University, Romania)

 

CONTACTS

Gina Maciuca: ginamaciuca@litere.usv.ro

Lavinia Ienceanu: lavinia.ienceanu@yahoo.es

 

CONCORDIA 13-14



Call for papers CDDC 13-14
When 'not bad' is in fact 'very good': understated vs overstated reality
          When our demographically- and climatically-challenged planet is actually overcrowded and facing extinction in a more or less distant future, whereas the eloquence of our highfalutin politicians could split rocks as they’re in reality laying it on a bit thick – “not to put too fine a point on it” –, comparing extremes, contrasting stances and eventually setting a fair limit to perilous transgressions are no small accomplishments. And who better trained to do that than comparatists, for, as Dennis Redmond (2003) adroitly put it, “Every Comparatist is part Swiss banker and part global justice activist, with one foot in a deeply exploitative cultural marketplace, and the other foot in the struggle for free and fair cultural exchange”.
          That is precisely why The InterLitteras Research Centre  kindly invites submissions in English, French, German, Italian and Spanish for issues no 13 and 14 of the academic journal  „Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies” ( http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html )   on topics related to understatement and overstatement, the guiding concepts of our major focus: When not bad’ is in fact very good’: understated vs overstated reality. Interviews and reviews of books/plays/films/musical performances/art exhibitions are also accepted, which need not relate to the topic at issue.
Contributors are being warmly invited to add to the following open list of subtopics proposed:
- the use and abuse of overstatement in the media
- fake news: (involuntary) adherence and condescension 
- reading and interpreting reality in the post-truth era
- artistic representations of death: between understatement and overstatement 
- overstatement vs euphemism
- euphemism vs political correctness
- the strategy of euphemisation
- meiotic ways of narrating
- ambiguity generators and extricators in literature and linguistics
- strategies of translating litotes
- the ‘betrayed betrayer’ (el burlador burlado)
- the non-complying complier (and the other way round)
- fantasy-reality-purgatory
- dystopian utopia vs utopian dystopia
- Locus amoenus vs locus corruptus/terribilis

Deadlines:
Submission of abstract  :   March 1st, 2020
(via e-mail, to the addresses indicated under Contacts)
Notification of acceptance:  March 15th, 2020
Submission of contribution in extenso:  July 1st, 2020
(via e-mail, to the addresses indicated under Contacts)
Abstracts:
¨  should be submitted in English and not exceed 150 words
¨  should include 5 keywords as well as a short Bionote, also in English (indicating author’s/s’ name, affiliation, academic/research areas of interest, etc), and e-mail address(es)
¨  should indicate section preferred (Comparative Literature, Contrastive Linguistics, Cross-Cultural Strategies, Translation Strategies and Cross-Artistic Approaches) and language of submitted manuscript (English, French, German, Italian or Spanish).

Both Abstracts and Contributions in extenso  should be sent no later than the dates specified above to:

CONTACTS
Gina Maciuca   ginamaciuca@litere.usv.ro
Lavinia Ienceanu lavinia.ienceanu@yahoo.es



CONCORDIA 11,12

Call for papers CDDC 11-12


The Id of the Underworld vs the Superego of Heaven: Psychologically-Based Approaches

MOTTO
Psychoanalysis must “ conquer the whole field of mythology….We must also take hold of biography […][and] smuggle psychoanalysis into ethnopsychology”
(Sigmund Freud, Letter to Ludwig Binswanger, 1913)


         Founded in 2009, CONCORDIA DISCORS vs DISCORDIA CONCORS: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies (CDDC)
( http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html ) will celebrate in 2019 a decade since its birth, in addition to embarking on a new exciting phase, that of pre-teenage.
          As an added incentive, in 2019 we will be commemorating 80 years since Sigmund Freud reluctantly succumbed in London to his „dear neoplasm”, leaving behind, besides a priceless legacy – psychoanalysis: hooted or derided by his opponents, and worshipped by his disciples – , his formidable spirit, which nowadays looms larger than ever as „one of the profoundest [...] investigators into the obscure depths of the human souls” (cf Haverlock Ellis, The World of Dreams, 1911).
          With this conjunction of events in mind, and since, moreover, 10 is usually the age when children set out on their lifelong inward-looking ‚self-centered’ voyage, CDDC’s editorial team have decided to devote 2019’s issues 11 and 12 to psychology-oriented approaches to/in/on literature, language, translation, cultural and artistic studies.
          Submissions in English, French, German, Italian, Romanian and Spanish are being therefore warmly invited from fellow academics and researchers all over the world on topics related to psychology, the guiding concept of our major focus: The Id of the Underworld vs the Superego of Heaven: Psychologically-Based Approaches. Interviews and reviews of books/plays/films/musical performances/art exhibitions are also accepted, which need not relate to the topic at issue.
          As regards subtopics invited, since again, the province of psychology is as a rule taken to subsume fields as diverse as ethnopsychology, neurolinguistics, psychoanalysis, psychobiography, psychodrama,   psychohistory, psycholinguistics, psychonomics, psychopathology, psychophysics, a.s.f., the editors chose to refrain from applying any ill-advised constraints by making suggestions in this respect, so contributors can safely consider that „sky is the limit”,...provided they keep within the bounds of literature, language and linguistics, translation, the arts, as well as culture at large, and as long as they keep in mind Freud’s guiding motto
Flectere si nequeo superos, Acheronta movebo (Virgil, Aeneid VII, 312),
translated by Freud as „if I cannot move heaven, I will stir up the underworld”.

Deadlines:
Submission of abstract  :  1 November 2018
(via e-mail, to the addresses indicated under Contacts)
Notification of acceptance:  15 November 2018
Submission of contribution in extenso:  1 May 2019
(via e-mail, to the addresses indicated under Contacts)


Abstracts:
¨  should be submitted in English and not exceed 150 words
¨  should include 5 keywords as well as a short Bionote, also in English (indicating author’s/s’ name, affiliation, academic/research areas of interest, etc), and e-mail address(es)
¨  should indicate section preferred (Comparative Literature, Contrastive Linguistics, Cross-Cultural Strategies, Translation Strategies and Cross-Artistic Approaches) and language of submitted manuscript (English, French, German, Italian, Romanian or Spanish).

Both Abstracts and Contributions in extenso  should be sent no later than the dates specified above to:

CONTACTS
Gina Maciuca   ginamaciuca@litere.usv.ro
Lavinia Ienceanu lavinia.ienceanu@yahoo.es


CONCORDIA 9,10
 Call for papers 


Transcending Old Boundaries into New Territories: Comparatistic Vistas
MOTTO
The New is not a threat to the Old; in fact it is the absence of the New which permits the destruction of the Old. Each is the indispensable corrective upon and index of the other.
(Dennis Redmond, 2003)

The InterLitteras Research Centre  kindly invites submissions in English, French, German, Italian and Spanish for issues no 9 and 10 of the academic journal  „Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies” (http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html)   on topics related to inter- and transdisciplinarity, the guiding concepts of our major focus: Transcending Old Boundaries into New Territories: Comparatistic Vistas. Interviews and reviews of books/plays/films/musical performances/art exhibitions are also accepted, which need not relate to the topic at issue.
Contributors are being warmly invited to add to the following open list of subtopics proposed:
-Liminal excess
-Liminal journeys
-Initiation
-Bildungsroman
-Experimental writing / literature
-Cyclicity (from old to new to old back again) 
-Old vs new in translation (theory) 
-Effacement of the boundaries of high and low culture
-Globalisation and boundary-effacement consequences
-Genre / culture permeability
-The permeability of language borders

Deadlines:
Submission of abstract  : 1 November 2017
(via e-mail, to the address indicated under Contacts)
Notification of acceptance: 15 November 2017
Submission of contribution in extenso: 15 January 2018
(via e-mail, to the address indicated under Contacts)
Abstracts:
¨  should be submitted in English and not exceed 150 words
¨  should include 5 keywords as well as a short Bionote, also in English (indicating author’s/s’ name, affiliation, academic/research areas of interest, etc), and e-mail address(es)
¨  should indicate section preferred (Comparative Literature, Contrastive Linguistics, Cross-Cultural Strategies, Translation Strategies and Cross-Artistic Approaches) and language of submitted manuscript (English, French, German, Italian or Spanish).

