[CFP] Play in tongues:Early Modern English theatre in translation

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



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.
Invited speakers include Antonio Ballesteros, Fernando Cioni, Line Cottegnies, Hugo Keiper, Salvador Oliva, Ángel-Luis Pujante, and Julio César Santoyo.

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 are translations of, or 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 “translation” of the Spanish Tragicomedia de Calisto y Melibea (La Celestina).
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)