Shakespeare, Austen and audiovisual translation: the classics translated on screen Roma, 30 June - 2 July 2022

Description and call for papers

Shakespeare, Austen and audiovisual translation: the classics translated on screen Roma, 30 June - 2 July 2022
 
 
Jane Austen and Shakespeare are twin icons whose afterlives have been declined in strikingly similar ways, something particularly evident in the proliferation of film and television adaptations of their novels and plays (Wifall 2010), which have allowed us to explore fruitfully the ‘‘intersecting cultural legacies’’  of this “unique duo” (Wells 2010).
If the scope, diversity and originality of Shakespearean adaptations is one of a kind, virtually creating a distinct sub-topic within film studies (Keyishian 2000), the generally more ‘direct’ (with notable exceptions) transpositions from Jane Austen and other multifariously adapted classic authors, especially from the nineteenth century (from Dickens to Tolstoy, from Hardy to Maupassant), arguably equal the bard’s in filmic popularity and have also spawned a plethora of academic research in the field of adaptation studies.  Jane Austen’s characters, for example, have been appropriated in every medium, from cinema, to TV, to graphic novels and video games so that “at this point in the twenty-first century [they] have exceeded the boundaries of her novels and have become modern types or ideals, and her titles, phrases, and haunts have become part of the public sphere” (Garber 2003: 208).
While adaptation and intersemiotic studies about the classics on screen have been flourishing (see for example several essays in Leitch 2017), audiovisual translation (AVT) has comparatively neglected adapted classics, arguably preferring to focus on contemporary TV series, video games and films of all times not necessarily referred to an illustrious hypotext.
AVT incursions into adapted literature, however, include studies on popular TV series such as Sherlock (Rodríguez Domínguez & Silvia Martínez Martínez 2015), Detective Montalbano (Bruti&Ranzato 2019, Dore 2017, Taffarel 2012) and The Game of Thrones (Hayes 2021, Iberg 2017, Rivera Trigueros & del Mar Sanchez 2019); the subtitling and/or dubbing of adaptations from the novels by Jane Austen (Bianchi 2016, Sandrelli 2019), Emily Brontë (Almeida et at. 2019), Miguel de Cervantes (Ariza 2018), Charles Dickens (LIang 2020), Henryk Sienkiewicz (Woźniak 2017); from the plays by William Shakespeare (Anselmi 1999, Díaz Cintas 1995, Dwi Hastuti 2015, Ranzato 2011, Sellent Arús 1997, Soncini 2002 and 2008) and their rewritings, commentaries or children’s adaptations (Bruti & Vignozzi 2016, Minutella 2016); and from contemporary classics from The Great Gatsby (Gilic 2020, Vula 2018) to For Whom the Bell Tolls (Zanotti 2019), Little Women (Bruti & Vignozzi 2021) and Harry Potter (Dewi 2016, Liang 2018).
This conference aims at populating this specific area of studies by attracting contributions which analyse, from the point of view of AVT, the audiovisual texts that relate to the words, the language and the characterisations that inspired them, those penned by the most adapted authors such as Shakespeare and Austen, and those featured in the classics of all times and cultures.
 
We thus encourage AVT analyses of films/TV/video games:
 