Both Abstracts and Contributions in extenso  should be sent no later than the dates specified above to:

CONTACTS
Gina Maciuca   ginamaciuca@litere.usv.ro

     

CONCORDIA 7,8


Call for papers
ARTS TREK. CROSS-ARTISTIC APPROACHES

The InterLitteras Research Centre  kindly invites submissions in English, French, German, Italian and Spanish for issues no 7 and 8 of the academic journal  „Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies” (http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html) on topics related to inter- and transdisciplinarity, the guiding concepts of our major focus: Arts Trek. Cross-Artistic Approaches. Interviews and reviews of books/plays/films/musical performances/art exhibitions are also accepted, which need not relate to the topic at issue.
For the past six decades or so, academic education has gone through a series of reforms that involved the replacement of traditional academic disciplines by holistic, integrated approaches, more closely related to pragmatic life aspects, with the shaping of a new concept, interdisciplinarity, as a natural consequence thereof. The dissolution of disciplinary interests and constraints and the assimilation of various types of disciplinary knowledge broadened the critical perspectives thus facilitating access to various research fields, catalysing reactions to new stimuli and, most importantly, inviting new types of audience. As many other notions that took shape in the 20th century to name realities, phenomena, procedures, methods and techniques - some of which had been active ever since Antiquity - , the syncretic approach of various fields arises from the need to unify heterogeneous elements from different disciplines and results in  the birth of interdisciplinarity,  alongside related research areas such as: transdisciplinarity, multi- and pluridisciplinarity.
The two issues set out to bring together researches from various artistic fields which, in the spirit of Robert Frodeman's simple definition of interdisciplinarity, choose to focus outward, away from their group of peers (Frodeman, 2014, Sustainable Knowledge. A Theory of Interdisciplinarity, p. 36).
Viewed as dialogue between different media, combination between textual messages and non-verbal systems, permutation that intermingles texts and images, interpenetration, interference of languages of art, on the one hand, and of these and verbal language, on the other hand, artistic interdisciplinarity covers a wide range of topics that may include, but are not restricted to, the following:

- Hypotyposes: where literature meets painting
- Architecture and translation:  the construction of spatial meaning
- Translation and intermediality
- Voyages, journeys and trips in visual and non-visual arts
- Photography between science, art and practice
- Word and image in children’s books
- Artistic creativity and psychopathology
- Bricolage and improvisation in contemporary art
- Heterogeneous spaces
- Autobiography vs. self-portrait
- Literary texts on screen: literary fiction as source, pretext or text-discourse matter represented/interpreted/overinterpreted by audio-visual means
 - Adaptation as transcultural and transartistic/transdisciplinary phenomenon in performing arts
- The phenomenological model in arts and literature: sensory fiction, presence effects vs meaning effects, phenomenological experiences
- The language of drama vs the language of stage: from Shakespeare to multimedia theatre
- Films as texts, texts as films: screenplays and the problem of words turned into images
- Plastic arts: the way from concept to image and back
- Representations of gender in contemporary TV fiction
- Posthumanism in TV discourse
- Iconotexts in printed and audio-visual advertising

- Graphic music (musical graphics)
- Musical composition and mathematical determinism
- Philosophy and music (modes and systems of thought)
- Psychology and music (music therapy)

Deadline:

Submission of contribution in extenso: 15 September 2016
Contributions should also include the following:
-           an Abstract (150 words), and 5 keywords in English;
-          a short Bionote, also in English, indicating author’s name, affiliation, academic/research areas of interest, etc;
-          section preferred (Cross-Artistic Approaches, Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies) and language of submitted manuscript;
-           author’s/authors’ e-mail address(es),

and should be sent no later than the date specified above to:
Olga Gancevici concordia7_8@yahoo.com
Daniela Maria Marțole concordia7_8@yahoo.com

 

Apel la colaborare
ARTS TREK. ABORDĂRI TRANSARTISTICE

Centrul de cercetare InterLitteras are plăcerea de a vă invita să publicați în numerele 7 și 8 ale revistei academice ”Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies” (http://condisdiscon.blogspot.ro/2015/02/aims-and-scope.html ).
 Sunt acceptate lucrări în limbile engleză, franceză, germană, italiană și spaniolă pe teme legate de inter- și transdisciplinaritate, tema volumului fiind Arts Trek. Abordări transartistice., precum și recenzii de carte, interviuri, cronici de film, teatru, spectacole muzicale sau expoziții de artă.
Începând cu a doua jumătate a secolului al XX-lea, sistemul academic a suferit o serie de reforme care prevedeau eliminarea disciplinelor academice tradiționale în favoarea unei abordări holiste, integrate, mai apropiate de aspectele pragmatice ale vieții, și care au dat formă unui nou concept: interdisciplinaritatea. Dizolvarea intereselor şi constrângerilor disciplinare şi integrarea mai multor tipuri de cunoaştere disciplinară au fluidizat perspectivele critice, permiţând accesul la domenii diverse, catalizând reacţii la stimuli noi şi, cel mai important, invitând noi tipuri de audienţă/public.
Ca multe alte noțiuni fabricate în secolul al XX-lea pentru a denumi realități, fenomene, procedee, metode și tehnici, unele existente încă din Antichitate, abordarea sincretică a mai multor domenii vine din necesitatea contopirii unor elemente eterogene din diverse discipline și duce la nașterea interdisciplinarității, alături de noțiuni proxime ca obiect de studiu, precum transdisciplinaritatea, multi- și pluridisciplinaritatea.
Numerele noastre îşi propun să aducă împreună cercetători din domenii diverse ale artei, care, în spiritul definiţiei simple  pe care o dă Robert Frodeman (2014, Sustainable Knowledge. A Theory of Interdisciplinarity) interdisciplinarităţii, aleg să-şi concentreze atenţia în afara grupului de cercetare al disciplinei de care aparţin.
Dialog între diferite suporturi, combinare între mesaje textuale și sisteme non-verbale, permutare care poate apropia textul și imaginea, interpenetrare, interferență între limbaje artistice diferite, sau între acestea și limbajul verbal, interdisciplinaritatea în artă poate viza teme precum cele de mai jos, însă propunerile noastre sunt strict orientative:
- Hipotipoze: unde literatura se întâlnește cu pictura
- Arhitectură și traducere: construirea sensului ”spațial”
- Traducere și intermedialitate
- Tipuri de călătorii în artele vizuale și non-vizuale
- Fotografia între știință, artă și (punere în) practică
- Cuvânt și imagine în cărțile pentru copii
- Creativitate artistică și psihopatologie
- Bricolaj și improvizație în arta contemporană
- Spații hibride
- Autobiografie vs. autoportret
- Ecranizarea textului literar: ficțiunea literară ca sursă, pretext sau materie textual-discursivă reprezentată / interpretată / suprainterpretată integral cu mijloace audio-vizuale
- Adaptarea ca fenomen transcultural si transartistic/ transdisciplinar in artele scenei
- Modelul fenomenologic în arte și literatură: ficțiuni senzoriale, efecte de prezență și trăiri fenomenologice
- Limbaj dramatic și limbaj scenic- de la Shakespeare la teatrul multimedia
- Filmul ca text, textul ca film: scenariul cinematografic și problema vizualizarii expresiei verbale
- Arta plastică: traseul de la concept la imagine și retur
- Limbajul sexelor în ficțiunea TV contemporană
- Postumanismul în discursul televizat
- Iconotextul publicitar în arta reclamei tipărite și audio-vizuale
- Muzica grafică (grafismul muzical)
- Compoziția muzicală și determinismul matematic
- Filosofia şi muzica (Sisteme şi moduri de gândire)

