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.
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .
While looking back at an episode in his life, twenty-year-old Taguchi Hiro remembers what his friend Kumamoto Akira said about poetry.
Its perfection arises precisely from its imperfection . . . . I have an image in my head. I see. . .
The central concern of Sorj Chalandon’s novel Return to Killybegs appears to be explaining how a person of staunch political activism can be lead to betray his cause, his country, his people. Truth be told, the real theme of the. . .
Spoiler alert: acclaimed writer Stefan Zweig and his wife Lotte kill themselves at the end of Lauren Seksik’s 2010 novel, The Last Days.
It’s hard to avoid spoiling this mystery. Zweig’s suicide actually happened, in Brazil in 1942, and since then. . .
To call Kjell Askildsen’s style sparse or terse would be to understate just how far he pushes his prose. Almost nothing is explained, elaborated on. In simple sentences, events occur, words are exchanged, narrators have brief thoughts. As often as. . .
After a mysterious woman confesses to an author simply known as “R” that she has loved him since she was a teenager, she offers the following explanation: “There is nothing on earth like the love of a child that passes. . .