Common Roots: The North Carolina Agricultural and Technical State Centennial Story Quilt 1891-1991 is a textual and pictorial record of a quilt created to commemorate and highlight the University's first one hundred years. The book provides a history of each section of the quilt, information on the quilters, and a foldout visual of the entire masterwork. The Centennial Quilt is beautifully framed and mounted in the University's Library.
La traduccion entendida como un fenomeno de negociacion asimetrica de lenguas e identidades constituye un aspecto central en los debates que pretenden explicar la "invisibilizacion" de la pluralidad cultural latinoamericana. Este libro se propone reflexionar sobre "escenas de traduccion" en una apuesta que busca leer a contrapelo el discurso de la Historia, contra lo que ese discurso ha encubierto, para evidenciar las posiciones enunciativas de poder desde las cuales la alteridad ha sido y sigue siendo reducida, silenciada o expropiada. La escena de traduccion, ese lugar imaginario donde se dirime la existencia de los "otros", permite poner en relacion acontecimientos en el arco temporal amplio que va desde la conquista americana al presente. Desde los estudios literarios, estos ensayos contribuyen al conocimiento de las continuidades y rupturas en el devenir americano de la traduccion, en un trabajo critico orientado a evaluar formas instituidas de traduccion e imaginar nuevas alternativas.
David Rosenmann-Taub: Poems and Commentaries breaks with conventional norms. Until now, nobody has undertaken a commented anthology of the poems of Rosenmann-Taub except for the poet himself. In addition, although the Chilean poet has been publishing for seventy years, a broad understanding of his thematic preoccupations is still lacking. After formulating interpretative strategies to understand the poems, Kenneth Gorfkle developed his own approach to the expression and communication of that understanding: glosses that paraphrase the poems and thus express the totality of their substance. His selection of poems that illustrate the poet's concerns give the reader a broad general vision of Rosenmann-Taub's thought, as well. Comprised of forty-four poems, each with its own gloss, the book is a tour de force for enthusiasts of Rosenmann-Taub's work, academics dedicated to poetry at all levels, and poetry lovers in general. This revised edition represents a reformulation and refinement of the concepts of the commentaries in the first edition.
David Rosenmann-Taub: poemas y comentarios rompe con los esquemas convencionales. Hasta ahora, salvo el poeta mismo, nadie ha emprendido una antologia comentada de los poemas de Rosenmann-Taub. Ademas, aunque el poeta chileno ha publicado por setenta anos, todavia falta un amplio entendimiento de sus preocupaciones tematicas. Al formular estrategias interpretativas para entender los poemas, Kenneth Gorfkle desarrollo su propio acercamiento a la expresion y comunicacion de ese entendimiento: glosas que parafrasean el poema y asi expresan la plenitud de su contenido. Su seleccion de poemas, que ilustran varias de las preocupaciones del poeta, dara al lector una amplia vision de su pensamiento. Compuesto de cuarenta y cuatro poemas, cada uno con su propia glosa, el libro es una proeza para los aficionados de Rosenmann-Taub, asi como para academicos a todos los niveles y entusiastas de poesia en general. Esta edicion revisada representa una reformulacion y refinamiento de los conceptos de los comentarios en la primera edicion.
Desde diversas perspectivas criticas y anclado igualmente en diversos aparatos teoricos, este libro reune las contribuciones de ocho destacados criticos: Ignacio M. Sanchez Prado, Ramon Alvarado Ruiz, Gaelle Le Calvez House, Julio Enriquez-Ornelas, Tomas Regalado-Lopez, Hector Jaimes, Rebecca Janzen y Cesar Antonio Sotelo en torno a la obra de Pedro Angel Palou. Asimismo, con textos agudos, sugerentes y definidos por la cercania con el escritor, participan tambien cuatro importantes escritores mexicanos: Monica Lavin, Eloy Urroz, Jorge Volpi y Vicente Alfonso. Por otro lado, el mismo Pedro Angel Palou comienza esta edicion donde nos proporciona un repaso sobre su itinerario intelectual. En suma, se trata de un gran aporte critico sobre la obra de uno de los escritores mexicanos contemporaneos imprescindibles.
From the Anti-Federalists to the Know-Nothings, Formisano traces populist political movements in the U.S. chronologically from the Revolution to the Civil War, contextualizing them and demonstrating the progression of ideas and movements. Although American populist movements have typically been categorized as either progressive or reactionary, left-leaning or right-leaning, Formisano argues that most populist movements exhibit liberal and illiberal tendencies simultaneously. By considering these movements together, Formisano identifies commonalities that belie the pattern of historical polarization and bring populist movements from the margins to the core of American history.
An in-depth examination of the cultural functions of the pastoral in Spain, this study of Montemayor's La Diana and Cervantes's pastoral texts moves away from studies that consider this literature as purely escapist and imitative. Rosilie Hernandez-Pecoraro considerably expands the discussion on the importance of the pastoral genre to early modern Spanish studies and supplements the ways in which these texts have conventionally been considered by Hispanists.
The transformation of Late Petrarchism from earlier stages reflects a profound shift in cultural values--a 'crisis of the Renaissance' that generated new perspectives in poetic theory and practice. Broadly, this book identifies a distinctive 'poetics of inconstancy' that came to the fore at the end of the sixteenth century and pervaded the love verse of the age. At the same time, as a study based on the inductive method, the book takes as its point of departure a single poet: Etienne Durand. Because of his frequently anthologized 'Stances a l'Inconstance,' Durand is often singled out as 'the poet of inconstancy.' This study, however, identifies the theme of universal change as a hallmark of Durand's contemporaries as well--a signal of a stylistic revolution that heralded the end of Renaissance verse.
The central component of this study is an index of the numerous motifs through which topoi of the text as symbol are articulated in the religious poetry, sermons, and sacramental plays of Golden Age Spain. Paired with the index is an anthology of the texts on which the book is based. In her introduction, Louise Salstad discusses the transmission and transformation of the topoi as they appear in the Old and New Testaments, classical literature, church writings, and medieval texts, and she considers the influence of the contemporary milieu on the shaping of these motifs. The book also includes an explanatory introduction to the index, biographical notes on authors, a chronology of works, a bibliography, and key word indexes of motifs in English and Spanish. The most extensive investigation of specific topoi undertaken in Spanish studies, this book will also be of interest to art historians and cultural historians whose focus is theology, the history of spirituality, or the history of the book.
This work is the first to analyze Marguerite Yourcenar's fictional manuscripts collected by the Houghton Library at Harvard University. Beatrice Ness organizes her study into five main groups of manuscripts spanning from 1924 to 1987, the year of Yourcenar's death. Ness's genetic approach problematizes questions of truthfulness and falsity: Yourcenar directs the reader's interpretation of her work by selecting and arranging diary notes, correspondences, and manuscripts of novels. As a result, the critic must undertake a careful reading of Yourcenar's 'avant-textes' to answer the questions: what does the manuscript reveal and why are these specific documents accessible to the public? Ness shows that Yourcenar tries to assure a posthumous reading that validates the originality of some aspects of her writing process, such as the aesthetic appeal of the drawings in her manuscripts, her mobility while she writes, and graphic transformations of penmanship revealing metempsychosis. Yourcenar's clever practice calls for an inventive reader to transcribe a filtered reality.
Fraker examines the style of the Libro de Alexandre, a medieval Spanish epic, and shows how it reflects the influence of Latin poets of the Silver Age, including Ovid and Lucan. He includes an analysis of two other medieval epics, the Trojan War of Joseph of Exeter and the Alexandreis of Gautier de Chatillon.
Read locates both the work of Jorge Luis Borges and Western ideas on language in their historical context. He reviews the theoretically diverse critical approaches to Borges's work, including both those that collude with the texts and others that are hostile to the Argentinian writer, and argues that all are inadequate for understanding Borges. He maintains that the modern subject is now characterized by narcissism associated with philosophical skepticism.
Jones argues that the Old French epic Hervis de Mes offers valuable insight into the expansion and diversification of a prominent medieval genre. In the early thirteenth century, the chanson de geste diversified by assimilating plots, compositional modes, and narrative strategies that had previously been the domain of romance, and yet was still excluded from the literary canon. Jones reclaims this thirteenth-century work for modern readers.
This study delineates a theory of epistolary lyric that refutes historical notions of a siecle sans poesie. Julia De Pree argues that monophonic, epistolary texts written during the Ancien Regime both reflect and resist the Classical legacy and at the same time anticipate the nineteenth-century prose poem. De Pree illustrates her theory of epistolary lyric through readings in the historical canon (Montesquieu, Diderot, Rousseau, Laclos) but emphasizes the contributions of the epistoliere: Francoise de Graffigny, Isabelle de Charriere, and Marie-Jeanne Riccoboni. She argues that through their relatively short length, their incorporation of blank space, and their monophonic voice, female-authored letter-texts articulate epistolary lyric at the intersection of narrative, theatrical, and poetic codes. De Pree concludes that as a plural and protean form, epistolary lyric anticipates the so-called poetic revolution(s) that transformed nineteenth-century French lyric.
Gorfkle challenges the assumption that the comic is inferior to the tragic as a vehicle for expressing serious thought and the belief that the comic has only a secondary function in Cervantes's Don Quixote. She systematically surveys the comic mechanisms of the novel from the perspectives of the contemporary literary theories of Bakhtin, Girard, and Derrida.
Kozma examines the use of metaphor and simile in the works of the twentieth-century Italian fiction writer Alberto Moravia, whose novels include Gli indiferenti (1929) and La Romana (1947). She provides a comprehensive description of types of imagery in Moravia's work, organizing this compendium into a series of categories such as images of thought, nature, food, and the human body.
Published in two parts in 1548 and 1552, Le Quart Livre is Rabelais's last book of certain authenticity and his most difficult and mysterious work. In it, Pantagruel and Panurge undertake a sea voyage and a quest for "the word of the Divine Bottle," but the islands they visit along the way are inhabited by strange beings whose nature and physiognomy defy natural categories. Expressing the elderly writer's despair at the failure of all his dreams as a young humanist, the voyage traces the last phase of the heroic quest, the cycle of old age and death. It is a descent into the underworld, but one that is undertaken hopefully, for the Quart Livre continues the search for a wife and for paternity begun in the Tiers Livre. Ultimately, all of these strivings may be associated with the writer-physician who faces misfortunes in order to cure them. In the end, the Quart Livre affirms the healing power of wine, laughter, and words.
This book explores the change that occurred in the writings of Spanish novelist Benito Perez Galdos when he entered his segunda manera in 1881 with the publication of La desheredada, his first contemporary novel. Critical work on this important phase of Galdos's career has tended to concentrate on the content of his novels, with little attention given to the way in which Galdos conveys that content to the reader. By studying these works in light of how their stories are told, Linda Willem shows that La desheredada marks the beginning of a more sophisticated and varied mode of narrative in Galdos's novels. Through close readings of his first seven contemporary works, Willem shows how the affective response associated with various narrative devices plays a role in the rhetorical strategies of each text.
Julio Baena offers a new analysis of Cervantes's last and most controversial novel, Los trabajos de Persiles y Segismunda. Baena's particular focus on the first chapter of this allegorical text, which he sees as a microcosm of the entire novel, allows him to explore the correspondence between microcosm and macrocosm in Cervantes's allegorical text. Placing this work within the intellectual context of its era, Baena uses poststructuralist methodologies to develop the existential implications of Persiles's central cosmological metaphor.
Fernando de Rojas's Celestina, written in the late fifteenth century, opens with an enigmatic conversation between Calisto and Melibea, which has puzzled scholars trying to resolve the apparent contradictions in the work as a whole. Ricardo Castells supports the idea that the scene represents Calisto's dream about his beloved Melibea. In this study, Castells examines later Celestinesque works as a lens through which we might better understand Celestina. Castells focuses on Calisto's creative use of borrowed text and speech, and contends that Melibea demonstrates a surprisingly strong and consistent personality. He argues that Celestina's role is somewhat diminished in Rojas's continuation of the text as a result of this greater independence in Melibea's character.
The first extensive English language study of Julien Gracq's work, this book focuses on the role of history in his two major novels and his critical essays. Carol Murphy draws on contemporary theories of allegory, textuality, and history in her analysis of the interplay of fictional and factual history in Gracq's writings. She also shows that history's rhetorical dimension, as presented by Gracq, puts forth the hypothesis that narratives of history influence actual events. In addition, she uses Freudian theory to investigate the links between Walter Benjamin's understanding of history as ruin, Gracq's sense of catastrophic history, and Andre Breton's notion of the "emotional coefficient" of history.
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