Scenes in the Other’s Language/Scènes dans la langue de l’autre (November 1-3, 2018; Abstracts due March 15, 2018)

deadline for submissions: 
March 15, 2018
full name / name of organization: 
University of Georgia/Université Paul Valéry Montpellier III
contact email: 

Call for Papers: Scenes in the Other’s Language/Scènes dans la langue de l’autre (November 1-3, 2018; Abstracts due March 15, 2018)

The University of Georgia (UGA) and the Université Paul-Valéry Montpellier 3 (UPVM) and IRCL (UMR5186 CNRS) are delighted to announce a conference, “Scenes in the Other’s Language/Scènes dans la langue de l’autre,” as part of their new collaboration, “Scene-Stealing/Ravir la scène,” sponsored by UGA, UPVM, CNRS, the Partner University Fund, and the FACE Foundation. This conference is organized in the wake of the exploratory day that took place in Montpellier in October 2017 and in association with the a2ru inter-arts conference that will be held at the University of Georgia in November 2018.

Dates: November 1-3, 2018

Location: University of Georgia Special Collections Libraries, Athens, Georgia, USA, 30602, and other locations around the University of Georgia and downtown Athens, Georgia

 Activities: Planned conference activities include seminars, paper sessions, plenary lectures, and a poster session for undergraduate research. Delegates will also have the opportunity to attend a UGA Theatre Department immersive multimedia production, “The Rosetta Theatre Project”; a roundtable discussion about “Shakespeare's Magical Language: Gloria Naylor's Mama Day and the Languages of the Barrier Islands” with students and faculty from Linguistics and African American Studies; and some film screenings.

Call: We solicit seminar and panel papers from faculty and graduate students in English, French, Theatre, Film Studies, Linguistics, and other related disciplines on the topic of multilingual scenes in French and English drama from the Renaissance through the Enlightenment. We define such “scenes” as sequences of dialogue in which a noticeable proportion of lines appear in a language that is not the dominant language of the rest of the play or in which on-stage characters identify a particular sequence as belonging to another language or as constituting jargon or an argot. Such scenes appear in, for example, Shakespeare’s Henry V, 1 Henry IV, Love’s Labour’s Lost, The Taming of the Shrew, Merry Wives of Windsor, and All’s Well That Ends Well; Molière’s Monsieur de Pourceaugnac; Lodge’s Wounds of Civil War; Bonnet’s Le Jugement de Paris; Marston’s Antonio and Mellida and Antonio’s Revenge; Baudeau de Somize’s Les Véritables Précieuses; Jonson’s Poetaster and The Case is Altered; Greene’s James IV; Heywood’s If You Know Not Me, You Know Nobody, Part 2; Brécourt’s L’Ombre de Molière; Dekker’s The Shoemaker’s Holiday; Haughton’s Englishmen for my Money; Kyd and Middleton’s The Spanish Tragedy; and many more.

We invite individuals or groups of scholars to share different perspectives on the same scene and encourage interdisciplinary collaboration and exchange. Topics might include: theatrical or cinematic histories of well-known scenes of translation or language-learning in Shakespearean drama; scenes of Latin and French in English plays and of Latin and English in French plays; the identification and representation of signed languages in early modern English and French drama; scenes of polyglossia (translated or untranslated); scenes including or discussing language minorities or regional languages within a nation; investigations of the translation of multilingual scenes when the surrounding play is itself translated into another language; editorial decisions surrounding the “correction” of language errors in scenes or sequences in another language. We also encourage potential contributors to consider deeply the theoretical concerns raised by the term “the other” in the context of language use and to keep in mind not only historical philosophies of otherness such as those delineated by Husserl, de Beauvoir, and Levinas but also present-day perspectives on otherness from contemporary race studies (in the US and in France), postcolonialism, disabilities studies, gender and sexuality studies, whiteness studies, and other frameworks.

We invite contributions in both French and English, although we will ask French-language authors to be willing to make an English translation of their work available at the conference.

Please send by March 15, 2018 the following:

a)      250-word abstract for 20-minute conference papers or for performances of various lengths, or a 200-word abstract for a manuscript to be circulated in a seminar or for an undergraduate research poster

b)     3-5 sentence biography

c)      a brief sentence clarifying whether you would prefer to participate in a seminar, to lead a seminar, to deliver a paper, to offer a performance, or to present a poster.

Send all materials to Sujata Iyengar (iyengar[at]uga.edu) and Christy Desmet (cdesmet[at]uga.edu).  The conference committee comprises representatives from both UGA and UPVM from English, French, Theatre, and related departments. We hope to let all applicants know the status of their conference submissions by the end of April 2018.

Selected papers on early modern French and English drama will be eligible for publication in the peer-reviewed multimedia online journal Scene Focus/Arrêt sur Scène; selected papers on Shakespearean scenes and their adaptations will be eligible for publication in the peer-reviewed multimedia online journal Borrowers and Lenders: The Journal of Shakespeare and Appropriation.