Finalist, 2022 ASLE Ecocritical Book Award Fictional Environments: Mimesis, Deforestation, and Development in Latin America investigates how fictional works have become sites for the production of knowledge, imagination, and intervention in Latin American environments. It investigates the dynamic relationship between fictional images and real places, as the lasting representations of forests, rural areas, and deserts in novels clash with collective perceptions of changes like deforestation and urbanization. From the backlands of Brazil to a developing Rio de Janeiro, and from the rainforests of Venezuela and Peru to the Mexican countryside, rapid deforestation took place in Latin America in the second half of the twentieth century. How do fictional works and other cultural objects dramatize, resist, and intervene in these ecological transformations? Through analyses of work by João Guimarães Rosa, Alejo Carpentier, Juan Rulfo, Clarice Lispector, and Mario Vargas Llosa, Victoria Saramago shows how novels have inspired conservationist initiatives and offered counterpoints to developmentalist policies, and how environmental concerns have informed the agendas of novelists as essayists, politicians, and public intellectuals. This book seeks to understand the role of literary representation, or mimesis, in shaping, sustaining, and negotiating environmental imaginaries during the deep, ongoing transformations that have taken place from the 1950s to the present.

"Brilliant and beautiful. Now this book exists, it’s hard to know how we did without it." –China Miéville, author of October A cultural and intellectual balance-sheet of the twentieth century's age of revolutions This book reinterprets the history of nineteenth and twentieth-century revolutions by composing a constellation of "dialectical images": Marx's "locomotives of history," Alexandra Kollontai's sexually liberated bodies, Lenin's mummified body, Auguste Blanqui's barricades and red flags, the Paris Commune's demolition of the Vendome Column, among several others. It connects theories with the existential trajectories of the thinkers who elaborated them, by sketching the diverse profiles of revolutionary intellectuals--from Marx and Bakunin to Luxemburg and the Bolsheviks, from Mao and Ho Chi Minh to José Carlos Mariátegui, C.L.R. James, and other rebellious spirits from the South--as outcasts and pariahs. And finally, it analyzes the entanglement between revolution and communism that so deeply shaped the history of the twentieth century. This book thus merges ideas and representations by devoting an equal importance to theoretical and iconographic sources, offering for our troubled present a new intellectual history of the revolutionary past.

" Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.

Knowing a second language entails some unease; it requires a willingness to make mistakes and work through misunderstandings. The renowned literary scholar Doris Sommer argues that feeling funny is good for you, and for society. In Bilingual Aesthetics Sommer invites readers to make mischief with meaning, to play games with language, and to allow errors to stimulate new ways of thinking. Today’s global world has outgrown any one-to-one correlation between a people and a language; liberal democracies can either encourage difference or stifle it through exclusionary policies. Bilingual Aesthetics is Sommer’s passionate call for citizens and officials to cultivate difference and to realize that the precarious points of contact resulting from mismatches between languages, codes, and cultures are the lifeblood of democracy, as well as the stimulus for aesthetics and philosophy. Sommer encourages readers to entertain the creative possibilities inherent in multilingualism. With her characteristic wit and love of language, she focuses on humor—particularly bilingual jokes—as the place where tensions between and within cultures are played out. She draws on thinking about humor and language by a range of philosophers and others, including Sigmund Freud, Immanuel Kant, Ludwig Wittgenstein, Hannah Arendt, and Mikhail Bakhtin. In declaring the merits of allowing for crossed signals, Sommer sends a clear message: Making room for more than one language is about value added, not about remediation. It is an expression of love for a contingent and changing world.

