A long overdue examination of Rubén Darío's multilingual work and influences alongside the contexts and politics of canonization in world literature. Rediscovering Rubén Darío through Translation addresses the peculiar obscurity of Darío by asking these questions: How can one of the most important writers of a major world language be almost entirely unknown in the English-speaking world? How is it that other writers of the same language (e.g., Lorca or García Márquez) achieve widespread recognition in the anglophone world, while he remains unnoticed? What role does translation play in this? What can it tell us about the way in which world literature is articulated? Carlos F. Grigsby approaches Darío's oeuvre through translation. In doing so, he explores not only the place of Darío in the translation of Spanish American literature into English, but also the place of translation in Darío's own writing. The result is a double-sided painting, as it were: the recto is titled “Translation in Darío” and the verso “Darío in Translation.” This book challenges the field of world literature by revealing some of the biases present in its representation of Spanish American literature. It adopts a multilingual framework – chiefly using English, Spanish, French, and to a lesser degree Latin and Catalan – in analyzing Darío's writing alongside that of his contemporaries. As a result, it reveals the multilingualism of Darío's own writing, opening new avenues for the study of his work and of Spanish American modernismo more generally.

A long overdue examination of Rubén Darío's multilingual work and influences alongside the contexts and politics of canonization in world literature. Rediscovering Rubén Darío through Translation addresses the peculiar obscurity of Darío by asking these questions: How can one of the most important writers of a major world language be almost entirely unknown in the English-speaking world? How is it that other writers of the same language (e.g., Lorca or García Márquez) achieve widespread recognition in the anglophone world, while he remains unnoticed? What role does translation play in this? What can it tell us about the way in which world literature is articulated? Carlos F. Grigsby approaches Darío's oeuvre through translation. In doing so, he explores not only the place of Darío in the translation of Spanish American literature into English, but also the place of translation in Darío's own writing. The result is a double-sided painting, as it were: the recto is titled “Translation in Darío” and the verso “Darío in Translation.” This book challenges the field of world literature by revealing some of the biases present in its representation of Spanish American literature. It adopts a multilingual framework – chiefly using English, Spanish, French, and to a lesser degree Latin and Catalan – in analyzing Darío's writing alongside that of his contemporaries. As a result, it reveals the multilingualism of Darío's own writing, opening new avenues for the study of his work and of Spanish American modernismo more generally.

Challenging the notion that Central American literature is a marginal space within Latin American literary and world literary production, this collection positions and discusses Central American literature within the recently revived debates on world literature. This groundbreaking volume draws on new scholarship on global, transnational, postcolonial, translational, and sociological perspectives on the region's literature, expanding and challenging these debates by focusing on the heterogenous literatures of Central America and its diasporas. Contributors discuss poems, testimonios, novels, and short stories in relation to center-periphery, cosmopolitan, and Internationalist paradigms. Central American Literatures as World Literature explores the multiple ways in which Central American literature goes beyond or against the confines of the nation-state, especially through the indigenous, Black, and migrant voices.

Multilingual Literature as World Literature examines and adjusts current theories and practices of world literature, particularly the conceptions of world, global and local, reflecting on the ways that multilingualism opens up the borders of language, nation and genre, and makes visible different modes of circulation across languages, nations, media and cultures. The contributors to Multilingual Literature as World Literature examine four major areas of critical research. First, by looking at how engaging with multilingualism as a mode of reading makes visible the multiple pathways of circulation, including as aesthetics or poetics emerging in the literary world when languages come into contact with each other. Second, by exploring how politics and ethics contribute to shaping multilingual texts at a particular time and place, with a focus on the local as a site for the interrogation of global concerns and a call for diversity. Third, by engaging with translation and untranslatability in order to consider the ways in which ideas and concepts elude capture in one language but must be read comparatively across multiple languages. And finally, by proposing a new vision for linguistic creativity beyond the binary structure of monolingualism versus multilingualism.

Las Raras proposes that the Modernistas’ advocacy for a writing style they considered feminine helps us to understand why so few (and perhaps no) women were accepted as active participants in Modernismo. Author Sarah Moody studies how particular writers contributed to the idea of a feminine aesthetic and tracks the intellectual networks of Modernismo through periodicals and personal papers, such as albums and correspondence. Buenos Aires, Paris, and Montevideo figure prominently in this transatlantic study, which reexamines some of the most important period writers in Spanish, including Rubén Darío, Amado Nervo, and Enrique Gómez Carrillo. This book also considers the critiques launched by women writers, such as Aurora Cáceres, Clorinda Matto de Turner, and María Eugenia Vaz Ferreira, who experienced Modernista exclusion firsthand, deconstructed the Modernista discourse of a modern, “feminine” style, and built literary success in alternative terms. These writers reoriented the discussion about women in modernity to address women’s education, professionalization, and advocacy for social and civic improvements. In this study, Modernismo emerges as both a literary style and an intellectual network, in which style and sociability are mutually determining and combine to form a system of prestige and validation that excluded women writers.

