Posted: August 29th, 2024
Women Writers and Translation
This special issue of Women’s Writing seeks to explore the multifaceted realm of women’s translation, spanning from the Middle Ages through the long nineteenth century. Over the past few decades, scholars have produced important insights on the worlds of women’s translation; however, much work remains. In the introduction to the 2023 special edition on translation studies in PMLA, A.E.B. Coldiron argues, “[T]ranslations constitute points of cultural and historical contact too generative to ignore” (419). Coldiron contends the future of literary studies demands scholars acknowledge the significance of translation: “Insisting on more-than-monolingual inquiry will necessarily yield literary criticism at once more precise and more expansive. Literary-cultural specialists who ignore translation, or who treat it instrumentally, do so at their peril, missing the bigger picture” (430). Given this imperative, our special issue seeks contributions that further the discussion of women writers and translation. We invite proposals for essays that engage with translation in a broad sense, including cultural translation, intralingual translation, and transmedia translation.
Topics may include but are not limited to:
Please submit abstracts of 250 to 300 words with a short biographical statement by 15 September 2024 using this link: https://forms.gle/ms9t2gdssY1NMyXR6
If accepted, author manuscripts will be due for peer review by 15 July 2025. Please note that acceptance of an abstract does not guarantee inclusion in the special issue. All manuscripts will undergo anonymized peer review. The special issue is expected to be published in summer 2026.
Guest editors: Karen Griscom, Community College of Rhode Island and Deborah Uman, Weber State University.
Women Writers and Translation
This special issue of Women’s Writing seeks to explore the multifaceted realm of women’s translation, spanning from the Middle Ages through the long nineteenth century. Over the past few decades, scholars have produced important insights on the worlds of women’s translation; however, much work remains. In the introduction to the 2023 special edition on translation studies in PMLA, A.E.B. Coldiron argues, “[T]ranslations constitute points of cultural and historical contact too generative to ignore” (419). Coldiron contends the future of literary studies demands scholars acknowledge the significance of translation: “Insisting on more-than-monolingual inquiry will necessarily yield literary criticism at once more precise and more expansive. Literary-cultural specialists who ignore translation, or who treat it instrumentally, do so at their peril, missing the bigger picture” (430). Given this imperative, our special issue seeks contributions that further the discussion of women writers and translation. We invite proposals for essays that engage with translation in a broad sense, including cultural translation, intralingual translation, and transmedia translation.
Topics may include but are not limited to:
- translation and gender theory
- mediating translations
- collaborative translation
- reception of translation
- patronage and translation
- paratextual material
- the materiality of translation
- women writers’ contributions to translation theory
- religious translation and commentary
- translation and history
- coterie publication of translation
- translation and prose fiction
- commercial profit and translation
- women’s education and translation
- authorship and originality
- anonymity and women’s translation
- networks around women translators
- translation and genre experimentation
- politics and translation
- translation and travel writing
- periodical publication of women’s translation
Please submit abstracts of 250 to 300 words with a short biographical statement by 15 September 2024 using this link: https://forms.gle/ms9t2gdssY1NMyXR6
If accepted, author manuscripts will be due for peer review by 15 July 2025. Please note that acceptance of an abstract does not guarantee inclusion in the special issue. All manuscripts will undergo anonymized peer review. The special issue is expected to be published in summer 2026.
Guest editors: Karen Griscom, Community College of Rhode Island and Deborah Uman, Weber State University.
Posted: August 30, 2024
Anglophone Riots: A Special Issue
“Riot” is an ambivalent term with complexly interlaced referents. In the domain of the social and the economic, “riot” refers to “a violent disturbance of the peace by a crowd,” as the OED reports. In the domain of the aesthetic, the term “riot” has long named “a roaringly successful show, performer, etc” as well as “a person […] or thing which is extremely popular or makes a big impression.” In contemporary anglophone vernacular, riot occurs in streets, in prisons, in protests, and in spaces of exceptional social combustibility—spaces that are nowadays increasingly “common” in three senses: frequent, popular, and public. Riot also occurs in aesthetic space: there are riots of color, riotous performances, riotous behavior, and riot as aesthetic judgement, as in, “the book was a riot.” Importantly, there were also riotous developments in language and pedagogy. This issue zeroes in on the varied meanings of riot in the period, as well as now. For Romanticists, the doubledness of this term is hidden in plain view in Wordsworth’s definition of poetry, which is as familiar as the air we breathe. “Poetry is the spontaneous overflow of powerful feelings,” Wordsworth writes, and from the perspective of 2024 we know too that the “the spontaneous overflow of powerful feelings” is also one of the primary definitions of “riot.”
