Comparative Literature

The introduction of the Map Title Deed during the reign of King Rama V of the Rattanakosin era is one of the indicators that showed that Siam was in the process of Modernization. It was an important mechanism for the Thai Elite to use as tool to centralize their power under the bureaucratic administration, because the Government could check on who owned any land, and who was residing there, especially with regard to the Chinese. As the complexities of land use increased, especially in the area of the lower Chaophraya-Basin, there was increased conflict between the State and the commoners based on "what kind of persons" could own land, with arguments between those who could afford the high land prices and those who wanted to exploit the land by themselves. The Government resolved these problems by an edict on the Map title Deed, so that anyone who had registered land was considered the owner. Moreover, the Deed could also be used to clear up any conflict by differentiating between the State's property and private ownership.

As an inherently decentered and transnational mode of identity, culture and language, diaspora offers fertile grounds for the production of world literature. Yet diasporic literature diverges from national and regional models of world literature as well as related typologies of comparison due to particularities I collectively term “diasporic difference.” This essay elucidates diasporic difference in nineteenth-century Jewish-language translations of Robinson Crusoe made during the Haskalah, or global Jewish Enlightenment movement. After mapping the novel’s translation history in Hebrew and Jewish vernacular languages (Ladino, Judeo-Arabic and Yiddish), I show how the manifestations of Jewish diaspora play out at different levels, from the novel’s diasporic pathways of circulation to each individual edition’s linguistic and aesthetic attributes. Drawing upon this case study and prior scholarship, I argue that diaspora combines different scales of literary space and time, expanding world literature’s horizon of inquiry beyond a singular modern “world.” Further, diaspora may challenge distinctions between North-South and South-South models by absorbing both trajectories of circulation into a “minor” diasporic network of lateral exchange. Finally, given diaspora’s merging of a shared culture of origin with heterogeneous local influences, the translingual comparison of texts within a diasporic constellation resists classification as either intercultural or intracultural comparison. The multilingual Jewish translation history of Robinson Crusoe exemplifies the modulation of diverse cultures through the unifying force of diasporic connection and calls for an alternative approach to comparison.

The paper examines the epistemic position of the subject of law vis-a-vis modernity, postmodernity and the related themes of modernism and postmodernism, taking Western jurisprudence as the analytical paradigm. Western jurisprudence is given a wider meaning, especially through the formalist devices thereof, as these have spread all over the globe in one way or another. Furthermore, inductive exemplification of the matter is achieved through referral to certain provisions of the Latvian Civil Code on the occasion of the presentation of this paper in the 73rd Scientific Conference of the University of Latvia in February 2015. Beyond this, drawing on wider theoretical matter from Western jurisprudence, the analysis concludes with a finding, which suggests that the epistemic position of law seems to maintain its largely modernist core still (albeit not without postmodernist challenge and/or benefit to the subject’s modernist credentials).

Gürcü Yazını, A. G. Baramidze ve D. M. Gamezardaşvili tarafından kaleme alınan ve Sudan Altun ile Ulaş Başar Gezgin’in çevirisiyle Türkçeye kazandırılan kapsamlı bir edebiyat tarihi çalışmasıdır. Eser, Gürcü edebiyatının yaklaşık on beş yüzyıllık seyrini tarihsel, kültürel ve estetik bağlamlar içinde ele alarak hem bir yazın tarihi hem de bir kültür atlası işlevi görmektedir.
Kitap, Gürcü yazınının gelişimini beş ana dönemde incelemektedir: Erken Hristiyanlık öncesi halk anlatılarından başlayarak, Orta Çağ’daki kilise yazını; klasik dönem epik şiir geleneği; Fars etkisi altındaki biçimsel dönüşüm; Sovyet dönemi sosyalist gerçekçiliğe dayalı ideolojik üretim süreçleri ve modern döneme uzanan geniş bir panoramaya sahiptir.
Özellikle erken dönem edebiyatında, Yakob Tsurtaveli’nin Azize Şuşanik’in Şehit Oluşu* adlı yapıtı feminist kuram çerçevesinde değerlendirilebilecek özgün bir kadın temsili sunarken, Yoané Petritsi gibi düşünürler Bizans, Ermeni, Süryani ve Arap entelektüel gelenekleriyle kurulan felsefi diyaloglara örnek teşkil etmektedir. Şota Rustaveli’nin Pars Derisindeki Şövalye adlı eseri ise yalnızca Gürcü değil, dünya edebiyatı ölçeğinde etik, estetik ve felsefi derinliğiyle dikkat çeken klasik bir metin olarak öne çıkmaktadır. Bu yapıtta aşk, kahramanlık, kadın özgürlüğü ve halkların kardeşliği gibi temalar, özgün ve evrensel bir anlatı kurgusu içinde sunulmaktadır.
Sovyet dönemi yazını, sosyalist gerçekçiliğin etkisiyle bireysel anlatıların geri plana atıldığı, kolektif kimliğin ön plana çıkarıldığı bir anlayışla değerlendirilmiştir. Bu dönemde edebiyat, ideolojik bir araç olarak kullanılmış; çok seslilik yerine monolojik bir anlatım biçimi egemen kılınmıştır.
Eser, çevirmenlerin dilsel ve kavramsal hassasiyetleriyle Türkçeye aktarılmış; karşılaştırmalı edebiyat, çeviri kuramı, kültürel çalışmalar ve Kafkasya bölgesi yazın araştırmaları açısından önemli bir kaynak haline getirilmiştir. *Gürcü Yazını*, edebiyatın estetik üretimden öte kültürel kimlik ve toplumsal dönüşüm aracı olduğunu vurgulayan, disiplinlerarası nitelikte bir çalışmadır.

4 Ibid., p. 257 (troisième partie, chapitre X). 5 Ibid., p. 258. 6 L'expression est celle de Rima Dapous, dans Patriarchy and The Dream of Feminine Imagination: A Study of the Works of Anna de Noailles, thèse de doctorat non publiée, University of Oxford, 1999, p. 18. Elle est traduite et citée par Vassiliki Lalagianni, « La condition masculine dans les romans d'Anna de Noailles », dans F. Grenaudier-Klijn, E.-C. Muelsch et Jean Anderson (dir.), Écrire les hommes, Saint-Denis, Presses Universitaires de Vincennes, coll. « Cultures et sociétés », 2012, pp. 241-258, p. 245 pour la citation.

Hero of Alexandria, likely a contemporary of the Roman emperor Nero, is one of the many ancient Greek authors whose work, for us, represents a whole tradition of ancient thought-in this case, mechanics. Anyone who has ever ventured into the five stately Teubner volumes collecting his writings (plus a halo of fragments and an extensive Near Eastern transmission) has, however, perhaps experienced a certain feeling of being helpless in the vast expanse of texts mostly starring tubes, wheels, diagrams, and numbers. Now there is relief. In The Mechanical Tradition of Hero of Alexandria, Courtney Ann Roby provides us with, as far as I can see, the first monographic guide to the Corpus Heronicum. Roby describes the corpus as "a system of interlocking information flows" (17), which is a fitting image for the corpora of a number of ancient authors, including the medical author Galen and the geographer Strabo (and certainly too for the book under review). Roby's book is divided into three parts. The first (chapters 2-3) explores how Hero presents and solves technical problems, drawing from a long tradition that he transforms and codifies for intellectual engineers at least up to the Renaissance. The second part (chapter 4) is structured as a thought experiment. Roby hypothetically imagines three historical contexts-Ptolemaic, Early Roman, and later Imperial Alexandria-and explores which aspects of Hero's corpus would align with each of these settings. This experimental framework enables Roby to engage with the entire tradition of Greek theoretical mechanics and applied mathematics. The third part (chapter 5) offers a succinct survey of Hero's impact on the Renaissance and the seventeenth century, tracing his works and concepts through a beautiful stream of names, places, and baroque frontispieces. Hero's treatises span various fields, including mechanics in general (extant in Arabic), seemingly self-moving devices ("automata"), machines powered by air or water pressure, ballistic machines, instruments for topographic measurements, applied mathematics, systems of measurement, a commentary on Euclid's Elements, and mathematical definitions. With many of these texts, he supersedes predecessors such as Philon or Ctesibius, who only occasionally come up as names; thus, he often comes close to developing disciplinary microhistories, even in texts like the Metrica. Roby identifies Euclid's Elements as Hero's model of textual organization. Therefore, we can take Hero to construct a "geometry of machines" (as Karin Tybjerg 2004, 50 has put it), a textual model, however, that he transformed. Roby excels in highlighting Hero's didactic strategies, which seem to adapt and vary mathematical traditions. At the heart of these traditions is the desire to explain-in Hero's case, to explain the mechanics of the world around us, inviting readers to see the world in a new way (a sentiment evident in the Ps.-Aristotelian Mechanical Problems, a possible origin of the tradition of mechanical writing). One of the lead differences that guides Roby's approach to Hero, is the one between "practical and theoretical", which here often coincides with the one of "materials vs. mathematics." Roby's Hero helps us observe, analyze and construct objects in the world, that is, he tries to teach us how to handle both categories, the one of material and the one of mathematics, and provides us with a "mixed" approach to theōria. Hero's focus on practical problem-solving sets him apart from Archimedes, positioning his use of mathematical features more as a rhetorical strategy.

