{"id":4213,"date":"2018-06-04T09:12:01","date_gmt":"2018-06-04T09:12:01","guid":{"rendered":"http:\/\/cec.letras.ulisboa.pt\/en\/?p=4213"},"modified":"2019-07-09T15:35:15","modified_gmt":"2019-07-09T15:35:15","slug":"international-conference-translation-as-reframing","status":"publish","type":"post","link":"https:\/\/cec.letras.ulisboa.pt\/en\/events\/international-conference-translation-as-reframing\/","title":{"rendered":"International Conference “Translation as reframing”"},"content":{"rendered":"

\"25252525\"<\/a>Dates:\u00a0<\/strong>27-28 June, 2019
\nVenue:<\/strong> School of Social Sciences and Humanities, University of the Azores
\n<\/p>\n

Confirmed keynote speakers:<\/strong>
\nEdwin Gentzler<\/strong>\u00a0(University of Massachusetts Amherst)
\nMargarida Vale de Gato<\/strong>\u00a0(School of Arts and Humanities, University of Lisbon)<\/p>\n

Programme<\/a><\/p>\n

The concept of\u00a0reframing<\/strong>\u00a0is widely used across different fields (sociology, journalism, film studies, business management, conflict management) to stress the idea that placing an object or situation in a new context \u2013 a new frame \u2013 changes the way it can be perceived and interpreted. Reframing emphasizes acts of decision-making that illustrate ideological constraints, identity formation processes, the manipulation of cultural images, and asymmetrical power relations at large.<\/p>\n

In Translation Studies, Andr\u00e9 Lefevere conceptualized translation as rewriting in the wake of the Manipulation School in the 1980s, a term that is closely related to\u00a0reframing<\/strong>. More recently, the notion of\u00a0reframing<\/strong>\u00a0has been applied to news translation and interpreting in conflict management situations (e.g. Baker, 2007). According to Mona Baker, (re)framing is \u201can active strategy that implies agency and by means of which we [\u2026] participate in the construction of reality\u201d (2006: 106). Indeed, understood more broadly,\u00a0reframing<\/strong>\u00a0provides a fertile occasion to reflect on the translator\u2019s agency, which has become a much-debated topic in contemporary Translation Studies.<\/p>\n

Translation always introduces a text \u2013 a moving body \u2013 into a\u00a0new\u00a0linguistic, cultural and social context,\u00a0in which\u00a0a\u00a0new\u00a0story\u00a0is\u00a0built around this foreign object. Several translation agents are involved in this process of moving bodies across boundaries. Translators are the most obvious examples of such moving bodies, since they are the \u201crewriters [who] adapt, manipulate the originals they work with to some extent, usually to make them fit in with the dominant, or one of the dominant ideological and poetological currents of their time\u201d (Lefevere, 1992: 6). Translation as\u00a0reframing<\/strong>\u00a0summons us to question preconceived notions of original\/ity, authorship or translatorship, for that matter (Jansen and Wegener, 2013). In addition to translators, all those involved in selecting, representing, producing and receiving these moving bodies \u2013 i.e. editors, reviewers, critics, patrons, readers \u2013 act as\u00a0reframing<\/strong>\u00a0agents. Their choices and reactions add to the global\/local interpretation of the foreign material in the target culture.<\/p>\n

Reframing<\/strong>\u00a0contributes to constructing an image of otherness that may vary when compared to its prevailing representations in the source context or in other target contexts. In fact, a translated text brings along authors, cultures, societies, often national literatures, which are reinterpreted by readers who do not usually share the same beliefs, value systems, experiences, and assumptions as the source readership. Paratexts (Genette, 1997) play an important role in this \u2013 both peritextually (dust jacket, covers, title page, preface, notes\u2026) and epitextually (reviews, publishers\u2019 marketing strategies for the text and its author, interviews\u2026). They tell a story about the text, its author and originary culture, which shapes reader perceptions of, and expectations about, the literary work, the author, and his or her culture.<\/p>\n

All these factors, along with the translation choices made by the various translation agents, build a story around the text, unique to the target context, to a specific time and place, in which readers participate and that largely dictates their interpretation of this moving body. This conference welcomes studies that underpin such stories, inviting scholars to rethink a broad range of translation issues through the lens of\u00a0reframing<\/strong>, its devices and the agents involved in their creation.<\/p>\n

Possible topics for presentation<\/strong><\/p>\n

\u2013 Translation agents and their role in reframing texts;<\/p>\n

\u2013 (New) contextual stories created for translated texts and their implications;<\/p>\n

\u2013 Paratextual choices as reframing;<\/p>\n

\u2013 Rethinking traditional concepts of authorship, original\/ity, translatorship;<\/p>\n