  • based on the plays by William Shakespeare;
  • based on the novels by Jane Austen;
  • based on the novels and short stories which have attracted the attention of directors and writers over the years, including but not limited to: Louisa M. Alcott, Charlotte Brontë, Emily Brontë, Lewis Carroll, Agatha Christie, Arthur Conan-Doyle, Joseph Conrad, Charles Dickens, Thomas Hardy, Ernest Hemingway, E.M. Forster, Henry James, John le Carré, C.S, Lewis, Ian McEwan, Herman Melville, Edgar Allan Poe, J.K. Rowling, Mary Shelley, John Steinbeck, Robert Louis Stevenson, Bram Stoker, William Makepeace Thackeray, J.R.R. Tolkien, H.G. Wells, Edith Wharton, to mention just a few of those authors whose individual works have benefited from multiple readings;
  • based on the plays by popular playwrights, including but not limited to: Alan Ayckbourn, J.M. Barrie, Noël Coward, David Mamet, Arthur Miller, John Osborne, Harold Pinter, Terence Rattigan, George Bernard Shaw, Tom Stoppard, Oscar Wilde, Tennessee Williams, to mention just a few English-speaking authors who are both widely adapted and some of them adapters for the cinema;
  • based on the works by classic and contemporary classic authors from all over the world as adapted in their respective languages and into English, including but not limited to: Isabel Allende, Honoré de Balzac, Georges Bernanos, Michail Bulgàkov, Andrea Camilleri, Anton Čechov, Miguel de Cervantes, Fëdor Dostoevskij, Alexandre Dumas, Elena Ferrante, Gustave Flaubert, Gabriel García Márquez, Johann Wolfgang von Goethe, Guanzhong, Sadegh Hedayat, Victor Hugo, Franz Kafka, Thomas Mann, Alessandro Manzoni, Guy de Maupassant, Houshang Moradi Kermani, Haruki Murakami, Alberto Savinio, Arthur Schnitzler, Leonardo Sciascia, Henryk Sienkiewicz, Georges Simenon, Stendhal, Lev Tolstòj, Giuseppe Tomasi di Lampedusa, Wu Cheng’en, Émile Zola, to mention just some of the most cinematographically popular authors. 
We welcome proposals from the following areas of study:
 
  • subtitling
  • dubbing
  • voiceover
  • subtitling for the deaf and hard-of-hearing (SDH);
  • audio description;
  • accessibility and new technologies in AVT;
  • censorship and ideological manipulation in AVT;
  • AVT as a pedagogical tool for language teaching and learning;
  • gender studies in AVT;
  • reception and perception studies in AVT;
  • historical and genetic studies in AVT;
  • all linguistic approaches to AVT with special relevance to the analysis of standard and nonstandard language varieties. 
 
References
 
Almeida, Paula Ramalho, Sara Cerqueira Pascoal, and Suzana Noronha Cunha. 2019. “Wuthering Heights on the Screen: Exploring the Relations Between Film Adapatation and Subtitling.” POLISSEMA – Revista De Letras Do ISCAP 11: 215–243.
 
Anselmi, Michela. 1999. “Metamorfosi di un Testo: Transposizione e Doppiaggio di Much ado about nothing nel film di Kenneth Branagh.” In Quaderni di Doppiagio 2, edited by Bruno Paolo Astori, 15-52. Finale Ligure: Voci nell’ Ombra.
 
Ariza, Mercedes. 2018. “Donkey Xote Cabalga Distinto en España y en Italia: Reflexiones Sobre la Intertextualidad Audiovisual.” Journal of Literary Education 1: 58-78. DOI: https://ojs.uv.es/index.php/JLE/article/view/12252.
 
Bianchi, Francesca. 2016. “Subtitling Jane Austen: Pride & Prejudice by Joe Wright.” In Pride and Prejudice: A Bicentennial Bricolage, edited by Caterina Colomba. Udine: Forum.
 
Bruti, Silvia, and Gianmarco Vignozzi. 2016. “Voices from the Anglo-Saxon World: Accents and Dialects Across Film Genres.” Status Quaestionis 11. North and South: British Dialects in Fictional Dialogue, edited by Irene Ranzato, 42-74.
 
Bruti, Silvia, and Irene Ranzato. 2019. “Italian Dialetti in Audiovisual Translation: Perspectives on Three Quality TV Series.” In Ragusa e Montalbano: Voci del territorio in traduzione audiovisiva, edited by Massimo Sturiale, Giuseppe Traina, and Maurizio Zignale, 341-364. Ragusa: Fondazione Cesare e Doris Zipelli-Euno Edizioni.
 