A strong link between complexity theory and literature is possible, i.e. feasible, under one proviso, namely that total novels be considered. However, neither in literature at large nor in complexity science has been literature seriously taken into consideration. This paper argues that a total novel is most conspicuous example of a complex system. The argument is supported by a clear characterization of what a total novel is and entails. Science and literature can be thus complemented and developed, hand in hand.

A strong link between complexity theory and literature is possible, i.e. feasible, under one proviso, namely that total novels be considered. However, neither in literature at large nor in complexity science has been literature seriously taken into consideration. This paper argues that a total novel is most conspicuous example of a complex system. The argument is supported by a clear characterization of what a total novel is and entails. Science and literature can be thus complemented and developed, hand in hand.

Робоча навчальна програма з дисципліни «Історія зарубіжної літератури» є нормативним документом Київського університету імені Бориса Грінченка, який розроблено кафедрою світової літератури на основі освітньо-професійної програми підготовки бакалаврів відповідно до навчального плану для всіх спеціальностей денної форми навчання

Робоча навчальна програма з дисципліни «Історія зарубіжної літератури» є нормативним документом Київського університету імені Бориса Грінченка, який розроблено кафедрою світової літератури на основі освітньо-професійної програми підготовки бакалаврів відповідно до навчального плану для всіх спеціальностей денної форми навчання

Робоча навчальна програма з дисципліни «Світова література: Історія зарубіжної літератури» є нормативним документом Київського університету імені Бориса Грінченка, який розроблено кафедрою світової літератури на основі освітньо-професійної програми підготовки бакалаврів відповідно до навчального плану для всіх спеціальностей денної форми навчання

В статті досліджуються три кіноверсії історії кохання французького письменника О. де Бальзака та Е. Ганської: «Помилка О. де Бальзака», «Велике кохання Бальзака», «Бальзак». Аналізуються особливості жанру фільму-біографіїі, режисерське й акторське тлумачення подій і образів героїв.Three film versions of the love story of a French writer H. de Balzac and E. Hanska: “Mistake of Honoré de Balzac”, “Great love of Balzac”, “Balzac” are researched in the article. The peculiarities of the biography filmgenre, a film director’s and actor’s interpretation of events and images ofheroes are analyzed in the article

Робоча навчальна програма з дисципліни «Історія зарубіжної літератури» є нормативним документом Київського університету імені Бориса Грінченка, який розроблено кафедрою світової літератури на основі освітньо-професійної програми підготовки бакалаврів відповідно до навчального плану для всіх спеціальностей денної форми навчання

Робоча навчальна програма з дисципліни «Історія зарубіжної літератури» є нормативним документом Київського університету імені Бориса Грінченка, який розроблено кафедрою світової літератури на основі освітньо-професійної програми підготовки бакалаврів відповідно до навчального плану для всіх спеціальностей денної форми навчання

De volta à pista de dança na segunda metade dos anos de 1970, buscamos neste ensaio não só defender, mas pensar uma estética disco no Brasil. Para além de uma matriz anglófona, centrada no contexto norte-americano e em Nova York, retomamos a sensibilidade disco não por um olhar nostálgico, mas por um vislumbre estético de uma experiência queer que se faz na discoteca como espaço cênico e dramático dos corpos, das danças e das noites. No diálogo entre o ensaio In the defence of disco (1979) de Richard Dyer, o romance Dancer from the Dance (1978) de Andrew Holleran e o grupo Frenéticas a partir da telenovela Dancin’ Days (1978- 1979), acompanhamos o neon de uma alegria que se esfumaça na melancolia de uma década de crise econômica e de emergência do neoliberalismo antes da AIDS. Há ainda uma história disco a ser contada no Brasil por outras sensações. Afinal, o que a disco pode nos trazer ainda hoje?