\u2013 Representations of Otherness through reframing;<\/p>\n

\u2013 Translation as rewriting and rereading;
\n\u2013 Reframing as a collective, collaborative process of translation;
\n\u2013 The functioning of reframing devices;<\/p>\n

\u2013 Digital challenges to reframing;<\/p>\n

\u2013 Historical and spatial variations in the interpretation of translated texts;<\/p>\n

\u2013 Translation as manipulation: issues of power and ideology;<\/p>\n

\u2013 Reshaping a text\u2019s status through translation from source to target context(s);<\/p>\n

\u2013 Translation and its reframing of world literature;<\/p>\n

\u2013 Reframing island literature through translation.<\/p>\n

References<\/strong><\/p>\n

BAKER, Mona (2006).\u00a0Translation and Conflict: A Narrative Account<\/em>, London, New York, Routledge.<\/p>\n

BAKER, Mona (2007). \u201cReframing conflict in translation\u201d,\u00a0Social Semiotics<\/em>, vol.17, n.2, pp.\u00a0151-169.<\/p>\n

GENETTE, G\u00e9rard (1997).\u00a0Paratexts. Tresholds of Interpretation<\/em>\u00a0(Trans. Jane E. Lewin), Cambridge, Cambridge University Press.<\/p>\n

JANSEN, Hanne, and Anna WEGENER (2013). \u201cMultiple translatorship\u201d, in\u00a0Authorial and Editorial Voices in Translation 1 \u2013 Collaborative Relationships between Authors, Translators, and Performers<\/em>\u00a0(Ed. Hanne Jansen and Anna Wegener), Montr\u00e9al, \u00c9ditions qu\u00e9b\u00e9coises de l\u2019\u0153uvre, pp.\u00a01-39.<\/p>\n

LEFEVERE, Andr\u00e9 (1992).\u00a0Translation, Rewriting and the Manipulation of Literary Fame<\/em>, London, New York, Routledge.<\/p>\n

Individual paper submissions should include<\/strong><\/p>\n

\u2013 Title of paper;<\/p>\n

\u2013 Name, email address, and institutional affiliation of participant(s);<\/p>\n

\u2013 Abstract (max. 300 words and 5 keywords);<\/p>\n

\u2013 Language of presentation (Portuguese or English);<\/p>\n

\u2013\u00a0Bionote (max.\u00a0100 words, mentioning main research interests, projects and selected publications).<\/p>\n

Panel submissions should include<\/strong><\/p>\n

\u2013 Title of panel;<\/p>\n

\u2013 Short description of the panel (max. 150 words);<\/p>\n

\u2013 Name, email address, and institutional affiliation of participants (no more than 3 presenters);<\/p>\n

\u2013 Individual abstract (max. 250 words and 5 keywords);<\/p>\n

\u2013 Language of presentation (Portuguese or English);<\/p>\n

\u2013\u00a0Bionote of each presenter (max. 100 words, mentioning main research interests, projects and selected publications).<\/p>\n

Proposals must be submitted through email to:\u00a0reframingtranslation@gmail.com<\/a><\/p>\n

DEADLINES<\/strong><\/p>\n

Submission of proposals\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0January 31, 2019
\nNotification of acceptance\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0February 28, 2019
\nRegistration\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Until May 15, 2019<\/p>\n

Registration fee\u00a0<\/strong>(per participant)
\nFaculty members of the University of the Azores\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a030 \u20ac
\nMA and PhD students\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 30 \u20ac
\nGeneral fee\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 70 \u20ac<\/p>\n

 <\/p>\n

Organizing committee:
\n<\/strong>Dominique Faria (University of the Azores\/CEC, University of Lisbon)
\nJoana Moura (CEC, University of Lisbon\/Universidade Cat\u00f3lica Portuguesa)
\nMarta Pacheco Pinto (CEC, University of Lisbon)<\/p>\n

 <\/p>\n

This is an activity of the\u00a0MOV<\/strong>\u00a0(Moving Bodies: Circulations, Narratives, and Archives in Translation) research project (LOCUS group)\u00a0<\/a>of the\u00a0Centre for Comparative Studies, University of Lisbon<\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Dates:\u00a027-28 June, 2019 Venue: School of Social Sciences and Humanities, University of the Azores<\/p>\n","protected":false},"author":20,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[115,9],"tags":[],"_links":{"self":[{"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/posts\/4213"}],"collection":[{"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/comments?post=4213"}],"version-history":[{"count":13,"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/posts\/4213\/revisions"}],"predecessor-version":[{"id":4215,"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/posts\/4213\/revisions\/4215"}],"wp:attachment":[{"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/media?parent=4213"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/categories?post=4213"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cec.letras.ulisboa.pt\/en\/wp-json\/wp\/v2\/tags?post=4213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}