- Psihologia şi muzica (Terapia prin muzică)

                                Articolele in extenso vor fi trimise până la 15 septembrie 2016
persoanelor de contact Daniela MARȚOLE și Olga GANCEVICI, pe adresa: concordia7_8@yahoo.com     
și vor include, de asemenea:
-          Un rezumat (150 cuvinte) și 5 cuvinte-cheie în engleză;
-          O scurtă bionotă (cu indicarea numelui, a afilierii instituționale, a ariilor de interes academic și/sau de cercetare etc), și aceasta în engleză;
-          Secțiunea pentru care se optează (Abordări Transartistice, Literatură Comparată, Lingvistică Contrastivă, Strategii Interculturale și Traductologice), și limba în care e redactat articolul (engleză, franceză, germană, italiană, spaniolă);
-          Adresa/adresele de e-mail a(le) autorului/autorilor 
 
CONCORDIA 5,6 


Call for Papers


MASCULINE AND FEMININE:

EITHER, NEITHER, BOTH OR MORE?



The Inter Litteras Research Centre kindly invites submissions in English, French, German, Italian or Spanish for issues no 5 and 6 of the academic journal “CONCORDIA DISCORS vs DISCORDIA CONCORS: Researches into Comparative Literature, Contrastive Linguistics,  Cross-Cultural and Translation Strategies” on the topic MASCULINE AND FEMININE: EITHER, NEITHER, BOTH OR MORE?
In a world of blurred boundaries, clear-cut distinctions verge on unethical or unpolitically correct,  readily punishable statements, which makes it hard to even dream of asserting or analysing as thorny an issue as (gender) identity. We get to ask ourselves where do we stand in an ever-expanding extropian society / habitat? Do meaningful, natural, age-old differences between masculinity and femininity fade away when faced with the supremacy of the in-between?
Reflections on these and other related topics are welcome in one of the four sections: Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies.
Papers are invited to explore the “feminine”, the “masculine”, or both in their multifaceted aspects, possible lines of approach including the following:

¨  - Feminine vs Masculine Corpo(reality): anorexia, steatopygia etc; corporeal narratology
¨ - Gender in the Media (or how messages related to the “feminine” and “masculine” are embedded in advertising, literature, film, (text) books, media, news etc)
¨ - Motherese (characteristics of the speech used by mothers when talking to their babies/toddlers/infants) vs Fatherese (characteristics of the speech used by fathers when talking to their babies/toddlers/infants)
¨  -Masculine / Feminine / Feminist Linguistics: active vs passive, verbalization vs nominalization as indexes of masculinity/femininity; politeness and gender; gendered talk-in-interaction: feminine/masculine idiolect,  dominance vs difference, competitive or socially rejective (displaying indexes of power) vs cooperative or socially supportive (providing back-channel, latching on to topics, inviting approval); eroticization of language (indexes of erotomorphism)
¨   - Gender-Specific and Gender-Neutral Pronouns / Names
¨  - Women and / in Translation (feminist theories of translation; translation of women-writers; portraits of women-translators; women and / in self-translation; gender-sensitive translation; androcentric vs androdeviant strategies)
¨  - Feminine / Masculine Writing (Sapphic literature, Narratives of Singleness, Heroes and Heroines, feminine vs masculine creativity)
¨  - Gender Theory (transgender; transsexuality; transhumanism)
¨ - Gender Roles, Gender Stereotypes/Archetypes ( Lilith, Eve, Penelope, Medea; Ulysses, Hercules, Achilles), Syndromes (Anna Karenina, Red Riding Hood, Snow White, Sleeping Beauty, Ugly Duckling), Complexes (Electra vs Oedipus) and  Typologies (the saint, the adulteress, the widow, femme fatale,  the nymph, the mermaid, the muse, The Parcae, The Three Graces, The Amazons, donna angelicata vs donna endemoniata; the titan, the superhero, the beggar, the bachelor, the dictator (Cacique/Caudillo), the werewolf, Apollonian vs Dionyssian; the hero(ine) vs the antihero(ine), the murderer/ess vs the self-murderer/ess, Beauty vs Beast, Don Juan vs Doña Juana) in various cultures
- Gender Identities and Tendencies (“femininities” and “masculinities”): effemination versus (symbolic) emasculation, misogyny vs misandry, sterility vs fertility, lustfulness vs abstinence, priapism vs impotence; lumbersexuality – the new masculinity?, homosexuality/lesbianism, postmodern chivalry, vice vs virtue, periphery vs centre, animus vs anima, yin vs yang; machismo, Marianism, bovarysm, picaresca/sicaresca )
¨  - Gender-Based Discrimination (sexist language: patronizing of women only?, evolution of sex-marked words)