Nowadays thousands of grammar books, textbooks, outlines, references and language guides of Spanish, Portuguese, Italian and French are published year by year. However, all of them teach these languages separately. Here you will find a comparative grammar of the four major Romance languages together based on their grammatical and lexical similarities for you, lovers of foreign languages, to learn and compare Spanish, Portuguese, Italian and French simultaneously. It is an audacious endeavor to find or create a novel way of learning to speak several languages and becoming a multilingual person. It took me over 3 years to finish the book. It consists of over 800 pages, 10 chapters covering all the grammatical aspects of these 4 languages. It includes over 1000 examples, 500 easy-to-follow charts and tables. It contains 138 geographical, historical and cultural facts about Spanish, Portuguese, Italian and French countries.Below I will discuss several reasons why I decided to write this book and why you need it.1) First of all, this book is written for readers like you who are fond of or would like to learn Spanish, Portuguese, Italian and French simultaneously or just to get an all-round knowledge of all these four Romance languages. It is designed not only for beginners who do not have an extensive knowledge of grammar, yet need a guide through the grammatical concepts of all mentioned above languages, but also intermediate and advanced students who would like to have a reference book ofseveral Romance languages at once.2) Second of all I spent many years learning these languages separately, which was a complete waste of time before I realized it. This book will hopefully save you a great deal of time and allow you to study and compare at a glance the four main Neo-Latin languages.3) Knowledge of foreign languages is fast becoming a necessary requirement for those who are involved in international business, tourism, culture and education. This book offers you four languages to learn, which will make you feel at homewherever you go, whether as a tourist or businessman.4) Learning several languages simultaneously or one by one will train and strengthen your memory and can help stave off such terrible diseases as Alzheimer's.5) If you have never studied several languages at once before and you like challenges, then you should definitely try it. Because it is a really entertaining and challenging task to do.In conclusion, I would like to sincerely thank you for preordering the book and your interest in it. I hope it will help youimprove your languages and become multilingual.

In Trade and Romance, Michael Murrin examines the complex relations between the expansion of trade in Asia and the production of heroic romance in Europe from the second half of the thirteenth century through the late seventeenth century. He shows how these tales of romance, ostensibly meant for the aristocracy, were important to the growing mercantile class as a way to gauge their own experiences in traveling to and trading in these exotic locales. Murrin also looks at the role that growing knowledge of geography played in the writing of the creative literature of the period, tracking how accurate, or inaccurate, these writers were in depicting far-flung destinations, from Iran and the Caspian Sea all the way to the Pacific. With reference to an impressive range of major works in several languages—including the works of Marco Polo, Geoffrey Chaucer, Matteo Maria Boiardo, Luís de Camões, Fernão Mendes Pinto, Edmund Spenser, John Milton, and more—Murrin tracks numerous accounts by traders and merchants through the literature, first on the Silk Road, beginning in the mid-thirteenth century; then on the water route to India, Japan, and China via the Cape of Good Hope; and, finally, the overland route through Siberia to Beijing. All of these routes, originally used to exchange commodities, quickly became paths to knowledge as well, enabling information to pass, if sometimes vaguely and intermittently, between Europe and the Far East. These new tales of distant shores fired the imagination of Europe and made their way, with surprising accuracy, as Murrin shows, into the poetry of the period.

“The evil that men do” has been chronicled for thousands of years on the European stage, and perhaps nowhere else is human fear of our own evil more detailed than in its personifications in theater. In Stages of Evil, Robert Lima explores the sociohistorical implications of Christian and pagan representations of evil and the theatrical creativity that occultism has engendered. By examining examples of alchemy, astronomy, demonology, exorcism, fairies, vampires, witchcraft, hauntings, and voodoo in prominent plays, Stages of Evil explores American and European perceptions of occultism from medieval times to the modern age.

In the late 1970s, Brazil was experiencing the return to democracy through a gradual political opening and the re-birth of its civil society. Writing Identity examines the intricate connections between artistic production and political action. It centers on the politics of the black movement and the literary production of a Sao Paulo-based group of Afro-Brazilian writers, the Quilombhoje. Using Pierre Bourdieu's theory of the field of cultural production, the manuscript explores the relationship between black writers and the Brazilian dominant canon, studying the reception and criticism of contemporary Afro-Brazilian literature. After the 1940s, the Brazilian literary field underwent several transformations. Literary criticism's displacement from the newspapers to the universities placed a growing emphasis on aesthetics and style. Academic critics denounced the focus on a political and racial agenda as major weaknesses of Afro-Brazilian writing, and stressed, the need for aesthetic experimentation within the literary field. Writing Identity investigates how Afro-Brazilian writers maintained strong connections to the black movement in Brazil, and yet sought to fuse a social and racial agenda with more sophisticated literary practices. As active militants in the black movement, Quilombhoje authors strove to strengthen a collective sense of black identity for Afro-Brazilians.