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CALL. 05.03.2020: Translating Greek Drama (1600-1750) - Villetaneuse (France)












LUGAR/LOCATION/LUOGO: Université Sorbonne Paris Nord (Villetaneuse, France)

ORGANIZADOR/ORGANIZER/ORGANIZZATORE: Malika Bastin-Hammou (Grenoble); Giovanna Di Martino (Oxford); Cécile Dudouyt (Paris 13), with the support of Université Grenoble Alpes, Université Sorbonne Paris Nord, and the Archive of Performances of Greek and Roman Drama (Oxford).






Understanding the early modern reception of ancient drama is a cross-cultural, multilingual and collective effort. Recent diachronic explorations of ancient theatre in translation have recorded and analysed translation theories and practices in separate European languages, especially English and French. Drawing momentum from the European scope of previous collections, the aim of this conference is to bring together researchers focusing on translations of ancient Greek drama throughout Europe between 1600 and 1750 and, in collaboration with the translation database at the Archive of Performances of Greek and Roman Drama (Oxford), provide a platform to gather and exchange information on three different levels:

- Translations: source-text(s) editions, translation strategies, as well as the publication, circulation and performances of target texts.

- Translators: training and proficiency in ancient Greek, economic situation (patronage, market for translations), religious, intellectual, political backdrop to the production of translations and their reception.

- Translation theories: early modern translation practices and theories of translation; twenty-first-century terminology.

After Translating Greek Tragedy in Sixteenth-Century Europe (on tragedies, 1450-1600), and On Translating Greek Drama in the Early Modern Period (on translation theories, 1450-1600), this third conference on the topic (focusing on 1600-1750) seeks to address the following questions:

1.  The European big picture: What were the common European trends, in theory and/or practice in the early translations of Greek drama? How effective was the circulation of both source- and target-texts?

2.   Perceptions and representations: How were these translations perceived? How did they influence performance, and how did performance in turn impact translation practices? How was translating as a practice theorised, and how do early modern terminologies, in different languages, map on twenty-first-century notions (translation, adaptation, version, rewriting, rendering, etc.)?

3.  Intertextuality: What sort of influence did these translation theories and target-texts exert on European theatre in general, especially when compared to the reception of Roman Drama?

To participate, please send a 200-word abstract and a short biography to by 5 March 2020 (please note the change in the abstract deadline).



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