EXTENDED DEADLINES:
Submission of abstracts: 30 September 2015
(via e-mail, to the addresses indicated under Contacts for each of the 5 languages)
Notification of acceptance: 15 October 2015
Submission of contribution in extenso: 15 January 2016

Abstracts:
¨  should not exceed 150 words
¨  should also include 5 keywords as well as the author’s name, affiliation and e-mail address
¨  should indicate preference for section (Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies) and language (English, French, German, Italian or Spanish).

CONCORDIA DISCORS vs DISCORDIA CONCORS has already been included in JourList, “The Central European Journal for Social Sciences and Humanities” (cejsh.icm.edu.pl), as well as eight university libraries in Europe, Asia and Africa, and will shortly be submitted for inclusion in CEEOL and IndexCopernicus, as well as in a further series of top-ranking databases.

Contacts:
English and German: ginamaciuca@litere.usv.ro
English and French: daniella.haisan@gmail.com
English and Spanish: lavinia.ienceanu@yahoo.es
English and Italian: ciprianpopa@litere.usv.ro



Apel la colaborare

MASCULIN ŞI FEMININ:

CARE PE CARE SAU ORICARE?




          Centrul de Cercetări Inter Litteras are plăcerea de a vă invita să participaţi la realizarea numerelor 5 şi 6 ale revistei academice “CONCORDIA DISCORS vs DISCORDIA CONCORS: Researches into Comparative Literature, Contrastive Linguistics,  Cross-Cultural and Translation Strategies” cu lucrări în limba engleză, franceză, germană, italiană sau spaniolă pe teme legate de MASCULIN ŞI FEMININ.
Într-o lume a contururilor vagi, distincţiile tranşante sunt considerate fie imorale, fie incorecte politic şi, prin urmare, sancţionabile, ceea ce face ca abordarea genului sau a identităţii de gen să fie o sarcină foarte dificilă. Ajungem să ne întrebăm care este locul nostru într-o societate şi un habitat extropiene. Mai au sens diferenţele clasice, fireşti, vechi de când lumea, între masculinitate şi feminitate, între alb şi negru, într-o lume în care predomină cenuşiul?
Aşteptăm reflecţiile dvs pe această temă şi altele înrudite pentru cele patru secţiuni ale revistei: Literatură comparată, Lingvistică contrastivă, Studii culturale, Traductologie.
Contribuţiile circumscrise „femininului” şi „masculinului” pot avea legătură sau nu cu următoarele subteme:
¨  (Corpo)r(e)alitatea feminină vs (Corpo)r(e)alitatea masculină: anorexia, steatopigia; naratologie corporală
¨  Genul în media (mesaje legate de “feminin” şi “masculin” produse în publicitate, literatură, cinematografie, cărţi, manuale, ştiri etc.)
¨  Motherese (caracteristici ale discursului matern) vs Fatherese (caracteristici ale discursului patern)
¨  Lingvistică patriarhală vs. Lingvistică feministă: activ vs pasiv, verbalizare vs nominalizare ca indicii ale masculinităţii / feminităţii; politeţea şi genul; limbaj feminin / masculin, supremaţie vs diferenţă, competitivitate şi putere vs cooperare şi solidaritate; erotizarea limbajului  (indici ai erotomorfismului)
