Deadline's Approaching! Grant Opportunities for Artists and Arts Managers from Eligible Countries through ArtsLink Awards

Deadline's Approaching! Grant Opportunities for Artists and Arts Managers from Eligible Countries through ArtsLink Awards

Independent Projects Awards 2015:

Grant Opportunities for Artists & Arts Managers from Eligible Countries
Applications Deadline – December 3, 2014!

CEC ArtsLink invites artists, arts managers and non-profit arts organizations in all disciplines from 37 eligible countries (see below) to apply for Independent Projects Awards.

Project grants enable artists and arts managers from eligible countries to carry out self-directed projects in the US.  Applicants must have a letter of invitation from a non-profit organization or individual in the US to apply.

US Artists and Arts Managers seeking to collaborate with international colleagues are encouraged to consider this opportunity for potential funding. The application must be submitted by your international partner, so we invite you to share this information.

Submission deadline – December 3, 2014 for projects taking place between May 1, 2015 and April 30, 2016.

Application and Guidelines
 Eligible countries: Afghanistan, Albania, Armenia, Azerbaijan, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Egypt, Estonia, Georgia, Hungary, Israel, Kazakhstan, Kosovo, Kyrgyzstan, Latvia, Lebanon, Lithuania, Macedonia, Mongolia, Moldova, Montenegro, Palestine, Poland, Romania, Russia, Serbia, Slovak Republic, Slovenia, Syria, Tajikistan, Turkey, Turkmenistan, Ukraine, and Uzbekistan.

Please visit our website for more information.

Attachments are

New Fellowship for Emerging Directors

New Fellowship for Emerging Directors

The Eugene O’Neill Theater Center, in partnership with the Kennedy Center,National New Play Network and Stage Directors and Choreographers Foundation, announced a new National Directors Fellowship on Tuesday, American Theatre has learned exclusively.

Planned to run over five years, the program will provide a total of 25 early-career directors with 18 months of professional development opportunities and hands-on experience each, culminating in a potential directing opportunity at an NNPN theatre.

“We want to be an agent of change with this program, in terms of breaking the hamster wheel where emerging directors are stuck in this consistent track of assistant directorships,” said Preston Whiteway, executive director of the O’Neill Center. “How do you ever get that full production if no one’s going to take a chance on you?”

That’s a question Wendy C. Goldberg has been asking herself for years. As artistic director of the O’Neill’s National Playwrights Conference, she has devoted her time to helping writers. She brought up the idea of starting a directors fellowship two years ago when she noticed, from her own experience as a director, that there weren’t as many opportunities for rising directors as there were for playwrights.

“I’ve been a professional director for 15 years, and in the last 15 years, look at how many more opportunities have emerged for playwrights, and I can still look at essentially the same three to four programs that were trailblazers in director outreach and training,” Goldberg explained. “There’s a perception issue that because there are so many playwright opportunities that equals director opportunities.”

With a $200,000 grant from the Doris Duke Foundation, along with some additional funding, the National Directors Fellowship plans to welcome a new class of 5 fellows every 12 months for its 18-month program. The curriculum begins with a week at the O’Neill’s National Playwrights Conference at the end of July, where the fellows will observe rehearsals and potentially assist in the room, as well as attend additional seminars with industry professionals.

From the O’Neill, the cohort will go directly to the Kennedy Center for an MFA playwrights’ workshop and directing intensive, led by NNPN and the Kennedy Center American College Theater Festival. The group will then return to the O’Neill in January for more intensive curriculum, as well as the opportunity to work on directing a play by a living writer with professional actors. The directing fellows will also have esteemed working directors available for mentoring and advice while working on these projects.

The entire program concludes with a residency at an NNPN core theatre, where the director fellows might have the chance to direct or assist on a production. The O’Neill will accept applications for the fellowship Jan. 12-16, 2015.

“We have to be certain that someone is really trying to make a concerted effort to make this their career path,” Goldberg said of what she’s looking for in applicants. “We’re also going to be looking at people who understand that we are specific to new play work, and people who really understand and are devoted to writers as a core value of what they do.”

