Bücher veröffentlicht von StockCERO

With this edition El inefable Philip by Aurora Bertrana is published for the first time. In the novel Bertrana tells the story of Anna, a bourgeois woman obsessed with Philip, an extraordinary handsome man who was the son of a thread manufacturer from England. For Anna Philip's beauty is such that she sees him as if he was a deity. Anna manages to marry him despite Philip's warning that he will never be able to make any woman happy. Anna disregards Philip's revelation. She believes that through her charms and pleasing Philip in every way she will change her husband's mind. However, Anna's attempts are futile. Philip is attracted to men and for nothing in the world he would give up his freedom and pleasures. In addition to a failed marriage, with Philip Anna discovers alternative ways of living. However, the modern and bohemian life that Philip and his friends propose to Anna is too far from her traditional values and beliefs. For this reason, when Philip dies in a hospital after suffering a traffic accident, Anna decides to marry her lifelong friend Agustí Bruguera.In her novel Bertrana criticizes the economic dependence of women and the lazy and irresponsible life of the bourgeois like Philip who lives at the expense of others without working or producing anything. The novel deals with forbidden topics at that time, such as homosexuality, lesbianism, infidelity and divorce. These issues caused serious problems to Bertrana when she wanted to publish her novel. Publishers were uncomfortable with the idea of ¿¿making public the way of living of the bourgeoisie and their vices. The introduction to this translation includes a discussion of these issues and offers a critical study of the author and her work -and in particular of El inefable Philip. This book is ideal for courses of Spanish and Catalan language and literature, Culture, History and Society, Gender and Women's Studies.

Manuel Maples Arce's 1920s avant-garde period is currently quite popular in Mexico, but his later poetry is largely unknown these days. Texts of his poetry were hard to find before the 1981 edition and 2013 reprint of his complete poetry, Las semillas del tiempo. A few of his volumes have been translated into French: Poèmes Interdits by Edmond Vandercammen, and the three 1920s estridentista volumes as Stridentisme by Antoine Chareyre; one into English: Metropolis by John Dos Passos; and a few isolated 1920s poems here and there into English. This bilingual edition, The Seeds of Time: Poetry of Manuel Maples Arce 1919-1980, translation and introduction by Diane J. Forbes, provides both the original texts in Spanish and the translation into English, to introduce Maples Arce to the English-language readership and to present the texts to bilingual Hispanist scholars and students working outside of Mexico. A major goal is to have readers consider Maples Arce's complete poetry and not just his 1920s Estridentismo phase. Forbes' companion book Maneuvering Time and Place: the Poetry of Manuel Maples Arce (Stockcero, 2022, ISBN 978-1-949938-17-3) is the first book to analyze the complete poetry as a whole, explaining themes, style and trajectory. Maples Arce is an important poet who deserves recognition as a major force in modern poetry.

El diablo de Yudis (The devil of Yudis) emerges from the phenomenon of Moroccan immigration to Europe, giving the emigrant a voice.Daoudi reveals a magnificent literary style, powerfully expressive, and the narration flows naturally between bitter and hopeful tones. His language, agile and direct, reveals a literary quality deserving attention.This first work by Daoudi offers great sociological richness in terms of the harsh situation it poses from the perspective of Moroccan immigrants and the tribulations they must endure to survive, only to end up crushed by the dominant economic and political power that be, regardless of the country in which they live and try to prosper.The novel portrays the emigrant, dispossessed in his native country, incapable of living a decent life in it, and persecuted outside of it for trying to escape his disastrous destiny. Daoudi treats the migratory experience not only as a dangerous journey, but as a necessity due to extremely poor conditions that force the decision to leave.In the novel a street storyteller tells the story of "The Devil of Yudis" before a circle of passers-by in the market square of Fez.The narrative of the storyteller takes place in Yudis, an imaginary island ruled by the Arab Sheikh Ibn Manjalí Ilias XXI, who receives military aid from the continent to defend the island from the devil and destroy him. But the devil incarnates in the sheikh, and continues to reappear in unsuspected human configurations, so the military expedition is tasked with eliminating the elusive entity.The street storyteller is not just a framework to the story, as is common among Moroccan writers, but he himself becomes the protagonist of a second story intertwined with that of the devil: the story of the emigrant.With this edition, professors Constantin Icleanu and Ana Rueda aim to improve the reading experience, contextualize the text in the field of contemporary immigrant literature and make it available again, both for specialized and non-specialized readers.The Introduction provides two large sections: (1) CONTEXTS: the historical, literary and cultural framework for a better understanding of the novel; and (2) ANALYSIS, where the two uses of fabulation in El diablo de Yudis are elaborated: the resource of the absurd and the figure of the devil in the framework of various religious references. Thus, they have included a substantial introduction, corrected errors in the text of the novel, and added explanations at the foot of the page about the meaning of many names of people and places, as well as uncommon words.This edition recovers the textual quality of the work, offering, in turn, a modern and necessary contextualization.

The Martin Fierro, the classic argentine poem, has been the subject of studies and discussions ever since the issuing of its first part edition -el gaucho Martin Fierro- in 1873, and there have been many ensuing editions, including some still available, to prove it.This new edition of both parts aims to render a balanced startpoint to the study of the literary piece.This edition is based on the original texts: El gaucho Martín Fierro Imprenta de La Pampa, 1872, and La vuelta de Martín Fierro Librería del Plata, 1879, and includes no less than 535 lexicographic notes, conveniently placed at the bottom of the pages and intended to help the modern reader grasp the exact meaning of the text without obtrusive lengthy interruptions.The notes were made by comparing the critical editions by Eleuterio F. Tiscornia, Ed. Losada, Buenos Aires, 1941; by Carlos Alberto Leumann, Ed. Angel de Estrada, Buenos Aires, 1945; and by Santiago M. Lugones, Ed. Centurión, Buenos Aires, 1948; their own notes compared between them and with the critical edition by Elida Lois and Angel Nuñez, Ed. ALLCA XX (Association Archives de la Littérature Latinoaméricaine, des Caraïbes et Africaine du XX Siècle), Paris 2001; with the notes by Leopoldo Lugones in El payador, Ed. Centurión, Bs. As. 1948 (and Stockcero 2004), those of Francisco Castro in Vocabulario y frases del Martín Fierro, Ed. Kraft, Bs. As. 1950, and those of Domingo Bravo in El Quichua en el Martín Fierro y Don Segundo Sombra, Ed. Instituto Amigos del Libro Argentino, Bs. As. 1968.

«The Jews of Las Acacias» establishes Rebeca Mactas as a founding author of Jewish-Argentine literature, with a particular focus on documenting the role of women in the agricultural colonization promoted by the Jewish Colonization Association created by businessman, banker and philanthropist Mauricio de Hirsch, among whose initial pioneers was Mordejai Alpersohn, the grandfather of Mactas.A remarkable element of Mactas's stories is the feminine perspective from which they are narrated, which underscores the obligatory hard work and compulsory secondary roles of women amidst a rigid patriarchal tradition.These works are not mere tales , as they also include prefatory poems that introduce central themes, such as the ideals of the Haskalah movement, or «Jewish Enlightenment», with its search to revitalize the Jewish spirit through a renewed contact with the land. The characters in Las Acacias share the telluric environment of Alberto Gerchunoff's «The Jewish Gauchos of the Pampas», but the life of these colonists is not portrayed as overly bucolic. While nature is hostile and strange to them, the characters exhibit a reverent, respectful attitude toward it as well as an endearing love.

This new book is a compilation of articles and lectures by the liberal thinker Armando P. Ribas, which reflect the political philosophy that overlies its historical, ethical, political and economic analysis. Dr. Ribas exposes the political and economic issues in the correct axiological order, thus demonstrating that the economy is not an independent science, but merely consequential and dependent on ethics, politics, and the legal system derived from them.Dr. Ribas exposes that private interests are not per secontrary to the general interest, and that an intelligent legal framework is what allows a part of the world to produce unprecedented wealth in the history of mankind.These are the principles defended by John Locke in his First Treaty of the Civil Government (1689), from which the Scottish philosopher David Hume then elaborated, thus completing the basis of the Rule of Law and Judicial Review system embodied in the American Constitution of 1787 and the Bill of Rights of 1789.In contrast to these principles of protection of individual freedom, which he calls «Anglo-American», Ribas puts under the microscope the ethical principles of the «Franco-Germanic» political philosophy, derived from the thought of Rousseau, who established the ideal of «new man» free of defects and incarnation of the State. Based on this, the thoughts of Kant, Hegel and Marx are linked to produce the idea that the pursuit of one's happiness is contrary to morality, the justification of absolute political power in the realm of reason, of the State as «The divine idea as it manifests on the earth». and of the dialectic of history manifested in the class struggle, after which freedom would arise as a consequence of having overcome scarcity -thus poverty- under the «dictatorship of the proletariat».The absolute contrast of these ideas, both arising in Europe, is what Armando Ribas points out as the fallacy of «Western Civilization» since it is not one but two, and diametrically opposed.

The City of the Young: fantasy press reportis about a journalist of the fictitious newspaper «Ara o Mai» (Now or Never) who travels from his city «The City of the Old» to «The City of the Young» to write about the way of life of their new generations.Within the novel the narrator-reporter interviews several government delegates (of Public Order, Eclesiastical, Fine Arts, Sexual Hygiene, etc,), equivalent to the Ministries at «The City of the Old», and is amazed by the differences.In «The City of the Young» Government Officials do not belong to political parties, nor are the citizens subject to any authority. There is no king or president, and any citizen may be elected leader.There is an absolute respect for equal rights for both men and women, sexual freedom and environmental care.These and other findings surprise the narrator-reporter, but what he finds most astonishing is that «The Young» crave for a «Single Sex» or total hermaphroditism, and scientists work to erradicate the differences between men and women. Though still unsuccessful, they have already simplified women's lives by inventing an artificial uterus.This translation into Spanish is based on the original manuscript that Aurora Bertrana submitted to the state censorship in 1971, and includes the crossed out fragments that were not included in the Catalan edition published in the same year.The foreword analyzes these paragraphs and the role of the state censorship during the Francisco Franco regime. The preliminary study also delves into the author and her works -specially The City of the Young- to discuss Aurora Bertrana's cosmovision. This edition is suited for Spanish and Catalan Language & Literature, Culture & Society, Gender, and Women Studies courses.

Cosas añejas constitutes one of the most representative example of XIXth Century Dominican Literature, and the main production of César Nicolás Penson (Santo Domingo, 1855-1901).In this work Penson gathers eleven Dominican XVII and XIX Century stories, that had been previously limited to legal files or folk spoken lore, and recreates them in a well structured corpus in what is known as the «Tradiciones» genre, in the same line as Peruvian author Ricardo Palma's «Tradiciones Peruanas». The «Tradiciones» appear in the XIX Century with the explicit purpose of safekeeping the past and traditions of the Latin American Creole society while collecting and redrafting popular tales, legends and articles on popular customs. The recreated stories mix facts and fiction, fantasy with popular superstition, in an educated language spattered with popular expresions, proverbs and adages, in a well balanced mixture of seriousness, satire and irony aimed to be regarded as an entertaining social criticism.Thus becoming vivid portraits of the members of those societies, of their lives, customs, their ways of feeling and thinking. This explains the warm reception obtained, both by Palma and Penson, when first published.In his «Cosas Añejas» Penson also includes numerous «notes from the author» full with philosophical digressions and explanations of various kinds on each of the traditions and episodes:vocabulary definitions, adages, sayings, customs, interpretations of zoological, botanical and geographical terms, genealogical and historical explanations, and minute details of the monuments and streets of colonial Santo Domingo city.This edition, by prof. Rita M. Tejada, includes a foreword and numerous footnotes that allow the modern reader to grasp the full intention of the author while placing the work in the proper socio-historical context of XIXth Century Santo Domingo