Bruti, Silvia, and Gianmarco Vignozzi. 2021. “The Representation of Spoken Discourse in Little Women: A Journey through its Original and Dubbed Adaptations.” Textus 34 (1): 23-46.
 
Dewi, Indry Caesarria. 2016. “Audiovisual Translation of English Idioms in Harry Potter and The Deathly Hallows Movie: An Analysis of English to Indonesian Subtitles.” Passage 4 (1): 56-69.
 
Díaz Cintas, Jorge. 1995. “El subtitulado de Hamlet al castellano.” Sendebar 6: 147-158.
 
Dore, Margherita. 2017. “Subtitling Catarella: Camilleri's Humour Travels to the UK and the USA.” In Translation Studies and Translation Practice: Proceedings of the second international Translata Conference, 2014, edited by Stauder Zybatow and Michael Ustaszewski, 43-51. Peter Lang.
 
Dwi Hastuti, Endang. 2015. “An Analysis on Subtitling of Romeo and Juliet Movie.” Register 8 (1): 57-80.
 
Garber, Marjorie. 2003. The Jane Austen Syndrome. London/ New York: Routledge.
 
Gilic, Refika Zuhal. 2020. A Descriptive Study of AVT Under Skopos Theory: The Film Adaptation of Great Gatsby (2013 version) and Its Cultural Reflections in Translations From English to Turkish. Ankara: Gece Publishing.
 
Hayes, Lydia. 2021. “Bastard of the North or Kingg uv th’ Nohrth? /ˈbɑː.stəd/ /frɒm/ /də/ /nɔːθ/ or /kɪŋg/ /ɪn/ /də/ /nɒːθ/.” In The Dialects of British English in Fictional Texts, edited by Donatella Montini and Irene Ranzato. London/ New York: Routledge.
 
Iberg, Sofia. 2018. “A Game of Languages: The Use of Subtitles for Invented Languages in Game of Thrones.” In Linguistic and Cultural Representation in Audiovisual Translation, edited by Irene Ranzato and Serenella Zanotti, 184-200. London/ New York: Routledge.
 
Keyishian, Harry. 2000. “Shakespeare and Movie Genre: the Case of Hamlet.” In The Cambridge Companion to Shakespeare on Film, edited by Russell Jackson, 72–81. Cambridge: Cambridge University Press.
 
Leitch, Thomas. 2017. The Oxford Handbook of Adaptation Studies. Oxford: Oxford University Press.
 
Liang, Lisi. 2018. “Subtitling Harry Potter’s Fantastic World: Linguistic and Cultural Transfer from Britain to China in a Subtitled Children’s Film.” Transletters. International Journal of Translation and Interpreting 2: 89-113.
 
Liang, Lisi. 2020. “Reshaping History: Cultural and Temporal Transfer in a Heritage Film Oliver Twist (2005).” Journal of Audiovisual Translation 3 (1): 26-49.
 
Minutella, Vincenza. 2016. “British Dialects in Animated Films: The Case of Gnomeo & Juliet and its Creative Italian Dubbing.” Status Quaestionis 11. North and South: British Dialects in Fictional Dialogue, edited by Irene Ranzato, 222-259.
 
Ranzato, Irene. 2011. "Manipulating the Classics: Film Dubbing as an Extreme Form of Rewriting." In Challenges for the 21st Century: Dilemmas, Ambiguities, Directions, edited by Richard Ambrosini, Stefania Nuccorini, and Franca Ruggieri, 573-581. Roma: Edizioni Q.
 
Rivera Trigueros, Irene, and María del Mar Sánchez-Pérez. 2019. “Conquering the Iron Throne: Using Classcraft to Forster Students' Motivation in the EFL Classroom.” Teaching English with Technology 20 (2): 3-22.
 