Added Whiteway, “We are keeping it a little bit vague on purpose because we do want to find the person who didn’t necessarily go through an MFA program for directing, but who is doing great things with little visibility in Kansas City or Denver or Portland. Part of this grant is about finding folks who aren’t necessarily on the MFA directing track.”

NNPN executive director Nan Barnett said that what NNPN brings to the partnership is the ability to expose the fellows to all different forms of work across the country. “The program is going to evolve as the directors themselves evolve,” Barnett said, adding that fellows will have the chance to network with and possibly collaborate with NNPN’s 29 core theatres, as well as their associate members, who focus on all types of work, including devised, solo and ensemble-driven pieces. NNPN has theatres in 57 cities across the U.S., providing geographic diversity as well.

“NNPN matches very well with launching careers for early career directors, and this program is trying to make it easier for these theatres, which are on a smaller budget scale and don’t always have the funding to bring someone in from out of town and house them,” Whiteway explained. “It funds the director to go wherever they need to go and pays for the salary.”

With the O’Neill’s campus expansion this year, the Waterford location has 65 additional beds and more rehearsal spaces, which are helping to accommodate new initiatives like the directing fellowship.

“We’re interested to see what comes in,” Whiteway says of applicants. “We want to find the undiscovered talent.

Belarus Free Theatre's November Newsletter

Belarus Free Theatre's November Newsletter

Belarus Free Theatre have just returned from Rome and Modena where Red Forestwas performed at the VIE and Le Vie Dei Festivals. 

We are looking forward to the premiere of our next production, Time of Women, in Belarus.

We are excited to announce that we are recruiting a 

Belarus Free Theatre are looking for an experienced Communications Manager to run all press and marketing campaigns within the company, as well as develop marketing strategy and manage online content for the company and control how the company is represented through all possible channels. As Belarus Free Theatre enter their 10th anniversary year the role of Communications Manager has become crucial. Projects the Communications Manager would work on in 2015 include : a UK tour, a 10th anniversary festival and a concert in solidarity with Belarus.

This is a fantastic opportunity to be part of "one of the most powerful underground companies on the planet" (NY Times, 2013). Working from the Young Vic offices, where Belarus Free Theatre is an associate company, you will be part of a small team creating vital political theatre.
If you are interested in applying, or you know anyone who is, please visit our website to download the full job description and application form HERE!  Deadline: 24th November


The Red Forest Campaign stunt is simple. It involves unfurling a 300m red banner – a symbolic red line against dirty and unsafe forms of energy production.  As with all BFT campaigns there is direct link to Belarus at its heart though the issues are universal, in this case we support the work of a small but tireless group of Belarusian campaigners protesting against the building of an unsafe nuclear power station on the borders of the European Union. 

Securing the Millenium Bridge for our first stunt in London has set the bar high, so Via Alessandrina in Rome, chosen by the organisers of the Festival dei Vei where BFT performed Red Forest this week, was perfect, running past some of the most beautiful ancient, iconic sites in Rome.  There were over 100 people involved in the stunt, and the Minister of Culture from the city council and Rai TV crew came to make a short news feature to be broadcast next week.

At 300 m long – the red line banner is far too long for the cast of Red Forest to carry alone. We invite our audience to join us and crucially we also connect with local campaigning organisations with shared concerns, to give it local significance and to encourage their members to participate in the stunt. So in London and Edinburgh, where we did the stunt during the festival, we worked with anti-fracking campaigners and in Rome we linked up with ASUD’s campaign against Transatlantic Trade and Investment Partnership.

There is probably no other current issue that threatens environmental rights and safeguards more than TTIP. ASUD was delighted to have this additional platform and brought a crowd of their supporters and volunteers to perform the stunt with the BFT actors. Tatyana Novikova, Belarus Anti-nuclear Campaign articulates the threat TTIP represents to international standards:

"TTIP is a signal for the rest of the world and for the European countries, in particular on the Post-Soviet space, that democracy and environmental standards could be revised and subordinated to the interests of business. This is very dangerous trend, the experience of Fukushima and Chernobyl confirmed that". 

The campaign and the show are called Red Forest because, after the disaster at Chernobyl in 1986, the forest turned red. 70% of Belarus was contaminated.  Please sign our petition and prevent another Chernobyl today.


Price of Money

Price of Money premiered in September 2014 at the Albany Theatre and received a fantastic reception from audience and critics alike. This new production explored the central role of money in our lives, from ancient Greece references to the fractured economy of today. 

Hard-hitting, fast paced… a work that is not afraid to pin its political colours to the mast 

– The Public Reviews

 Theatre Bubble

 Financial Times

Time of Women

Time of Women is Belarus Free Theatre 's latest production that will premiere at various underground locations in Belarus before Christmas. This brand new play presents the story of three women who are currently being held in a KGB jail after a crackdown on democratic forces in Belarus in 2010. It aims to capture the reality of the interrogation techniques that are used in KGB jails to this day.


Directed by Nicolai Khalezin

Devised and performed by Belarus Free Theatre

COMPANY OF WOLVES: Winter Training 2015, APPLY!

COMPANY OF WOLVES: Winter Training 2015, APPLY!


Ewan is an award-winning director, writer and performer specialising in improvisation, physical and devised theatre. He is joint artistic director of Company of Wolves, and was a member of Poland's renowned Song of the Goat Theatre from 2006-2012 with whom he won both a Fringe First and a Herald Archangel in 2012 for 'Songs of Lear'.


Anna is a performer and musician specialising in voice, movement and song. She works in choral, traditional and improvisational sound and composition, and has trained with Kristin Linklater, Jonathan Hart Makwaia (Roy Hart Theatre), Katie Duck and Alfredo Genovesi. She is joint artistic director of Company of Wolves.Jonathan is a classical actor, improviser, deviser and physical theatre performer, and is a founding member of Company of Wolves. He has taught improvisation and spontaneity since 2012 at Guildhall School of Music and Drama and recently completed one year's training by invitation with Philippe Gaulier in Paris.


An intensive 6-day physical theatre workshop Led by Ewan Downie, Anna Porubcansky and Jonathan Peck 5-10 January 2015 / 11 – 6pm daily Centre for Contemporary Arts 350 Sauchiehall St. Glasgow G2 3JD Winter Training is a chance for professional  performers and students to immerse  themselves in Company of Wolves' unique  body centred approach to performer training and devising. Based on our experiences in contemporary  improvisation, voice and in Polish laboratory  theatre, our work uses movement, song and  word to investigate the art of performance. Over six days of intense physical, vocal and  energetic training we'll:

• search for ways to be more fully awake and  alive in the moment of performance, and  how to give ourselves fully to our work, our partners and the audience; 

• awaken the impulses and imagination of  invitation with Philippe Gaulier in Paris.


Write to and outline briefly why you want to attend Winter Training. 

Please include your name, mobile number, date of birth, training, and performance experience. 

Fee: £240 / £210 early bird discount if deposit received by 10 December 2014

If accepted, a £100 non-refundable deposit is required to secure your place. Winter Training 2015 is delivered with thanks to the CCA, Glasgow.

Winter Training 2015 is delivered with thanks to the CCA, Glasgow.

Call for Papers “Arab Culture in the US”

Call for Papers “Arab Culture in the US”

Southwest Popular Culture & American Culture Studies [PCA/ACA] Conference February 11-14, 2015. Albuquerque New Mexico Proposals for papers, panels, and roundtables are now being accepted for the Area, “Arab Culture in the U.S.”  Here is a possible but not exhaustive list of topics in this Area –other themes/topics are encouraged:

• Arabs in American media

• Arab film in the U.S.

• Arab drama, poetry, and prose in the U.S.

• Arab music and dance in the U.S.

• Arab immigration to the U.S.

• Arab political, religious, ethnic, linguistic, and sexual identity in the U.S.

Individual papers: Submit proposal of 250 words, 

Panel proposals: submit one proposal of 200 words describing the panel and indicating which authors and proposals are to be included on this panel. Proposal authors must each create an account and submit their own proposals at the link provided above.

Submit proposal via this link:

[You will be asked to log in or create a new account]

Graduate students are particularly encouraged to participate in the conference. Several awards are available to them. For more info on that, click here: 

Theatre of Witness experimental workshop with Teya Sepinuck – December 6th. Philadelphia

Theatre of Witness experimental workshop with Teya Sepinuck – December 6th. Philadelphia


Teya Sepinuck, MS (counseling), is the founder and artistic Director of Theatre of Witness – a form of performance in which the true life stories of those who haven’t been heard in society are performed by the people themselves as a way for audiences to bear witness to issues of suffering, transformation and peace. 

For 28 years, through ‘TOVA -Artistic Projects for Social Change’ which she founded and directed, and then through ‘The Playhouse Theatre of Witness Programme’ in Derry Northern Ireland, she has created original theater with trauma survivors, refugees, prisoners, ex-combatants, survivors of abuse. and families who have been deeply impacted by violence. The European Union awarded two multi-year Peace 111 to grants for her work in Northern Ireland with former soldiers, security forces personnel, and victims and witnesses of the ‘Troubles’. The productions have since been made into film documentaries for ongoing dissemination in workshops, and one of her most recent productions has aired on the BBC. Her work humanizes the other and is founded on the premise of ‘finding the medicine’ in stories of deep suffering, and peace.


Teya was on the dance faculty at Swarthmore College from 1974-1991 where she taught composition, improvisation and technique, and later, “The Arts as Community Service, Social Change.” She is the recipient of the Philadelphia Human Rights Award for Arts and Culture from The Philadelphia Commission on Human Relations, a Local Hero Award from the Bank of America, as well as the Cultural Arts Award from Women’s Way and the Mayor’s Commission on Women. She was just named the Chair of Theatrical Innovation by Holywell Trust, an organization in Northern Ireland devoted to peace and reconciliation. She has a long time meditation practice which informs all of her work and life. Teya is currently teaching Theatre of Witness at Juniata College and is setting up an International Academy for Theatre of Witness. Her book, ‘Theatre of Witness – Finding the Medicine in Stories of Suffering, Transformation and Peace’ was published in February 2013 by Jessica Kingsley Press.


Theater of Witness is a form of performance developed by it’s founder and artistic director Teya Sepinuck, in which the true life stories oft hose whose voices haven’t been heard in society are performed by the story-tellers themselves as a way for audiences to bear witness to significant social issues. The theater productions are scripted from individual and group interviews as well as a variety of creative process techniques and consist of scripted tect, music, movement, imagery and film projection. The productions are created with the performers who themselves have directly experienced the issues being explored. Theater of Witness invites audiences to put a face and heart to societal issues of suffering and to celebrate the power of the human spirit to grow and transform. Theater of Witness aims to humanize ‘the other’, and to be a form of peace building and inspiration.

Theater of Witness Promo Film, 2014:

More information:

The 6th International Maastricht-Lódz Duo Colloquium. Call for papers: Translation and Meaning 2015

The 6th International Maastricht-Lódz Duo Colloquium. Call for papers: Translation and Meaning 2015


The overall organisation of the International Maastricht-Lódz Duo Colloquiums is in the hands of the Maastricht School of Translation and Interpreting of Zuyd University of Applied Sciences (The Netherlands) and the Department of Translation Studies of the Institute of English Studies of the University of Lódz (Poland). The International Maastricht-Lódz Duo Colloquiums are organised every 5 years and consist of two parts in one and the same year: 

(1)  in Maastricht, the so-called Maastricht Session, and 

(2)  in Lódz, the so-called Lódz Session. 

Both Sessions have their own organising committees. The chair of the Maastricht Organising Committee is Dr. Marcel Thelen and of the chair of the Lódz Organising Committee is Prof. Dr. Habil. Lukasz Bogucki.


