Just got a press release about new funding available for the translation of academic German books into English.
With Geisteswissenschaften International: Translation Funding for Humanities and Social Sciences from Germany, the German Publishers & Booksellers Association (Börsenverein des Deutschen Buchhandels), the Fritz Thyssen Foundation and the German Federal Foreign Office will now reward innovative academic works on humanities and social sciences written in German by providing funding for the translation of such works into English.
The aim is to support a wider international dissemination of academic research results from Germany and at the same time, to uphold German as an academic language and the language of first publications of works on humanities and social sciences. Geisteswissenschaften International aims to strengthen Germany as an educational and academic base. “Cultural and intellectual understanding within worldwide academic society is the aim of many translations at this time. With Geisteswissenschaften International, we hope to strengthen the participation of German-language academic works in international academic discourse,” said Dr. Gottfried Honnefelder, president of the Börsenverein des Deutschen Buchhandels, foreign minister Dr. Frank-Walter Steinmeier, and chairman of the Fritz Thyssen Foundation committee, Dr. Manfred Schneider, as they welcomed the undertaking.
Applications will be accepted from publishing companies with academic publications in the fields of humanities and social sciences. They should submit their own selection of titles for which rights option agreement is already in place, and provide a brief summary of the reasons for their selection. The amount of funding will depend on each individual case and the actual translation costs.
Application deadline for this round is June 1st. And more info is available here.
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .