Son et traduction dans l’œuvre de Proust Dirigé par Emily Eells et Naomi Toth

Pour le narrateur d’À la recherche du temps perdu, le son traduit ; par ailleurs, il définit la tâche de l’écrivain comme celle d’un traducteur. Se dessinent dès lors, entre sonorité et langage littéraire, un parallèle étroit mais aussi un mince écart, de sorte qu’un point de fuite s’inscrit dans le texte : l’écrivain traduit une sonorité qui est elle-même traduction. Que faire de toutes ces strates de son quand on cherche à les rendre dans une langue autre que le français ? Que révèle la pratique de la traduction de la façon dont Proust pense le rapport entre sonorité et langage ? Telles sont les questions abordées par les articles ici rassemblés, avec une attention particulière accordée aux traductions vers la langue anglaise.

For the narrator of A la recherche du temps perdu, sound translates; he also defines the writer’s task as being that of a translator. A parallel is thereby drawn between sound and literary language, and yet a slight gap exists between them, forming a point of insecurity: the writer translates a sound which is already a translation. What is to be done with these layers of sound when attempting to render them in a language other than French? What does translation reveal about Proust’s understanding of the sound-language relationship? Such questions are addressed by the essays in this volume, which give special attention to translations of Proust’s work into English.

Table de matières // Table of Contents

Emily Eells et Naomi Toth — Introduction : le son traduit
Françoise Asso — Traduire « Zut, zut, zut, zut ».
Christopher Prendergast — Cloches à travers l’eau : le rôle du son dans la Recherche
Adam Watt — « Les sons n’ont pas de lieu » : bruits, murmures et autres sonorités chez Proust.
Anne Penesco — Écouter et traduire les bruits au temps du futurisme
Margaret Gray— Mémoires d’outre-texte : voix fantômes dans le discours proustien
Davide Vago — Traduire le pneuma : sur la vocalité proustienne.
Daniel Karlin —Traduire les cris de Paris dans La Prisonnière.
Elina Absalyamova — La « bande-son » proustienne : entre l’original et l’adaptation en BD
Emily Eells et Naomi Toth — Paroles de traducteurs

Publisher’s website : http://www.honorechampion.com

Multilingual Metal: Sociocultural, Linguistic and Literary Perspectives on Heavy Metal Lyrics University College London, 20-21 September 2018

Heavy metal music has been the subject of scholarly interest since the 1990s. Early academic studies focused on challenging the negative stereotypes of the sub-genre. The field has expanded over the years to include a wide range of sociological and musicological perspectives. For example, the connections between black and death metal, religion, nationalism and Viking imagery have been actively investigated, as have other controversies surrounding the scene, such as racism and sexism. Relatively little attention has been paid exclusively to heavy metal lyrics in this emerging field, with some notable exceptions (e.g. Weinstein 1991, Clendinning & McAuley 2009, Spracklen 2015, Sellheim 2016). There have also been some recent studies on heavy metal practices and lyrics in individual countries and cultures, e.g. Islamic societies (LeVine 2008, Wallach 2011, Hecker 2012), China (Wong 2011), the Easter Islands (Bendrups 2011), Aboriginal Australia (Mansfield 2013, 2014), Finland (Oksanen 2011) and Norway (von Helden 2017).

Inspired by these developments in heavy metal studies, the purpose of our multi-disciplinary conference is to explore further the textual analysis of heavy metal lyrics written in languages other than English. In cases where the primary language of the lyrics is English, loans or elements from other languages can be the topic of investigation. We welcome papers on, for example, the following different approaches:

– Poetics, literary analysis and metaphors in heavy metal lyrics

– Themes and localized narratives in heavy metal in a certain language

– Comparative analysis of heavy metal lyrics in different countries, societies or eras

– Comparative analysis of metal lyrics by different bands or in different sub-genres of metal

– Heavy metal in minority and endangered language contexts as a tool for empowerment and resistance

– Authenticity, originality and legitimacy for national identity in the heavy metal context

– Gender and race in non-English-medium heavy metal

– Representations of culture or identity in multilingual metal music

– Codeswitching and translanguaging in heavy metal

– Intertextuality in heavy metal lyrics

– Sociolinguistics and heavy metal lyrics

– Content Analysis, Discourse Analysis and Critical Discourse Analysis applied to multilingual metal

Please submit your abstract via Easy Chair by 31 May 2018 using the following link: https://easychair.org/conferences/?conf=mm2018. The length of abstracts is 300 words, excluding bibliography. Talks are 20 minutes followed by 10 minutes for discussion. We will notify authors about the acceptance of their papers by 15 June 2018. Selected papers from the conference will be published in a peer-reviewed edited volume. If you have any questions about the event, please email: r.valijarvi@ucl.ac.uk. There is no conference fee for post-graduate students. Registration information will be available in June. The event is supported by the UCL Octagon Small Grants Fund.

Keynote speakers: tbc

Organisers:

Riitta-Liisa Valijärvi (UCL, Uppsala University)

Amanda Digioia (UCL)

Charlotte Doesburg (UCL)

GLITS Annual Graduate Interdisciplinary Conference 2018: Sound and Silence Date: June 8th 2018 Venue: Goldsmiths, University of London

“I have come to believe over and over again that what is most important to me must be spoken, made verbal and shared, even at the risk of having it bruised or misunderstood.”
Audre Lorde, Your Silence Will Not Protect You

 

“I came to think that silence may be the only ‘place’ in which the boundaries of the autonomous self can dissolve, can be penetrated without breaking.”
Sara Maitland, A Book of Silence

 

Sound and silence occupy an inherently complex and paradoxical relation to meaning, as both its antithesis and its very essence. Sound figures as both Pope’s “echo to the sense” and the irrefutable noise of the Real. Silence designates absence and the impossibility thereof, as Cage famously proclaimed, “I have nothing to say and I am saying it.”  How these sonic signals are interpreted and contested determines who can speak, who makes noise, who is silenced – which subjects are permitted and legitimised and which are discredited and repressed.

 

Anne Carson sees the dichotomy of sound as irrevocably gendered due to the patriarchal insistence toward logos, whereby male speech is valorised as the standard-bearer for rationality and female “noise” is perceived as dangerous and disruptive. For Friedrich Kittler, the advent of mechanical storage signals not just a shift in technics but the arrival of a new episteme. Since mechanical ears do not differentiate acoustic events like human ones are trained to, the meaningless and the accidental become as relevant as the deliberate and the symbolic. Psychoanalysis, then, finds its epistemology a matter of phonography, redoubling the policing of human sounds as either normative or pathological.

 

Harold Pinter once said, ‘I think that we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempt to keep ourselves to ourselves.’ Culturally and politically, silence represents the interstices between thought and language, where that which is refused expression is captured in a state of iteration. Phonic expression, then, is threatening both for its capacities and its limitations.

 

Sound and Silence is an interdisciplinary postgraduate conference held on 8 June 2018, hosted by the Goldsmiths Literature Seminar (GLITS) at Goldsmiths, University of London, bringing together scholars across multiple fields to ask: how do we recognise, break and rebuild boundaries through phonic utterance and expression? What part does silence play in psycho- and socio-logical development and how do we attune ourselves to its cacophony of meanings?

 

We invite proposals from various disciplines and historical periods – papers, creative pieces, readings – covering such possible topics as:
  • Sound and silence in the humanities           
  • Architecture
  • Identity
  • Race
  • Soundscapes/silentscapes
  • Phono-semantics
  • Textual methodology
  • Spoken word
  • Speech: dialects/accents
  • Gender
  • Religious
  • Speaking out and speaking back
  • Acts of silencing
Please send abstracts of no more than 300 words or examples of creative work along with a brief bio to glits@gold.ac.uk by Friday 27th April.

Call for Participants Creative Critical Writing Workshop 27-28 June 2018 Newcastle University

Recent years have witnessed increasing interest in regarding research as a creative practice and developing innovative ways of presenting academic work, what we here term Creative Critical Writing. This is a research method that treats the form of academic writing as constitutive of its conceptual argument. It draws inspiration from a tradition of thought that includes Plato’s dialogues, Montaigne’s Essais, Nietzsche’s aphorisms, Walter Benjamin’s Denkbilder, Jacques Derrida’s deconstructive play with language, and Hélène Cixous’s écriture féminine as well as more recent experiments with digital media, disruptive translation and various types of performative or site-specific writing.

In response to the feedback from the Creative Critical Writing Workshop held at UCL in June 2017 we are aiming to establish an annual series of workshops that will provide a platform for graduate students and early career researchers interested in CCW. The goal is to showcase existing work, inspire future research, and offer a chance to network with researchers from different disciplines with similar interests. This year we will place more emphasis on participants presenting their own work. Together we will explore the creative aspects of our critical practices and develop imaginative responses to questions that we face in our work.

This call is aimed at graduate students and early career researchers of all disciplines with cultural and/or critical elements, including, but not limited to:

Architecture

Art

Classics

Digital Humanities

Environmental and/or Medical Humanities

History of Art

Modern Languages

Musicology

Literature

Philosophy

Psychology

If you are interested in taking part, please submit a brief outline of your current research that includes a few sentences on how your work relates to the workshop theme as well as a short bio (max. 750 words).

Please email to CreativeCriticalWriting@gmail.com.

Deadline for expressions of interest is 9th April 2018. Selected participants will be notified in early May.

The registration fee of £15 will include lunch and coffee breaks on both days.

We may be able to offer some contributions towards accommodation or travel expenses (tbc).

For more information, please visit:

www.creativecriticalwriting.wordpress.com

 

Organisation:

Prof Timothy Mathews Dr Mathelinda Nabugodi
Emeritus Professor of French and Comparative Criticism PhD Creative Critical Writing

 

Mathelinda Nabugodi

Research Associate

School of English Literature, Language and Linguistics

Newcastle University