Unfairly forgotten Peruvian feminist writer Aurora Cáceres(1877-1958) has gained a new wave of readers in the 21stcentury -ironically, through her engagement of a literary movement, Spanish American modernismo, that denied women writers a place. Published in Paris in 1914, Cáceres's novel La rosa muerta, translated by Laura Kanost as A Dead Rose, stands today as the most influential modernistaprose work penned by a woman. In this audacious story of an ailing woman who initiates an affair with her gynecologist, Cáceres not only defies cultural conventions of feminine modesty to speak publicly about women's health and sexuality, but does so by appropriating the language of a literary movement that silenced women.Unlike her most of her contemporaries, Cáceres does not reduce illness to a clinical case, an example of degeneration, or a symbol of social ills -nor does her protagonist's affliction merely signal the social deviance of the modernistaintellectual or the beauty ascribed to the objectified modernistawoman, seen as still more beautiful if languishing or dead.Rather, Cáceres portrays illness as a multifaceted experience that is affected by the social context within which it takes place and ultimately is not overcome through modern medicine. Left to carry on into the future are two characters who thrive because they are not constrained by gender conventions: a nurturing, selfless male doctor devoted to science, and his beautiful and deeply intelligent young daughter. A Dead Roseis an extension of Cáceres's cosmopolitan identity and feminist stance developed over a lifetime of travel and scholarship. The daughter of a Peruvian president, Cáceres was equally at home in the Americas and Europe. She founded numerous feminist and cultural organizations and authored essays, novels, short stories, and life-writing, including a memoir of her turbulent marriage to famed Guatemalan modernistaEnrique Gómez Carrillo. Steeped in the modern technologies, fashions, and social networks of early 20th-century Paris and Berlin, this brief and engaging novel will appeal to readers interested in gender and women's studies, global literature, and medical humanities. Dr. Kanost's introductory study contextualizes the novel within the author's production and explores its connections to modernismoand feminism, engaging the critical conversation that developed in the wake of the novel's second edition, prepared by Dr. Thomas Ward (2007).

The novel The Limping Devil (El diablo cojuelo) was first published in Spain in 1641. The author of nearly two hundred dramas, Luis Vélez de Guevara was highly admired by his contemporaries, including Miguel de Cervantes and another prolific playwright of the time: Lope de Vega. It was this novel, however, that received the most widespread audience, and it was not due to Vélez de Guevara's own work. Instead, the French author Alain-René Lesage discovered the novel and decided to transform its action into a French adaptation: Le diable boiteux. The story of an ugly limping devil, and a young student, flying about the countryside and satirically commenting on the worst of its inhabitants became a best-seller in Lesage's hands, running through nine editions in its first four months alone, forty-two more by century's end, and is still published today. Lesage's version also became well known in English literary circles, with three translations and sequels, and a number of stage plays in England with references to a "Devil Upon Crutches" or a "Devil Upon Two Sticks." Even Charles Dickens refers to the novel in his The Old Curiosity Shop. The original work, Vélez de Guevara's Spanish text, however, has never been brought to light for the English-speaking world. It is that lacuna that we attempt to fill here, with a translation that is not only an accurate reading of the Spanish text, but one that attempts to vividly and fluently recreate the Spanish world of that time for the modern reader of English.This bilingual edition includes both a translation by well known academics Robert Rudder and Ignacio López Calvo, and also the Spanish text, a foreword and numerous footnotes, both in English and Spanish, intended to help the modern reader grasp the full quality of this classical text.

José Martí (1853-1895), one of the most distinguished authors, intellectuals and national heroes of the 19th century Latin America, offers in Ramona (1888) a literary translation that stands out for its aesthetic brilliance and ideological content, a unique text in the copious Marti work that, despite being a reflection of the concerns and conflicts of its time, still maintains a relevance and validity in our days.Originally published in 1884 by the famous American activist and writer Helen Hunt Jackson (1830-1885), Ramona would enter the annals of US history as the most representative novel of the so-called indigenous reform movement of the 1880s, becoming Jackson's latest attempt to denounce the mistreatment and policies of the federal government towards the indigenous tribes of his country.With more than 300 editions in English, a myriad of cultural adaptations and its colossal impact on tourism in Southern California, this great classic of American literature has never stopped being reissued in more than a century.Although Marti was a connoisseur of Jackson's cause in favor of the North American Indian, the Cuban thinker glimpsed another meaning through the pages of this book, postulating his translation of Ramona as "our novel."During his exile in New York he translated the novel arduously, and even paid for its publication to be distributed in Mexico.The plot that revolves around the interracial romance of the Indian, Alejandro, and the mestizo heroine, Ramona, serves to illustrate the hardships endured by the Indian and Mexican communities at the arrival of the white settlers just after the US intervention war in Mexico and the session of California and the rest of the Southwest to the United States.130 years after its publication, the reading and study of Marti's Ramona is essential today more than ever to learn from the past and encourage the construction of bridges and dialogues between all the peoples of the two Americas.