Main theme for both Sessions:  The overall aim of the International Maastricht-Lódz Duo Colloquiums is to provide an international forum for discussion between translation/interpreting theorists and practitioners on issues of meaning in translation and interpreting. The central theme for both the Maastricht and the Lódz Sessions is "Translation and Meaning".

In principle, the Maastricht Sessions will be geared towards practice, and will deal with practical aspects of the central theme and the various sub-themes, and the Lódz session will be geared towards theory, and will deal with theoretical aspects.

General information on Maastricht and Lódz Sessions in 2015

1.    THE MAASTRICHT SESSION (21 and 22 May 2015):

Venue for the Maastricht session: The Maastricht Session will take place in the buildings of Zuyd Hogeschool at Brusselseweg 150 in Maastricht (see picture below). Main building Zuyd University Maastricht



Participants intending to give a paper should send a 300-400 words double-spaced camera ready abstract by 31 December 2014 to the Chairman/Scientific Secretary of the Maastricht Organising Committee. Abstracts should be sent as an attachment by e-mail in MSWord 2007 or higher and should contain the title of the paper, name(s) and affiliation(s) with complete postal address and e-mail address of the author(s), and, in the top right corner, the sub-theme (see above) that the paper covers. The Maastricht Organising Committee will reply by the end of January 2015.


Important dates: Deadline for abstracts: 31 December 2014

Notification of acceptance: end of January 2015

Working languages: The working languages of the Maastricht session will be English, French and German. 


The Maastricht session will be rather informal, thus giving all participants the opportunity to exchange ideas. Provisional programme: Individual lectures will be of 30 minutes, followed by about 10 minutes of discussion.  The Maastricht session will be rather informal, thus giving all participants ample opportunity to exchange ideas.


Keynote speakers:

1.    Prof. Dr. Don Kiraly, University of Mainz, Germany

2.   Prof. Dr. Anthony Pym, Rovira i Virgili University, Taragona, Spain

Proceedings: A selection of contributions will be published by Peter Lang (Frankfurt/Main, Berlin).

Authors whose papers have been accepted for inclusion will receive a style guide for the preparation of a camera-ready version. The proceedings of the Maastricht session will be published after the session.

Registration and congress fee:  The fee for participation is € 250 NET for the entire Maastricht session of the Duo Colloquium, i.e. Thursday 21 and Friday 22 May (i.e. bank/transfer charges are NOT INCLUDED). This includes registration, the academic programme, the social programme, a copy of the abstracts, all other documentation, and all lunches and coffee break refreshments, but not accommodation, the congress dinner or a copy of the proceedings. The fee for the congress dinner is € 60 and includes transport and dinner.


Contact details: Marcel Thelen (chair) e-mail:

TEL: + 31 43 346 6471 (direct line)

or Ms. Leila Medjadji (secretary) e-mail:

TEL.: + 31 43 346 6438 (direct line)


2.    THE Lódz SESSION (18 and 19 September 2015):


Contact details:

Colloquium fee for the Lódz session: see the first circular for the Lódz session.

Colloquium languages: English, French, German.


For more information about the 2015 Duo Colloquium and for information about previous Duo Colloquiums and the content of the previous proceedings, please visit our special

For more information, please contact Marcel Thelen at

Nida School of Translation Studies 2015; Call for participants:

Leading Edges in Translation –World Literature and Performativity

San Pellegrino University Foundation

Misano Adriatico (Rimini), Italy

May 18-29, 2015


This year’s session marks the Nida School’s ninth year of providing challenging, specialized training in translation studies to qualified professionals looking to expand their skills, engage with peers, and explore the interface of practice and cutting edge theory. 


Nida Professors: 


Susan Bassnett is Professor of Comparative Literature and Special Adviser in Translation Studies at the University of Warwick, where she previously founded the Centre for Translation and Comparative Cultural Studies and twice served as Pro-Vice-Chancellor. She is the author of over twenty books, including Translation Studies, which first appeared in 1980 and has remained in print ever since. Her most recent works include Translation in Global News (2008), written with Esperança Bielsa, Reflections on Translation (2011), and Translation [The New Critical Idiom] (2014). Prof. Bassnett is an elected Fellow of the Institute of Linguists, the Royal Society of Literature and the Academia Europaea.


Sandra Bermann is Cotsen Professor of the Humanities, Professor of Comparative Literature, and Master of Whitman College at Princeton University, where she also co-founded the program in Translation and Intercultural Communication. In addition to articles and reviews in scholarly journals, she is author of The Sonnet Over Time: Studies in the Sonnets of Petrarch, Shakespeare, and Baudelaire; translator of Manzoni’s On the Historical Novel; and co-editor of Nation, Language, and the Ethics of Translation (with Michael Wood) and A Companion to Translation Studies (with Catherine Porter). Her current projects focus on lyric poetry, translation, and new directions in comparative literature.


Additional Faculty:


Edwin Gentzler (UMass Amherst)

Christo van der Merwe (Stellenbosch)

Sebnem Susam-Saraeva (Edinburgh)

Anna Strowe (Manchester)

Maria Tymoczko (UMass Amherst)

Marlon Winedt (UBS)

Lourens de Vries (VU Amsterdam)

Becka McKay (Florida Atlantic University)

Applications will be received from December 1, 2014 – January 31, 2015. A fee of €1,200 provides for tuition, housing, and meals. A limited number of partial bursaries will be available to applicants who demonstrate need and merit.

For more information or to apply, go to or contact Dr. James Maxey at

Free University of Brussels; Call for papers: Translation in Exile

Free University of Brussels; Call for papers: Translation in Exile

International Conference organized by the Centre for Literature in Translation of the Vrije Universiteit Brussel and Ghent University, in cooperation with the University of Santiago de Compostela and the Federal University of Santa Catarina.

Venue: Vrije Universiteit Brussel, December 10-11, 2015

Bringing together scholars from different disciplines such as cultural studies, translation studies, area studies, comparative literature and anthropology, this conference aims at providing a new understanding of exile as a theoretical concept, analytical category, and lived experience in the study of the translation of (literary) texts.

From Ovid over Dante to Victor Hugo, D.H. Lawrence, Thomas Mann, Assia Djebar, Irmgard Keun, Mahmoud Darwish, Salman Rushdie and Julia Kristeva, just to name a few prominent authors, the experience of exile has profoundly influenced world literature throughout the centuries. For most of these literary émigrés, exile has never merely been a question of location, of being somewhere else, but also of being in a different culture, of which the foreign language is one of the most immediate features. Especially literary exiles experience the problem of the foreign language on a daily and unmediated basis. They are constantly translating or being translated. Their survival, financially and existentially, depends to a great extent on language.

Exiled writers can translate themselves, be translated or become translators of other authors’ works. Present-day Europe has a number of immigrant writers who publish in the language of their country of adoption, with differing degrees of acceptance of the norms of their new language. Some of them are harassed by authorities, confronted with censorship, excluded from literary institutions, submitted to physical and psychological threats, living in fear of imprisonment. They were forced to leave their homes because of ideological, ethnic, religious, or moral reasons. Others were accused of lack of patriotism in war times or were regarded as obscene by moral conservatives. However, the émigré translator can become a catalyst for conceptualising alternative worlds by initiating a dialogue with works of world literature. Exiled writers have put to use their knowledge of languages by translating either works of their homeland into the adopted language, or the other way

round. Vladimir Nabokov translated Pushkin, Cabrera Infante translated James Joyce, Pedro Salinas translated Marcel Proust, Hans-Henning Paetzke translated György Konrád, Felix Pollak translated Heinrich Heine. Some of them also translated their own work into the language of adoption: Nabokov translated his early works into English, as did Cabrera Infante. The examples are legion.