This special edition invites papers on the archive of late-eighteenth- and early-nineteenth-century riot literature as it relates to an increasingly global anglophone world—by which we mean the motley archive of news, stories, poems, and plays that document bread riots, swing riots, dock riots, theater riots, colonial riots and more—is an important mediator of aesthetic practice during the Romantic period. “No one knows what the riot wants,” writes Alain Badiou in his recent book on the subject, to which we can add that because riot itself is amorphous and unpredictable, capturing it in poetry, on stage, or in the novel poses interesting aesthetic problems. Departing from social historian E.P. Thompson’s (and more recently Joshua Clover’s) periodizing conclusion that the eighteenth and early nineteenth centuries were a time when riots were ambient features of social and economic life, and, given the well-known fact that Wordsworth and Romantic-era writers in general were bravura upcyclers of “situations from common life,” this paper takes seriously the notion that reports of political “riot” were remediated through the literary into new and novel poetic and literary forms. From this perspective, it is possible to see the commons as a maker of Romanticism rather than the more conventional view in which the Romantics represent the commons.
Submission Instructions
Please submit your abstracts to Victoria Barnett-Woods by October 18th, 2024, at [email protected]
If accepted, author manuscripts will be due for peer review by May 31st, 2025.
Anglophone Riots: A Special Issue
“Riot” is an ambivalent term with complexly interlaced referents. In the domain of the social and the economic, “riot” refers to “a violent disturbance of the peace by a crowd,” as the OED reports. In the domain of the aesthetic, the term “riot” has long named “a roaringly successful show, performer, etc” as well as “a person […] or thing which is extremely popular or makes a big impression.” In contemporary anglophone vernacular, riot occurs in streets, in prisons, in protests, and in spaces of exceptional social combustibility—spaces that are nowadays increasingly “common” in three senses: frequent, popular, and public. Riot also occurs in aesthetic space: there are riots of color, riotous performances, riotous behavior, and riot as aesthetic judgement, as in, “the book was a riot.” Importantly, there were also riotous developments in language and pedagogy. This issue zeroes in on the varied meanings of riot in the period, as well as now. For Romanticists, the doubledness of this term is hidden in plain view in Wordsworth’s definition of poetry, which is as familiar as the air we breathe. “Poetry is the spontaneous overflow of powerful feelings,” Wordsworth writes, and from the perspective of 2024 we know too that the “the spontaneous overflow of powerful feelings” is also one of the primary definitions of “riot.”
This special edition invites papers on the archive of late-eighteenth- and early-nineteenth-century riot literature as it relates to an increasingly global anglophone world—by which we mean the motley archive of news, stories, poems, and plays that document bread riots, swing riots, dock riots, theater riots, colonial riots and more—is an important mediator of aesthetic practice during the Romantic period. “No one knows what the riot wants,” writes Alain Badiou in his recent book on the subject, to which we can add that because riot itself is amorphous and unpredictable, capturing it in poetry, on stage, or in the novel poses interesting aesthetic problems. Departing from social historian E.P. Thompson’s (and more recently Joshua Clover’s) periodizing conclusion that the eighteenth and early nineteenth centuries were a time when riots were ambient features of social and economic life, and, given the well-known fact that Wordsworth and Romantic-era writers in general were bravura upcyclers of “situations from common life,” this paper takes seriously the notion that reports of political “riot” were remediated through the literary into new and novel poetic and literary forms. From this perspective, it is possible to see the commons as a maker of Romanticism rather than the more conventional view in which the Romantics represent the commons.
Submission Instructions
Please submit your abstracts to Victoria Barnett-Woods by October 18th, 2024, at [email protected]
If accepted, author manuscripts will be due for peer review by May 31st, 2025.
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