In the same way that students of Shakespeare discuss their "Supreme Quartet" of plays, so Irish Studies has its own quartet of writers, Yeats, Joyce, Beckett and Wilde, whose fame is outstanding and worldwide. The inclusion of Wilde in the quartet may surprise some, but it is an incontrovertible fact that scholars are coming to appreciate Wilde's importance as a major influence on 20th century literature. Over the past years, conferences on all four members of this Irish quartet have been organized by the Princess Grace Irish Library of Monaco (the proceedings of each being published in this series), the most recent, on Wilde, in 1993. This collection of papers given at that conference, covers every aspect of Wilde's oeuvre, not only considering his plays, poetry and novels, but his family, his influence on writers both in English (such as Joyce and Stoppard) and in other languages (including Marti, Dario, Borges and Lispector). How influential and far-reaching he has become can be seen by the nationalities of those who attended the conference and contributed papers: Antonio Ballesteros Gonzalez, Mariano Baselga, Pia Brinzeu, Edward Burns, Richard Allen Cave, Davis Coakley, Jean M. Ellis D'Allessandro, Masolino D' Amico, Lawrence Danson, Denis Donoghue, Joseph Donoghue, Irene Eynat-Confino, Michael Patrick Gillespie, Robert Gordon, Warwick Gould, Merlin Holland, Joel H. Kaplan, Patricia Kellogg-Dennis, Melissa Knox, Jacques de Langlade, Donald Lawler, Jerusha Mccormack, Bart J. Moore-Gilbert, Isobel Murray, Sylvia Ostermann, Norman Page, Kerry Powell, Maria Pilar Pulido, Peter Raby, Gerd Rohmann, Roy Rosenstein, Neil Sammells, Ronald Schuchard, Theorharis Constantine Theoharis, Deirdre Toomey, Emmaneul Vernadakis, and Marie-Noelle Zeender. This is the eighth volume in the Princess Grace Irish Library Series.

This is an edition of an important early work by a writer who has since become a leading Latin-American author and a figure in Peruvian politics. It provides a picture of the hedonistic and selfish lifestyle of the young men and women who will one day become Peru's ruling elite.

The Contemporary Spanish-American Novel provides an accessible introduction to an important World literature. While many of the authors covered—Aira, Bolaño, Castellanos Moya, Vásquez—are gaining an increasing readership in English and are frequently taught, there is sparse criticism in English beyond book reviews. This book provides the guidance necessary for a more sophisticated and contextualized understanding of these authors and their works. Underestimated or unfamiliar Spanish American novels and novelists are introduced through conceptually rigorous essays. Sections on each writer include: *the author's reception in their native country, Spanish America, and Spain *biographical history *a critical examination of their work, including key themes and conceptual concerns *translation history *scholarly reception The Contemporary Spanish-American Novel offers an authoritative guide to a rich and varied novelistic tradition. It covers all demographic areas, including United States Latino authors, in exploring the diversity of this literature and its major themes, such as exile, migration, and gender representation.

"With the Columbian quincentennial have come a spate of books devoted to one or another aspect of the Italian mariner and his famous 1492 voyage. None, however, has taken the bold, creative approach of this new volume: to explore Columbus's "fifth voyage," the one depicted in hundreds of literary musings by writers worldwide over the past half-millennium." "Imagining Columbus: The Literary Voyage is Ilan Stavans's stunning contribution to the literature on Columbus. "My purpose," says Stavans, "is to revisit, to investigate, to play with the asymmetrical geometries of the admiral's literary adventures in the human imagination." Arguing that writers have portrayed Columbus in three ways - as prophet or messiah, as ambitious goldseeker, and as conventional, unremarkable man - Stavans examines a veritable treasure trove of poems, novels, short stories, dramas, and other works on Columbus." "Organizing his material into two main parts, Stavans first takes up "Mapmaking," inspecting the two opposing views of the celebration of the quincentennial; discussing the most notable biographies of Columbus, including those by Washington Irving and Samuel Eliot Morison; and providing the necessary biographical data on Columbus's life and achievements. Then, in "The Literary Character," Stavans takes up the geographic and historical development of Columbus as a narrative figure in literature, devoting a chapter to each of the three literary views of the admiral - portrayals by writers as diverse as Walt Whitman, Alejo Carpentier, James Fenimore Cooper, Friedrich Nietzsche, Nikos Kazantzakis, Ruben Dario, Michael Dorris and Louise Erdrich, Philip Freneau, Stephen Marlowe, and scores of others." "In a brilliantly imaginative conclusion, Stavans attempts to foresee what the future might bring. "My goal," he says, "is to describe some of the unwritten books on the mariner, the apocryphal titles that are likely to be published in the next 100 years."" "A hallmark testament to the potential of the human imagination, Imagining Columbus will be hailed by scholars, students, and general audiences."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

One of the most exciting theories to emerge from cognitive science research over the past few decades has been Douglas Hofstadter's notion of “strange loops,” from Gödel, Escher, Bach (1979). Hofstadter is also an active literary translator who has written about translation, perhaps most notably in his 1997 book Le Ton Beau de Marot, where he draws on his cognitive science research. And yet he has never considered the possibility that translation might itself be a strange loop. In this book Douglas Robinson puts Hofstadter's strange-loops theory into dialogue with a series of definitive theories of translation, in the process showing just how cognitively and affectively complex an activity translation actually is.