This conference will touch on questions of multilingualism and displacement, and on their methodological implications for translation studies, first and foremost with regard to translating literary texts as a political and cultural practice. This conference wants to plead for a less metaphorical and more empirical understanding of translation. The focus will thus be on the interlingual nature of translation and exile as an interstitial locus of enunciation. The aim of the conference is to further our understanding of the authors’ experiences of exile, their function, opportunities and problems as (self-) translators, as well as explore how these émigrés have documented and represented their stories. It aims at circumnavigating a broad spatial and temporal spectrum. The focus of the conference is neither limited to the analysis of translation in the context of European languages and cultures, nor to one specific historical period.


Submissions for 20-minute papers may include, but are not restricted to:

– theoretical approaches to the concept of ‘exile’ in translation

– translation as agency and medium of political commitment in exile (issues of freedom, resistance and human rights)

– the relation between the translator/publisher and the exiled author

– translation and diasporic communities

– ‘inner emigration’ and translation

– Samizdat and translation

– influence of translation in exile on canon formation

– postcolonial studies in relation to translation and exile

– imagology and translation in exile

– translation, censorship and persecution

– exile journals as media establishing a critical counter-hegemony of literary texts and their translations

– self-translation and the question of exiled authors writing in adopted languages

– the role of remigrés in the post-World War II professionalization of the translator


Organising Institutions:

Vrije Universiteit Brussel and Ghent University, Centre for Literature in Translation (CLIV). The Centre for Literature in Translation is an interuniversity research group, affiliated to both the Free University of Brussels (VUB) and Ghent University (see


Organising Committee:

Prof. Philippe Humblé (Vrije Universiteit Brussel)

Prof. Guillermo Sanz (Ghent University)

Prof. Desiree Schyns (Ghent University)

Prof. Arvi Sepp (Vrije Universiteit Brussel / University of Antwerp)


Scientific Committee

Prof. César Domínguez (University of Santiago de Compostela)

Prof. Andréia Guerini (Federal University of Santa Catarina)

Prof. Ilse Logie (Ghent University)

Prof. Reine Meylaerts (Catholic University of Leuven)

Prof. Marie-Hélène Torres (Federal University of Santa Catarina)



Free University of Brussels (VUB)

Department of Applied Linguistics

Pleinlaan 5

1050 Brussels




300 word abstracts and a 100 word bio should be submitted by January 15, 2015. Please send your abstracts and bios to Graduate students are also welcome to submit their

proposals and participate in the conference.

Please note there will be a conference fee of 100 Euro.

The language of the conference is English, but other languages (French, German, Portuguese and Spanish) will be considered. A publication of the proceedings with selected contributions is planned.

For questions, please contact

University of Massachusetts; Call for Papers: Translation Review

University of Massachusetts; Call for Papers: Translation Review


The editors of Translation Review are looking for manuscripts in the following categories:

-Translation of original works, together with an essay on the reconstruction of the translation process

-Interviews with translators

-Assessment of the various translations of one author into English

-Articles on multiple translations of a poems or short stories

-Articles on the Art and Craft of translation

Please submit manuscripts electronically via the ScholarOne Manuscripts site located at  If you have need of technical support please access ScholarOne tech support at, for any other requests, please contact Michele Rosen, Managing Editor, at  


Submission Requirements:

Manuscripts should be submitted in MS Word or RTF format, double spaced with one-inch margins.  Manuscripts should also be prepared in accordance with The Chicago Manual of Style (16th ed.) guidelines for endnote-style citations with bibliography.  Do not include the author’s name or any other identifying information on the main document.

Authors are responsible for obtaining permission to reproduce copyrighted material from other sources and are required to sign an agreement for the transfer of copyright to the publisher.  As an author, you are required to secure permission if you want to reproduce any figure, table, or extract from the text of another source.  All accepted manuscripts, artwork, and photographs become property of the publisher.

For more information, please contact Michele Rosen at


UMass Translation Center 19 Herter Hall Amherst, MA 01002 (413) 545-2203umass.translation@umasstranslation.com