“Văn học Việt nhập cư” về phạm vi bao gồm “văn học bằng tiếng Việt do người Việt nhập cư sáng tác” và “Văn học tiếng ngoại, chủ yếu là tiếng Anh, tiếng Mỹ, được sáng tác bởi người Việt nhập cư và các thế hệ tiếp theo của họ.” Thông tin văn học di dân bằng tiếng Pháp, tiếng Đức, tuy hiện diện nhưng rất giới hạn.

Italian Humanists began their interest in the language of the Romanians in close connection with the debate on Latin and vernacular languages that animated the papal curia in the central decades of the Quattrocento. Stimulated by the news reported by travellers to the Romanian lands and pilgrims from there, curial humanists such as Poggio Bracciolini or Biondo Flavio creatively used the topic in their linguistic, historical-geographical and even political reflections. Aeneas Silvius Piccolomini (Pope Pius II, from 1458) turned the idea into a genuine literary topos destined to endure, attaching identitarian values to it, within his articulate reflection on the values of Greco-Roman civilisation, Christendom and emerging Europe.

In this essay, my aim is to explore the intersection between the emerging field of biocultural diversity and comparative literature. Focusing on literature within this intersection leads to what I propose to call environmental comparative literature. The central concept of this subfield is urgency, which has historically given rise to disciplines such as urgent anthropology. Environmental comparative literature, akin to urgent anthropology, begins with the acknowledgment of today’s pressing environmental challenges, specifically the rapid pace of language extinction. However, unlike urgent anthropology, environmental comparative literature must grapple with the realization that documenting or collecting texts in endangered and extinct languages cannot be its sole primary objective.

Firstly, I will discuss some of the issues that environmental comparative literature should address and provide a provisional definition for this subfield. Secondly, I will re-examine some of the principles and main tendencies of comparative literature in the context of an environment-oriented perspective. Finally, I will explore the potential role of environmental comparative literature in ongoing discussions surrounding sustainability.

Émile Zola started to write short stories at the beginning of his carrier. The image of the pioneer of Naturalism has always obscured this minor part of his literary production, which was regarded as a mere genetic support of his primary works. Nevertheless, Zola wrote short fiction throughout his entire literary and journalistic career and this rich ensemble of texts must not be considered as a minor and futile part of his artistic production, since it also offers new and enlightening elements. By reading the works of Zola "conteur" through the prism of literary sociology, we can not only realize how much the short stories have contributed to the authorship of the writer, but also observe the evolution of Zola's artistic and literary ideas from a different point of view. These texts, which combine a literary and journalistic nature, allow us to better indentify the effects of médiatisation on Zola's works, to observe the intimate dialectic between literary discourse and journalistic precepts, and finally they allow us to understand the development of the writer's positioning in the field. The sociologic analysis of this corpus allows us to interpret the many authorial postures and the strategies that the writer adopted during his career. Through the reading of short stories, a real literary trajectory is outlined, which indicates the different steps of Zola's progress in the media and literary field during the time. Placing themselves at the crossroads between literature and journalism, these texts redesign the ensemble of the Zola's literary path and produce a new image of the writer.

This article highlights the relevance and influence of the sixteenth-century Italian poet Ludovico Ariosto on key issues of modern literature, such as fiction, duplication, and reversal through the main theme of madness. Examples are taken from Cervantes, Manzoni, Nievo, Pirandello, Borges, and Calvino.

Este estudo tem o propósito de estudar a construção das vozes, a memória e a nação no romance "O Outono do Patriarca" do escritor colombiano Gabriel García Márquez. O eixo da obra é a discussão da presença das ditaduras na América Latina desde as independências até o século XX. A pesquisa defende que a narração oral utilizada na obra, em associação à memória dos personagens, com seus múltiplos pontos de vista sobre o passado que vivenciaram, abre a possibilidade de compreender o romance como uma luta pelo direito de construção de outras histórias da nação. As vozes heterogêneas da nação são trazidas à cena e participam do processo de negociação e diálogo numa reformulação da narrativa da nação, demonstrando que há outras versões sobre a história nacional. Para isso, García Márquez produziu um efeito de várias vozes, que lutam para construir outras histórias da pátria, diferentes da oficial, exercendo o que o crítico uruguaio Hugo Achugar denominou de "direitos de memória". A construção das vozes no romance é estudada à luz do dialogismo de Mikhail Bakhtin e da transculturação narrativa do crítico uruguaio Ángel Rama. Já a questão da nação é focada pela perspectiva de Benedict Anderson e a memória é enfocada à luz das considerações de Hugo Achugar e de Paul Ricoeur.

Varios de los conceptos centrales de la teoría neotradicionalista -el estado latente, la refundición multisecular de las obras tradicionales, la transmisión oral-nos recuerdan constantemente la importancia de las obras perdidas en el estudio de la literatura medieval castellana (y, mutatis mutandis, de otras literaturas). Dicha importancia se ha reconocido desde hace más de dos siglos: presentando el primer tomo de su Colección de poesías castellanas anteriores al siglo xv, dijo Thomás Antonio Sánchez que "Siempre he creído que un gran caudal de nuestra lengua, de nuestra historia, de nuestras costumbres y literatura antigua, yacía como mudo entre las tinieblas del más profundo olvido y abandono" (1779: fol. *4'). Cuando empecé a pensar en esta cuestión, hace más de veinte años, me sorprendió, por lo tanto, que nadie hubiera tratado de redactar un catálogo comentado de la literatura medieval castellana perdida. Es verdad que ya existía desde hacía mucho tiempo el clásico aunque discutible libro de Ramón Menéndez Pidal y un grupo de sus discípulos, Reliquias de la poesía épica española (1951), pero no había para la literatura vernácula ningún estudio general (para la literatura hispanolatina de la Alta Edad Media, sí: Domínguez del Val 1951). Los hispanomedievalistas con interés también por la literatura medieval inglesa sabíamos que los investigadores de dicha literatura contaban con una ventaja enorme: el libro de R. M. Wilson (1970) que ofrece un excelente resumen de lo que se sabe y lo que se puede suponer de las obras perdidas en anglo-sajón e inglés medieval, para que los textos existentes se puedan estudiar dentro del contexto más 1: Épica y romances A. Épica Aa. Épica tradicional Ab. Épica literaria; traducciones B. Romances II: Lírica y teatro (en colaboración con Jane Whetnall) C. Lírica Ca. Cancioneros Cancioneros perdidos Cancioneros fragmentarios Cancioneros con pérdidas de hojas Cb. Poetas (toda la obra lírica perdida) Cc. Poesías Poesías de poetas con lírica existente Primeros versos y títulos D. Debates E. Teatro Ea. Obras teatrales Eb. Actividades y textos parateatrales III: Ficción e historiografía F. Ficción Fa. Ciclo artúrico Fb. Ciclo troyano Fc. Alejandro Magno Fd. Otras obras de asunto clásico Fe. Libros de caballerías Ff. Ficción sentimental Fg. Cuentos

Who was Louisa S. McCord as a writer and polemicist on women's rights in the antebellum South? Why did she, a conservative intellectual, use the term "feminist" in 1852? Historians of the nineteenth century Woman's Rights Movement have paid McCord little attention because of her geographic location-she lived in South Carolina-and her conservative opinions. Her attitudes, which were conventional for her era, put her outside the interest of women's studies until recently. This dissertation provides a new analysis of Louisa S. McCord's work and argues the historical significance of her ideas about the Woman's Rights Movement of the nineteenth century. Furthermore, this dissertation is particularly interested in McCord's use of the word "feminist." In the course of critiquing female reformer Elizabeth Oakes Smith, McCord may have been the first person to use the term "feminist" in print. This study adds to the collective knowledge of women's history by shining a light on the impact of McCord's ideas. This study is an interdisciplinary one, utilizing both sociology and women's history in studying the social system of the antebellum South. This dissertation examines the gendered aspects of the South's social class structure by analyzing McCord's published essays on women's rights. An analysis of non-fiction nineteenth-century periodical literature provided the foundational sources for this work. In addition, letters and legal documents gave insight into the personal life of this intriguing woman. viii

Following a brief contextualization of bilingual Cuban-American literature in relation to both Latino writing and Cuban exile fiction, this article moves on to consider the meaning and placement of both the Spanish and English languages in Gustavo Pe´rez Firmat's poetry collection Bilingual Blues. It then turns to a close analysis of two of the mixed language poems of this text, namely ''Bilingual Blues'' and ''Turning the Times Tables''. These are discussed in terms of suggested cultural affiliations and identifications, as indicated in the poet's use of not only languages but also imagery and intertextual reference. Such factors are also connected with certain theoretical debates regarding migration and identity in this article.

Following a brief contextualization of bilingual Cuban-American literature in relation to both Latino writing and Cuban exile fiction, this article moves on to consider the meaning and placement of both the Spanish and English languages in Gustavo Pe´rez Firmat's poetry collection Bilingual Blues. It then turns to a close analysis of two of the mixed language poems of this text, namely ''Bilingual Blues'' and ''Turning the Times Tables''. These are discussed in terms of suggested cultural affiliations and identifications, as indicated in the poet's use of not only languages but also imagery and intertextual reference. Such factors are also connected with certain theoretical debates regarding migration and identity in this article.

The aim in this thesis is to show how the Basque-culture identity struggles are reflected within the Basque literature and how their actions, behaviour, traditions, culture, memory, language, etcetera, define them as a community or minority. In order to show the reflection of the law in five chosen novels written in Basque, firstly I will try to explain the link between law and literature, and afterwards, a double analytical construction will take place: on the first hand, a descriptive and historical explanation to provide the audience with the meaning of the three basic concepts which constitute the Basque culture -identity, conflict and memory-, and with a socio-historical context; on the second hand, this analysis will be based on the content analysis of the five novels that have been chosen, and contextualized or in relation to the period that goes from the Civil War (1936-1939) to the postwar and nowadays, with special insistences in the decade of the 1980s and 1990s.

English Abstract: The aim in this thesis is to show how the Basque-culture identity struggles are reflected within the Basque literature and how their actions, behaviour, traditions, culture, memory, language, etcetera, define them as a community or minority. In order to show the reflection of the law in five chosen novels written in Basque, firstly I will try to explain the link between law and literature, and afterwards, a double analytical construction will take place: on the first hand, a descriptive and historical explanation to provide the audience with the meaning of the three basic concepts which constitute the Basque culture -identity, conflict and memory-, and with a socio-historical context; on the second hand, this analysis will be based on the content analysis of the five novels that have been chosen, and contextualized or in relation to the period that goes from the Civil War (1936-1939) to the post-war and nowadays, with special insistences in the decade of the 1980s ...

Artikulli hapet me një reflektim mbi mitin perandorak të Kremlinit për 'letërsinë e madhe ruse'. Më pas, letërsia e madhe përkufizohet si estetikisht e bukur dhe e paparё në qasjet e saj të reja. Nga ana tjetër, mbulimi i saj duhet të jetë i palëkundur, gjithëpërfshirës dhe jo i nënshtruar ndaj ndonjë ideologjie ose nevoje propagandistike. Qëllimi është të hetohet në mënyrë të prerë dhe të vërtetë në conditio humana në një vend dhe kohë të caktuar. Mbi këtë bazë, romani i gjerë i Józef Mackiewicz “Ҫёshtja e kolonelit Miasoedov” propozohet të jetë një "roman vërtetё i madh rus". Libri u kompozua në polonisht, sepse, për shekuj me radhë, popullsitë multietnike të Rusisë perandorake kanë folur dhe shkruar shumë gjuhë. Nuk është një gjuhë ajo që bën dhe përcakton letërsinë, por përvoja e jetuar e njerëzve në një vend ose njё politikë e caktuar.