Rodríguez Domínguez, Ana, and Silvia Martínez Martínez. 2015. “Irony in Sherlock (BBC, 2010): From Literary to Audiovisual Translation.” In Bestseller - Yesterday and Today: A Look from the Margin to the Center of Literary Studies, edited by Albrecht Classen and Eva Parra-Membrives, 159-171. Tübingen: Narr Francke Attempto.
 
Sandrelli, Annalisa. 2019. "Conversational routines in Jane Austen’s film and TV adaptations: A challenge for Italian dubbing." In Worlds of Words: Complexity, Creativity, and Conventionality in English Language, Literature and Culture, volume I on Language, edited by Veronica Bonsignori, Gloria Cappelli, and Elisa Mattiello, 175-186. Pisa: Pisa University Press.
 
Sellent Arús, Joan. 1997. “Shakespeare Doblat: Molt Soroll per Res, de Kenneth Branagh.” Congrés Intemacional sobre Traducció, Bellaterra, UAB. Vol. 2, 267-279. Barcelona: Universitat Autònoma de Barcelona.
 
Soncini, Sara. 2002. “Shakespeare and Its Dubble: Cultural Negotiations in Italian Audio-visual Transfers of Henry V.” Textus – English Studies in Italy 15 (1): 163–86.
 
Soncini, Sara. 2008. “Re-locating Shakespeare: Cultural Negotiations in Italian Dubbed Versions of Romeo and Juliet.” In Performing National Identity: Anglo-Italian Cultural Transactions, edited by Manfred Pfister and Ralf Hertel, 235-248. Amsterdam: Rodopi.
 
Taffarel, Margherita. 2012. “Un’analisi Descrittiva della Traduzione dei Dialoghi dei Personaggi di Andrea Camilleri in Castigliano.” inTRAlinea. Special Issue: The Translation of Dialects in Multimedia II, edited by Giovanni Nadiani and Chris Rundle.
 
Vula, Elsa. 2018. “The Implementation of Textual Coherence on the Albanian Subtitles of Great Gatsby Film.” European Journal of Multidisciplinary Studies 3 (4): 131-144.
 
Wells, Juliette. 2010. “From Schlockspeare to Austenpop.” Shakespeare 6 (4): 446-462.
 
Witfal, Rachel. 2010. “Introduction: Jane Austen and William Shakespeare –Twin icons?” Shakespeare 6 (4): 403-409.
 
Woźniak, Monika. 2017. “Lingua Latina su Labbra Americane: Il Dialogo Cinematografico di Quo Vadis Hollywoodiano.” In Quo Vadis la Prima Opera Transmediale. Atti del convegno 14-15 novembre 2016, edited by Elisabetta Gagetti and Monika Woźniak, 177-191. Rome: Accademia Polacca delle Scienze.
 
Zanotti, Serenella. 2018. “Archival Resources and Uncertainties in Film Retranslation Research.” Status Quaestionis 15. Exploring Audiovisual Retranslation, edited by Margherita Dore, 60-85.

Deadlines and fees

Deadline for abstracts (300/400 words + short biosketch): 31 January 2022
Notification of acceptance: 28 February 2022
Registration: 30 April 2022 € 150 (early bird 31 March 2022 € 120); PhD students € 70 (early bird € 50)

Programme

Organisation

STEERING COMMITTEE
Prof. Irene Ranzato
Dr. Luca Valleriani
SCIENTIFIC COMMITTEE
Francesca Bianchi, Jorge Díaz Cintas, Eva Espasa Borrás, Agata Hołobut, Vincenza Minutella, Donatella Montini, Monika Woźniak, Serenella Zanotti
ORGANISING COMMITTEE
Margherita Dore, Davide Passa, Giovanni Raffa, Irene Ranzato, Luca Valleriani
CONTACT
avtclassics.sapienza@gmail.com

Registration

Practicalities

Map of the Sapienza Marco Polo building 
Venue: Università di Roma Sapienza, Dipartimento di Studi Europei Americani e Interculturali, Edificio ‘ Marco Polo’, Circonvallazione Tiburtina 4, 00185 Roma

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