¨  (Pro)nume care trădează sau ascund genul
¨  Femei în traducere (teorii feministe ale traducerii; scriitoare în traducere; portrete de traducătoare; figura autotraducătoarei; traducerea care ţine cont de specificitatea de gen; strategii androcentrice şi androdeviante)
¨  Scriere feminină / Scriere masculină (literatura safică, naraţiuni despre celibat, eroi şi eroine, creativitate la feminin/masculin)
¨  Teoria genului (transgen(eritate); transsexualitate; transumanism)
¨  Roluri de gen, stereotipuri şi arhetipuri de gen (Lilith, Eva, Penelopa, Medeea; Ulise, Hercule, Ahile), sindroame (Anna Karenina, Scufiţa Roşie, Albă-ca-Zăpada, Frumoasa din pădurea adormită, Răţuşca cea urâtă), complexe (Electra vs Oedip), tipologii (evlavioasa, adulter(in)a, văduva, femeia fatală, nimfa, sirena, muza, cele trei graţii, parcele, amazoanele, femeia-înger vs femeia-demon; titanul, supereroul, cerşetorul, burlacul, dictatorul (Cacique/Caudillo), vârcolacul, Apollo vs Dionyssos; erou vs anti-erou, eroină vs anti-eroină, criminalul / criminala vs sinucigaşul / sinucigaşa, Frumoasa şi Bestia, Don Juan vs Doña Juana) în diferite culturi
¨  Identităţi şi tendinţe de gen (tipuri de feminitate şi masculinitate): efeminare vs emasculare (simbolică), misoginism vs misandrie, sterilitate vs fertilitate, concupiscenţă vs abstinenţă, priapism vs impotenţă; lumbersexualitatea – noua masculinitate?, homosexualitate / lesbianism, cavalerism postmodern, viciu vs virtute, periferie vs centru, animus vs anima, yin vs yang; cultul masculinităţii, Marianism, bovarism, picaresca/sicaresca )
¨  Discriminare de gen (limbaj sexist: prerogativă a sexului “tare”?, evoluţia cuvintelor cu denotații/conotaţii sexuale)

TERMENE-LIMITĂ:
Trimiterea rezumatelor: 30 Septembrie 2015
(prin e-mail, la adresele indicate mai jos pentru fiecare dintre cele 5 limbi)
Confirmarea acceptării: 15 Octombrie 2015
Trimiterea lucrării in extenso: 15 Ianuarie 2016
Rezumatele:
¨  nu trebuie să depăşească 150 de cuvinte
¨  trebuie să includă şi 5 cuvinte-cheie, precum şi numele, afilierea instituţională şi adresa de e-mail a autorului
¨  trebuie să specifice secţiunea vizată (Literatură comparată, Lingvistică contrastivă, Studii culturale, Traductologie) şi limba în care este redactată lucrarea (engleză, franceză, germană, italiană, spaniolă).
CONCORDIA DISCORS vs DISCORDIA CONCORS figurează deja în JourList, “The Central European Journal for Social Sciences and Humanities” (cejsh.icm.edu.pl) şi în bibliotecile a opt universităţi din Europa, Asia şi Africa şi va fi în curând supusă evaluării în vederea includerii în CEEOL şi IndexCopernicus, precum şi în alte baze de date recunoscute pe plan internațional.

Persoane de contact:
Engleză şi germană: ginamaciuca@litere.usv.ro
Engleză şi franceză: daniella.haisan@gmail.com
Engleză şi spaniolă: lavinia.ienceanu@yahoo.es
Engleză şi italiană: ciprianpopa@litere.usv.ro







 

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