The University of East Anglia in the UK is looking for submissions for their biannual journal In Other Words, published by the British Centre for Literary Translation. If you are interested in contributing to issues 38-40 (and these contributions are not limited to the specific topics of each issue) drop a line to editor Valerie Henitiuk at firstname.lastname@example.org.
In Other Words is a biannual journal published by the British Centre for Literary Translation, in collaboration with the Translators’ Association. The special themes of the next several issues are listed below, but we are also always happy to receive articles discussing any topic of interest to literary translators. Articles should be a maximum of 4000 words; style guidelines are provided in the back of each issue. Further information is available on our website, www.bclt.org.uk, and specific queries may be addressed to the editor at: email@example.com.
Issue 38: Translating Music
We welcome article submissions on any aspect of ‘Translating Music,’ which can include but is not limited to:
The translation of musical texts (lyrics in songs, operatic works, etc)
Musicality in texts and how this can be translated
Translating performativity of musical works
Deadline for submissions is 1 October 2011
Issue 39: Translation and the Arab World
We welcome article submissions on any aspect of Translation and the Arab World’, which can include but is not limited to:
Translation in/as resistance
Toppling regimes, toppling paradigms
Unity and diversity in Middle Eastern literature
Deadline for submissions is 1 March 2012
Issue 40: Translating Children’s Literature
We welcome article submissions on any aspect of ‘Translating Children’s Literature’, which can include but is not limited to:
Age-based theories of translation
Translation vs. adaptation
The translation of different genres for young readers (picture books, young adult literature, nonfiction, fantasy, etc.)
Educating children via translated texts
Deadline for submissions is 1 October 2012
For more information, please contact Valerie Henituk at firstname.lastname@example.org.
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .