CFP: Translation—Semiotics—Music

Title:

Translation—Semiotics—Music

Guest editors:

Anna Rędzioch-Korkuz (University of Warsaw)

Małgorzata Grajter (The Grazyna and Kiejstut Bacewicz Academy of Music in Lodz)

Journal:

Studia Semiotyczne (Semiotic Studies)

http://studiasemiotyczne.pts.edu.pl/

Deadline for submissions:

the 30th of September 2026

Description

Studia Semiotyczne (Semiotic Studies) invites submissions for a special issue of the journal. Papers should be written either in English or in Polish and prepared for blind review.

The field of translation and music has been attracting increased attention recently: this is evident in numerous monographs, research papers, and conferences focused on the complex relationship between words and sounds (see also Bennett, 2025: 1). As Susam-Sarajeva (2008: 189-190) has noted, this relationship appears at best challenging, since translation scholars are “more comfortable dealing with written texts,” and consequently, “end up sliding into a predominantly textual analysis.” Similarly, Desblache (2019: 58) argues that the two fields, which are genuinely interested in that relationship – namely, translation studies and musicology – remain separate because both are practice-oriented disciplines that primarily focus on either verbal translation or music.

Against this backdrop, we would like to bring the two fields together through semiotics-based research on musical texts, believing that this perspective has the potential to create resonance for general translation studies. It has been argued that semiotics is good for translation studies (Stecconi 2007; Marais 2019; Kourdis 2023), which means – at least potentially – that there is a good deal of methodological and theoretical capital that can be utilized. Research on translation and music can definitely espouse a movement away from words, verbal artefacts and textual research towards the understanding of the performative, enacted, embedded and embodied nature of meaning making within translation, i.e. towards a deeper understanding of material processes of cultural practices, which necessitate moving beyond the verbal fixation and concentrating on more semiotically-informed approaches.

In the special issue, we would like to see how the actual go-between of semiotics bridges the fields of translation studies and musicology. We encourage scholars from across the academy to explore and provide their unique insight within the suggested thematic focus of translation, music and semiotics. We welcome both conceptual and empirical research. Possible topics include, but are not limited to the following questions:

● Can (and if yes, then how can) semiotics contribute to solving the conceptual confusion within translation studies as exemplified by translating musical texts?

● How can translation and music capitalize theoretically on various theories of semiotics and vice versa?

● Can we (and if yes, then how can we) apply conceptual frameworks developed by various schools, e.g. the Moscow-Tartu School of Semiotics, Paris School, Eco’s interpretative semiotics, Groupe μ, Peircean semiotics, etc. to the study of translating musical texts?

● What methodologies can we use to research the synergy of semiotic systems in musical texts?

● How can the concept of “textuality” be rethought when applied to musical compositions as texts to be translated?

● How can the study of translating musical texts through semiotics help to challenge the traditional hierarchy between linguistic and non-linguistic forms of meaning-making?

● How can semiotics challenge the literal and the human in translating musical texts?

● How can semiotic approaches account for the performative, enacted, embedded and embodied dimensions of musical translation?

● How can semiotics bridge the disciplinary gap between musicology and translation studies?

In order to submit the paper, one is kindly asked to submit the manuscript by sending it to:

[email protected], [email protected] and [email protected]

All submitted papers will be double-blind peer-reviewed.