Multilingualism in Arts in Translation: Call for Articles (Angles, 2027)

Over the past 500 years, English has gone from a marginal language hardly spoken by anyone outside of England to a global lingua franca with speakers, native and non-native, all over the world. This has created situations of multilingualism both within countries where English is the main language and elsewhere, as many people who speak English on a regular basis are not native speakers, and the language itself has come into contact with other languages in the course of processes of colonisation, immigration, and globalisation. Beginning in the sixteenth century, these processes have broadened the contact zone of English, redefined its relations with the classical languages of humanist communication as well as with modern European languages (some of which have developed varieties outside Europe), and ultimately led to a questioning of the majority/minority-language binary. The arts have reflected, registered and contributed to such plurilingual practices. 

Evolutions in the status of English as a communication language in everyday lives and in artistic productions go hand in hand with evolutions in translation techniques and strategies, with the development of translation into English as a necessary means of worldwide communication as well as the acknowledgment of varied linguistic and cultural skills in target audiences. This is particularly striking in translations (dubbing or subtitling) of contemporary films and TV series which foreground multilingual (and multicultural) environments, such as Jane the Virgin, UnorthodoxGenerations, and Derry Girls. Some film genres or series depict plurilingual characters, for example the protagonists in many Bollywood films, or Italian-American gangsters in The Godfather movies or Latino-American gangsters in Breaking Bad;  one could also think of westerns which stage multilingual encounters with Spanish-, French-speaking, or Native American characters. 

For contemporary artists such as Caroline Bergvall, whose installation and collected poems Meddle English bring together English, French and Middle English, multilingualism fuels a reflection on multimodality. Theatre (The Forbidden Zone by Katie Mitchell, Tous des Oiseaux by Wajdi Mouawad) also uses multilingualism as a way to experiment with contemporary modes of representation on stage.

More generally, traditional social constructs applied to analyse language use and cultural productions in translating, such as the “foreign/native” or the “source/target” opposition, are in need of redefinition. Likewise, the concept of lexical borrowing needs to be reexamined if English is considered a multilingual language from the start, with its elaboration relying on words and structures taken from Saxon, but also Latin and Romance languages – as the lexicographers (and the translators) from the Renaissance already knew.

This issue welcomes both synchronic and diachronic approaches to the interplay between multilingualism and translation involving English as source or target language and at least one other language in multimedial arts, performances, and (audio-)visual productions, from the sixteenth century to the present. Multilingualism will be taken in the broad meaning of the co-presence of several languages within the same work, thus including neighbouring concepts such as heterolingualism, and such phenomena as code-switching and multi-ethnolects. Papers that combine methodologies from linguistics, literary/film studies and translation studies will be particularly appreciated.

Possible topics include, but are not limited to, the study of:

  • Strategies of translation that deal with multilingual sources, or that turn monolingual sources into multilingual translated works
  • Cases in which the target language also features in the source
  • Comparisons of translation strategies in various target languages for English sources
  • The rendering of phonetic specificities in both text and performance
  • The translation of metadiscursive comments/elements in multilingual contexts
  • The specific issues raised by dubbing and subtitling/surtitling
  • Multilingualism and forms of expanded / contrapuntal / prismatic translation
  • The technologies developed/adapted to facilitate the translation of multilingual texts
  • Surtitling in theatre
  • Sign languages and English
  • Multilingual translation in museums
  • Genetic studies of the translation of multilingualism in arts

We welcome academic papers as well as more experimental forms of theorizing the topic of the issue (videos, slideshows, graphic contributions…)

Please send abstracts (300 words) and a short bio-bibliography in English for either conference to Julie Loison-Charles (julie.charles@univ-lille.fr) and Claire Hélie (claire.helie@univ-lille.frby July 1, 2025. The selected articles will be expected in June 2026 and will go through a double blind peer review. 

Kind regards, 

Claire Hélie, with Julie Loison-Charles for the MIT team (https://xlingtransl.hypotheses.org/)

3 April 2025, online, Eugenia Kelbert and Marianna Deganutti

We are pleased to announce that 3 April 2025, online, Dr Eugenia Kelbert and Dr Marianna Deganutti will present a paper entitled “Translation
and Literary Multilingualism: A Language Contact Perspective”

This presentation posits that translation and original writing in
different languages are fundamentally distinct. Original writing is
closely tied to language choice, influencing register, tone, and
narrative. Therefore, a work conceived in one language would differ
if written in another. This premise puts into question the aims and
status of literary translation and ultimately reframes translation as
a unique source of literariness, separate from original writing, with
its own distinct characteristics that stem from the infusion of other
languages. However, rather than considering literary
multilingualism in an original writing context and translation
as mutually exclusive, we suggest that both are encompassed within
the broader field of language contact. By delving into this
framework, we will try to demonstrate how both practices derive from
language contact situations. At the same time, we aspire to
understand how different settings of language contact relate to one
another and how they interact.

The lecture will be held online on Thursday 3 April from 4.30 to 6.00. If you would like to join the meeting, please send a request to julie [dot] charles [at] univ-lille.fr.

CFP: Rethinking Self-Translation: Shifting Prisms

Christopher Mole is coediting an issue of TTR entitled “Repenser l’autotraduction : changements de paradigmes / Rethinking self-translation : shifting prisms” and which is due out in 2026. Please find the CFP (in French and in English below, with a bibliography at the bottom of the page)

Appel à articles : TTR 39.2

Repenser l’autotraduction : changements de paradigmes

Co-dirs : Christopher Mole (Université Sorbonne Nouvelle), Trish Van Bolderen (chercheuse indépendante, Irlande)

Il y a 20 ans à peine, le simple fait d’étudier l’autotraduction représentait une entreprise radicale : ce type de recherche était relativement nouveau et la nature subversive des réflexions et conclusions qui en émergeait venait ébranler plusieurs des clés de lecture pour comprendre la traduction, l’auctorialité, le langage et l’identité. 

Mais en 2024, l’autotraduction s’est taillé une place considérable en traductologie ; et pour que la recherche demeure porteuse d’avancées et continue de représenter les enjeux contemporains liés aux pratiques et aux processus de l’autotraduction et d’y répondre, il faudra qu’elle embrasse de nouveaux horizons et remette en question 1) les postulats fondamentaux en autotraduction et 2) les paradigmes épistémologiques qui dominent la recherche en autotraduction. À ce jour, par exemple, l’autotraduction a presque toujours été considérée à partir du paradigme littéraire avec des analyses diversement ancrées soit dans la comparaison entre textes sources et cibles, dans des approches sociologiques qui nourrissent la réflexion sur les acteurs et les contextes littéraires, ou encore dans la critique génétique (des objectifs par ailleurs louables). Par conséquent, tout un monde d’activités non littéraires en autotraduction demeure largement méconnu, et ainsi, de nombreuses expériences vécues et leurs complexités conceptuelles se retrouvent non examinées et mal comprises. 

Ce numéro thématique vise à pallier de tels angles morts en repensant les postulats et paradigmes liés à la recherche en autotraduction, où cette notion est définie selon son acception la plus commune : la traduction par soi-même. Nous sollicitons des articles qui prennent part au changement de paradigme en autotraduction en explorant des questions comme :

  • Les différences entre l’autotraduction et la traduction allographique sont-elles si importantes ? Si oui, que peut-on apprendre de plus sur la traduction allographique en élargissant et en approfondissant notre appréciation de telles distinctions ?
  • Quelles sont les dimensions physiologiques (expressions, répercussions) de l’autotraduction ? Comment leur considération peut-elle ouvrir de nouvelles pistes de recherche ?
  • Comment peut-on comprendre la performativité dans le contexte des produits ou des  processus en autotraduction?
  • Quelles nuances restent encore à saisir au sujet de l’autotraduction lorsqu’il est question du chevauchement et des distinctions à faire entre la traduction PAR soi-même, la traduction DE soi-même, et même la traduction POUR soi-même ?
  • Quelles facettes de l’autotraduction littéraire tendent à être négligées? Par exemple : quels genres littéraires sont non ou sous-représentés ?
  • Quels sont les postulats qui accompagnent la notion d’autotraduction lorsqu’on examine les perceptions publiques, éditoriales, artistiques ou universitaires qui s’y rattachent? Quelles sont les répercussions philosophiques, sociales, artistiques et matérielles de ces postulats ? 
  • Comment le lectorat a-t-il accès ou interprète-t-il les produits de l’autotraduction? Comment les perceptions et priorités du secteur de l’édition déterminent-elles (retreignent, permettent) ces produits et leurs publics potentiels ?
  • Combien et quelles sortes de Moi sont compris dans la personne qui s’autotraduit ? Et si l’on fait place à de telles multiplicités, quelles en sont les conséquences ?
  • En quoi l’autotraduction est-elle une expérience inconfortable ? Et comment les personnes qui s’autotraduisent trouvent-elles réconfort dans cet inconfort ?
  • Comment l’idée du soi en autotraduction peut-elle être comprise, en pratique comme en théorie, à l’ère de l’intelligence artificielle (IA) et de la traduction automatique (TA) ?
  • Quelles caractéristiques distinguent l’autotraduction dans le contexte d’espaces non littéraires (p. ex., politique, journalisme, fonction publique, sport, espaces domestiques) et de divers médias (p. ex. films, jeux vidéo, plateformes de médias sociaux, balados) ?
  • Quels sont les liens entre la mémoire et les pratiques de l’autotraduction ?
  • Quelles sont les limites de l’agentivité dans le contexte des pratiques en autotraduction, et quelles sont quelques-unes des ramifications de ces limites (p. ex. dans un monde au-delà de l’humain) ?

Les articles de 8 000 à 11 000 mots, rédigés en français ou en anglais, devront être envoyés avant le 16 février 2026 aux adresses :

chris.mole@live.co.uk

trish@bolderwords.com

Le document Word devra contenir le nom de l’auteur.e, l’appartenance institutionnelle, un résumé en français et en anglais (250 à 300 mots chacun) suivis de 5 mots-clés et une notice biobibliographique (200 à 300 mots).

Tous les articles reçus seront évalués en double aveugle par les pairs. La publication est prévue pour novembre/décembre 2026. Pour toute question, veuillez vous adresser aux co-directeur.ices du numéro.

Call for papers: TTR 39.2

Rethinking Self-Translation: Shifting Prisms

Co-edited by Christopher Mole (Université Sorbonne Nouvelle), Trish Van Bolderen, (Independent Scholar, Ireland)

As recently as 20 years ago, the simple act of investigating self-translation was a radical undertaking, partly because of the relative novelty of such research and partly due to the subversive nature of the reflections and findings, which unsettled many of the ways we understood translation, authorship, language and identity. 

By 2024, however, self-translation has gained considerable currency in Translation Studies; and if scholarship is to remain progressive and to continue representing and responding to the contemporary issues surrounding self-translation practices and processes, then it will need to shift its gaze and call into question 1) key assumptions about self-translation and 2) epistemological prisms dominating self-translation research. To date, for instance, self-translation has been considered almost exclusively through a literary prism, with analyses variously rooted in comparing source and target texts, in adopting sociological approaches to reflect on literary actors and contexts, and/or in engaging in genetic criticism (incidentally, all worthy endeavours). As a result, a whole world of non-literary self-translation activity remains largely unrecognized, which leaves many lived experiences and their conceptual complexities unexamined and misunderstood. 

This thematic issue seeks to address such blind spots by rethinking assumptions and paradigms related to scholarship on self-translation, where the notion is defined according to its most common definition: translation by the self. We welcome papers that engage in shifting the prisms of self-translation by exploring such questions as:

  • Are the differences between self-translation and allograph translation all that significant? If so, what more can we learn about allograph translation by broadening and deepening our appreciation of such distinctions?
  • What are the physiological dimensions (expressions, repercussions) of self-translation? How does considering them open up new avenues of investigation?
  • How can we understand performativity in the context of self-translation products and/or processes?
  • What nuances have yet to be tackled with respect to self-translation when it comes to the overlap and distinctions between translation BY the self, translation OF the self, and even translation FOR the self?
  • What facets of literary self-translation tend to be neglected? For instance: which literary genres have gone un(der)represented?
  • What assumptions accompany the notion of self-translation in terms of public, editorial, artistic and/or scholarly perceptions? What are the philosophical, social, artistic and material implications of these assumptions? 
  • How do readers access and/or interpret self-translation products? How do publishing industry perceptions and priorities shape (restrict, enable) these products and potential audiences?
  • How many and what kinds of selves are contained within a given self-translator, and what are the implications of making room for such multiplicity?
  • How is self-translation an uncomfortable experience? And how do self-translators find comfort in this discomfort?
  • How can the idea of the self in self-translation be understood, both practically and theoretically, in the age of AI and MT?
  • What features characterize self-translation in non-literary spaces (e.g. politics, journalism, the public service, sports, domestic spaces) and in the context of different media (e.g. film, video games, social media platforms, podcasts)?
  • What are the connections between memory and self-translation practices?
  • What are the limits of agency in the context of self-translation practices, and what are some of the ramifications of those limits (e.g. for the more-than-human world)?

Articles of 8,000 to 11,000 words, written in French or English, should be sent before February 16, 2026 to:

chris.mole@live.co.uk

trish@bolderwords.com.

The Word document should include the author’s name, institutional affiliation, and an abstract in French and English (250 to 300 words each), followed by 5 keywords and a biobibliographical note (200 to 300 words).

All articles received will be double-blind peer reviewed. The publication is scheduled for November/December 2026. Should there be any questions, please contact the guest co-editors directly.

Selective Bibliography

Bujaldón de Esteves, Lila et al., eds (2019). Literary Self-Translation in Hispanophone Contexts: Europe and the Americas. London, Palgrave Macmillan.

Castro, Olga et al., eds (2017). Self-Translation and Power. Negotiating Identities in Multilingual European Contexts. London, Palgrave Macmillan.

Cordingley, Anthony (2013). “The Passion of Self-Translation: A Masocritical Perspective.” In Anthony Cordingley, ed. Self-Translation: Brokering Originality in Hybrid Culture. London and New York, Bloomsbury, pp. 81-94.

Cordingley, Anthony (2018). “Self-Translation.” In Kelly Washbourne and Ben Van Wyke, eds. Routledge Handbook of Literary Translation. Abingdon and New York, Routledge, pp. 352-368.

Desjardins, Renée (2019). “A Preliminary Theoretical Investigation into [Online] Social Self-Translation: The Real, the Illusory, and the Hyperreal.” Translation Studies, 12, 2, pp. 1-21. DOI: 10.1080/14781700.2019.1691048

Ferraro, Alessandra, and Rainier Grutman, eds (2016). L’autotraduction littéraire: Perspectives théoriques. Paris, Classiques Garnier.

Gentes, Eva and Trish Van Bolderen, eds (2024). “Literary Self-Translation in the 21st Century: A Global View.” Journal of Literary Multilingualism, 2, 1, pp. 1-10.

Grutman, Rainier (1998). “Auto-translation.” In Mona Baker and Gabriela Saldanha, eds. The Routledge Encyclopedia of Translation Studies. London and New York, Routledge, pp. 17-20.

Grutman, Rainier (2018). “The Self-Translator as Author: Modern Self-Fashioning and Ancient Rhetoric in Federman, Lakhous, and De Kuyper.” In Judith Woodsworth, ed. The Fictions of Translation. Amsterdam and Philadelphia, John Benjamins, pp. 15-30.

Jung, Verena (2002). English-German Self-translation of Academic Texts and its Relevance for Translation Theory and Practice. Frankfurt, Peter Lang.

Kippur, Sara (2015). Writing It Twice: Self-translation and the Making of a World Literature in French. Evanston, Northwestern University Press.

Klimkiewicz, Aurelia (2013). “Self-Translation as Broken Narrativity: Towards an Understanding of the Self’s Multilingual Dialogue.” In Anthony Cordingley, ed. Self-Translation: Brokering Originality in Hybrid Culture. London, Bloomsbury, pp. 189-201.

Lahiri, Jhumpa (2022). Translating Myself and Others. Princeton, Princeton University Press.

Minors, Helen Julia (2023). Music, Dance and Translation. London, Bloomsbury.

Panichelli-Batalla, Stéphanie (2015). “Autofiction as a Fictional Metaphorical Self-

Translation.” Journal of Romance Studies. 15, 1, pp. 29-51.

Saint-Martin, Lori (2022). Un bien nécessaire: éloge de la traduction littéraire. Montréal and Québec, Boréal.

Saint-Martin, Lori (2023). Pour qui je me prends. Paris, Éditions de l’Olivier.

Shread, Carolyn (2009). “Redefining Translation through Self-Translation: The Case of

Nancy Huston.” French Literature Series, 36, pp. 51-61.

Stavans, Illan (2018). On Self-Translation. Meditations on Language. Albany, State University of New York Press.

Stocco, Melisa (2021). La Autotraducción en la Literatura Mapuche. Frankfurt, Peter Lang.

Wilson, Rita (2009). “The Writer’s Double: Translation, Writing, and Autobiography.” Romance Studies, 27, 3, pp. 186-198. DOI: 10.1179/174581509X455150

Wilson, Rita (2017). “Forms of Self-Translation.” In Nicholas Monk et al., eds. Reconstructing Identity. Cham, Springer International Publishing, pp. 157-177. DOI: 10.1007/978-3-319-58427-0_8

Charlotte Bosseaux on translating GBV and trauma

Charlotte Bosseaux’s work on the ethical demands of translating GBV and trauma can be accessed on her website: http://ethicaltranslation.llc.ed.ac.uk/

You’ll find there information about the project as a whole as well as all the different versions of the documentary (English subtitled, SDH, VO, French subs and Chinese subs):

Her guidelines for translating emotions in documentary dealing with challenging topics are also available there on: https://ethicaltranslation.llc.ed.ac.uk/full-online-versions/

Do not hesitate to forward this to your contacts whether academics, translation professionals or general public as Charlotte is keen for her work to travel as much as possible!’

21.03.24 / 5.00 / Lille: Launch of the exhibition “Multilingualism in Arts”

On March 21, 2024, at 5.00, the exhibition “Multilingualism in Arts” will be launched at La Maison Internationale. The event is free, but due to Vigipirate, participants have to sign up here.

The exhibition is curated by the Master’s students from the Arts Department at FHUMA under the supervision of their English teacher, Claire Hélie (CLIL / CECILLE), assisted by Luisana Rojas Mesones.

Follow them on Instagram: https://www.instagram.com/dontstoptalkingexpo/

Information panel written and designed by a group of students led by Margaux Baudoin and Morgane Deronne
The exhibition map was designed by Clarisse Bel Hadj

Three relaxes sessions are organised from 12.00 to 1.00 on March 26, March 29 and April 3. Emma Bultel, the inclusivity manager, worked with Naïs Carta, Manon Darsy and Djemilyne De Vera, to make the exhibition as inclusive as possible. Sign up bu clicking here.

Read the exhibition catalogue designed by Victor Henrio by clicking on the image below.

The introduction was written by Killian Gerelli and Salomé Bennett

Cyane Martin, assisted by Méline Herbet, edited a research book on Multilingualism in Arts. Click on the picture and read the articles!

Desktop publishing: Jean-Baptiste Chaudron, with Louis Laine. Cover: Lea Arnace

Sponsors: Maison Internationale, FHUMA, CLIL, Imprimerie de l’Université de Lille

6 February 2024, online, Nathalie Vincent-Arnaud

We are pleased to announce that Prof Nathalie Vincent Arnaud (Toulouse Jean Jaurès, CAS) will present a paper entitled « Les carrefours linguistiques et intersémiotiques dans la poésie de Lotte Kramer et la pièce Kindertransport de Diane Samuels : regard de traductrice ».

Porteuses de mémoire, de tout un pan de l’Histoire du XXè siècle, la poésie de Lotte Kramer et la pièce Kindertransport de Diane Samuels donnent voix aux traumatismes enfouis de nombreux enfants juifs-allemands pendant la Seconde Guerre mondiale, acheminés en Angleterre pour échapper aux exactions nazies. Trouvant refuge dans des familles d’accueil, obligés de délaisser leur langue maternelle au profit de l’anglais, ces enfants ont enduré une fracture familiale et identitaire dont les résonances sont très fortes dans l’imaginaire qui sous-tend les deux œuvres. Chez Lotte Kramer, le surgissement occasionnel de mots allemands, le recours répété à des figures artistiques et à des éléments culturels de la terre perdue ainsi que les traductions de poèmes allemands qui jalonnent les recueils, dessinent un itinéraire dialogique où l’identité se fait à jamais brouillée et hybride. Chez Diane Samuels, le procédé récurrent du dédoublement identitaire, l’emploi de la langue allemande par le personnage de la petite fille exilée mais aussi la persistance de certains motifs littéraires et musicaux ancrés dans la culture germanique témoignent du choc de la subjectivité avec une terre étrangère et de l’errance identitaire qui en résulte. Je me propose d’évoquer les problèmes posés en traduction par ces diverses configurations ainsi que les stratégies susceptibles d’être mises en œuvre pour la préservation de cet entre-deux linguistique et culturel.

Nathalie Vincent-Arnaud est professeur en études du monde anglophone à l’Université Toulouse-Jean Jaurès où ses domaines de spécialité sont la stylistique, la traduction, ainsi que les relations entre musique, danse et littérature. Elle est également traductrice, principalement de poésie et d’ouvrages ou d’essais sur l’art, le langage et le style. Parmi ses traductions figurent de nombreux poèmes (de James A. Emanuel, Lotte Kramer, Elaine Equi…) ainsi que plusieurs essais sur la poésie, le style et le langage (notamment de Leo Spitzer), parus dans des ouvrages et des revues universitaires. Elle a également traduit les 3 ouvrages suivants : Kennaway, James, Mauvaises vibrations, ou la musique comme source de maladie : histoire d’une idée, Limoges, Lambert-Lucas, 2016, 240 pages ; Joseph, John E., Saussure, Limoges, Lambert-Lucas, 2021, 808 pages ; Poèmes choisis de Lotte Kramer, à paraître en 2024 chez Interstices éditions. Elle prépare une traduction de la pièce Kindertransport de Diane Samuels, à paraître aux Presses Universitaires du Mirail (collection Nouvelles Scènes). 

The lecture will be held online on Tuesday 6 February from 5.00 to 6.30. If you would like to join the meeting, please send a request to claire [dot] helie [at] univ-lille.fr.

12 January 2024, online, Matthew Reynolds, Léa Rychen, and Céline Sabiron

We are pleased to announce that Pr Matthew Reynolds (Oxford University), Léa Rychen (Université de Lorraine), and Dr Céline Sabiron (IDEA / Université de Lorraine) will discuss the Prismatic Jane Eyre project and the book Prismatic Jane Eyre: Close-Reading a World Novel Across Languages | Open Book Publishers (Matthew Reynolds et al. ed., 2023) at 4.00 (continental time) on Friday 12 January 2024.

If you would like to join the meeting, please send a request to claire [dot] helie [at] univ-lille.fr.

Soutenance de l’HDR de Mme Laetitia Sansonetti le 18 décembre 2023 à 14h

La soutenance d’HDR de Laetitia Sansonetti a lieu le lundi 18 décembre à 14h.

Le dossier s’intitule: “La circulation des discours, des textes et des langues dans la littérature anglaise de la première modernité” (inédit : Translation and Polyglossia in Early Modern English Literature: The Rhetoric of Teacherly Texts).

Le jury se compose de Mesdames et Messieurs: 

Susan Baddeley (UVSQ)

Dirk Delabastita (Namur)

Jane Grogan (Dublin)

Jean-Christophe Mayer (CNRS/IRCL, Paul-Valéry Montpellier 3)

Ladan Niayesh (Paris Cité, garante)  

Bruno Poncharal (Sorbonne nouvelle)

Soutenance de l’HDR de Madame Julie LOISON-CHARLES le 3 février 2023 à 14h

Madame Julie LOISON -CHARLES présentera ses travaux en vue de l’obtention de son Habilitation à Diriger des Recherches (HDR)

Titre des travaux : Traduire les textes et les auteurs multilingues.

Ecole doctorale 625 : MAGIIE
EA 4898 : PRISMES

Section CNU : 11.

Garant : Monsieur Bruno PONCHARAL, Professeur, Université Sorbonne Nouvelle.

Membres du jury :

Monsieur Serge CHAUVIN, Professeur, Université Paris Nanterre.

Madame Claire DAVISON, Professeure, Université Sorbonne Nouvelle.

Monsieur Bruno PONCHARAL, Professeur, Université Sorbonne Nouvelle.

Madame Pascale SARDIN, Professeure, Université Bordeaux-Montaigne.

Madame Anne-Laure TISSUT, Professeure, Université de Rouen.

Salle A 608 (sur le site Nation, 8 avenue de Saint Mandé, 6e étage bâtiment A)

1 February 2024, Université de Nanterre, Charles Bonnot, “Traduire de l’anglais d’Ecosse”

We are pleased to announce that Dr. Charles Bonnot (Université Sorbonne Nouvelle) will share his experience of translating multilingualism and Scottish in Douglas Stuart’s Shuggie Bain (Globe, 2021) and Mungo (Globe, 2023) on February 1 2024 at 10.30 at Université de Nanterre. Charles Bonnot, Traduire de l’anglais “d’Ecosse” – Centre de Recherches Anglophones (CREA) (parisnanterre.fr)