Shakespeare, Austen and audiovisual translation: the classics translated on screen Roma, 30 June - 2 July 2022
Description and call for papers
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.
- 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.
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
Notification of acceptance: 28 February 2022
Registration deadlines and fees: 15 May 2022 € 150; Early bird 15 April 2022 € 120
PhD students: 15 May 2022 € 70; Early bird 15 April 2022 € 50
BA, MA students: free entry but email to the organisers for reservation necessary within 15 April 2022.
ESIST and APTRAD members are entitled to a 20% discount.
Carol O’Sullivan (https://orcid.org/0000-0002-1377-7527) is Associate Professor of Translation Studies in the School of Modern Languages at the University of Bristol, UK. O'Sullivan's main research interests are audiovisual translation, translation history and literary translation. She has primarily been active in audiovisual translation. Her monograph Translating Popular Film (2011) looks at multilingualism in film and the many ways in which film and translation engage with each other. O'Sullivan's main impact has been in the previously relatively unexplored field of history of subtitling, where she has published several studies. In 2019, she co-edited the anthology The Translation of Films 1900-1950 with Jean-François Cornu, whose chapters are dedicated to the emergence of film translation during the silent era and its development during the early decades of sound. O’Sullivan also published numerous journal articles and chaptersTitl of books in the field of AVT, such as, among the most recent ones, “Imagined spectators: The importance of policy for audiovisual translation research” in the international journal Target(2016), “’New and improved subtitle translation’: Representing Translation in film paratexts” (Ranzato and Zanotti, 2018), “Researching the history of Audiovisual Translation” with Carla Mereu Keating (Routledge Handbook of Translation History, 2020).
More information at https://twitter.com/carol_osullivan under the hashtag
The title of her contribution to our conference is Adapting a classic stage translation for subtitles: Anthony Burgess's English subtitles for Cyrano de Bergerac (1990)
Patrick Zabalbeascoa (https://orcid.org/0000-0002-4027-5178) is a full professor at Universitat Pompeu Fabra, in Barcelona, Spain. He has researched and lectured in translation studies and translator training for over 30 years. He has published widely and internationally in the following areas of translation studies: humour, metaphor, irony, theory, dubbing and subtitling, fictional representations of language variation and multilingualism, as well as teacher and translator training. One of his most cited articles is “Humour and Translation—an Interdiscipline” published in Humor Journal, 2005. More recently he has published articles and book chapters including "Censoring Lolita's sense of humor: when translation affects the audience's perception", 2016, in Perspectives: Studies in Translatology, republished by Routledge in 2021, in Ideology, Censorship and Translation. He has acted as the principal researcher of national and international projects, most notably Clipflair.net, on the use of audiovisual translation in foreign-language learning, and MUFiTAVi, the current project of the TraFilm research group, focused on the audiovisual translation of multilingualism in audiovisual fiction. His theoretical contributions to translation studies include a model of Priorities and Restrictions to account for variation in translation, a model of binary-branching solution types as an alternative to so-called translation techniques and strategies, and the concept of L3 as a notation system to signal language variation in translations and their source texts. As far as he is aware, he coined the term "audiovisual text" in his 1993 PhD dissertation, and developed it further in his (2001) "El texto audiovisual: factores semióticos y traducción ", and (2008) "The Nature of the Audiovisual Text and Its Parameters". In 2018 he received an honorary award from the Spanish Association of Audiovisual Translators (https://premios.atrae.org/patrick-zabalbeascoa/) for his contribution in dignifying the profession and the discipline of audiovisual translation and its related research.
The title of his contribution to our conference is “Can Lolita be saved? Advice to little girls on breadcrumbs, beauties and beasts”.
Prof. Irene Ranzato
Dr. Luca Valleriani
Francesca Bianchi, Jorge Díaz Cintas, Eva Espasa Borrás, Agata Hołobut, Vincenza Minutella, Donatella Montini, Monika Woźniak, Serenella Zanotti
Alberto Dall'Olio, Margherita Dore, Davide Passa, Giovanni Raffa, Irene Ranzato, Luca Valleriani
Venue: Università di Roma Sapienza, Dipartimento di Studi Europei Americani e Interculturali, Edificio ‘ Marco Polo’, Circonvallazione Tiburtina 4, 00185 Roma
Main transport stopping near Sapienza Marco Polo building:[Bus] Buses: 105, 218, 492, 542, 71, 88
[Treno] Trains: FC1
[Metro] Underground: A, C
[Tram] Trams: 19, 3
Suggestions for accommodation
(all rated 7,5-9,9 on Booking, from the cheapest to the most expensive in each section)
San Lorenzo/Porta Maggiore area (walking distance to the venue):
- Casa Particular 25Rooms
- Lady D Bed&Breakfast
- Hotel Villa San Lorenzo Maria
- Lele Rooms San Lorenzo
- Hotel Donatello
- Nonna Grazia
- Adelina Guesthouse
Stazione Termini area (take tram 5 or 14, get off at Porta Maggiore then walk to the venue):
- Hotel Leone
- Armonia all’Opera
- Audrey’s Roman Holidays
- Il Sesto Suites Central
- Hotel Serena
- Hotel Chicago
- Hotel California
San Giovanni area (just a few stops with tram 3 to the venue):
- Rome Central Rooms
- Serventi Longhi Rooms
- Alle Porte di San GiovanniAppia 52