Here in the UNLV English department we have tremendously enthusiastic World Literature instructors. They teach ENG 231 and ENG 232, World Lit I and II, respectively, which are, according to the catalogue, "Second-Year Seminar (SYS) courses that explore issues relevant to contemporary global society through the reading of original literature from antiquity to the present day." The seminars are general-education classes designed to give UNLV sophomores a better understanding of the value of the literary traditions of diverse authors-some ancient and obscure, others alive and writing. World Lit is, frankly, taught by people who simply love literature. Any class that covers everything from The Epic of Gilgamesh to Don Quixote (texts taught in ENG 231), or sprints from Matsuo Basho to Isabel Allende (authors discussed in ENG 232), requires confident instruction from gifted scholars who love illuminating the depth and power of writings from every culture. As the coordinator for the World Literature seminars in the Department of English, I recruit and support graduate students, and undergrads, who show enthusiasm for canonical texts and for the literature of marginalized voices. When I saw the call for papers for the 2 nd Annual Graduate Student Conference titled "Games, Sins & Mafia," which was sponsored by UNLV's World Languages department, I encouraged my best instructors, and one of my top undergraduate English majors, to submit abstracts. Their papers were accepted. Manuel Rodriguez-Perez was the M.A. student who ran the conference in March 2019. He has gone on to pursue/complete a Ph.D. in the Department of Spanish and Portuguese at the University of Kansas. In his last semester here, Manuel did a superb job curating a one-day event that fostered conversation about Latin American and Iberian literature from all centuries and genres. Indeed, the papers collected in these proceedings run the gamut from Panamanian-American poet Roberto Harrison, to Mexican author Juan Rulfo, to Brazilian novelist and short-story writer Clarice Lispector. The conference marked a significant collaboration between grad students in World Languages and grad students in English. We hope this partnership continues to grow, because there is more work to be done in celebrating the richness of literatures from all over the world. Indeed, the next generation of academics and critics is developing right here at UNLV, and I look forward to seeing what research they conduct as they expand the canon and highlight neglected voices.

Este ensayo mapea las coordenadas de Elena Ferrante como un fenómeno literario global y, en particular, en relación con la disciplina de los estudios clásicos y la construcción de la personalidad autoral de Ferrante dentro de la tradición literaria clásica. Además, explora figuras femeninas recurrentes que Ferrante toma prestadas del mito griego, creando de hecho su propia mitología femenina. Este proceso es examinado en el libro infantil de Ferrante La muñeca olvidada (2007), una historia sobre una muñeca abandonada en la playa que reconfigura el mito de Ariadna. Al observar La muñeca olvidada a través de los lentes del mito griego, el ensayo argumenta que los textos de Ferrante no solo absorben y revisan a autores masculinos clásicos, sino que también reinventan figuras femeninas abandonadas de la tradición grecorromana. Son sus historias, filtradas a través de la encarnación de una subjetividad femenina, las que habitan sus textos, generando mitologías nuevas y modernas sobre las mentes y los cuerpos de las mujeres, sobre las madres y las hijas, la feminidad y la agencia.

This essay maps the coordinates of Elena Ferrante as a global literary phenomenon and in particular, in relation to the discipline of Classics and the construction of Ferrante’s authorial persona within the Classical literary tradition. It further explores recurring female figures that Ferrante borrows from Greek myth, in effect creating her own feminine mythology. This process is examined in Ferrante’s children’s book La spiaggia di notte (2007), the story of a doll abandoned on the beach which reconfigures the myth of Ariadne. By looking at La spiaggia di nottte through the lens of Greek myth, the essay argues that Ferrante’s texts not only absorb and revise classical male authors, but also reimagine abandoned female figures from the Greco-Roman tradition. It is their stories, filtered through an embodied female subjectivity, that inhabit her texts, engendering new, modern, mythologies about women’s minds and bodies, about mothers and daughters, femininity, and agency.

En 1918, Casímir Malévich pintó el controvertido Cuadrado blanco sobre fondo blanco. Según Alain Badiou, esta obra es "el origen de un protocolo de pensamiento sustractivo que difiere del protocolo de la destrucción" (El siglo 79), por lo que sería errado interpretarla como el símbolo de la 'destrucción' de la pintura. Para el filósofo francés, la singularidad de la obra de Malévich radicaría en que "en vez de tratar lo real como identidad, se lo trata desde el principio como distancia" (79). Así, el Cuadrado blanco sobre fondo blanco evidencia en su blancura indefinida la distancia misma de lo real, la imposibilidad de aspirar a su depuración[1]. Este gesto es diferente al acto de la destrucción, el cual intenta captar la identidad de lo real por medio de su desenmascaramiento: la destrucción se apasiona por lo auténtico, intenta tener certeza de lo real y anular su sospecha[2]. Por este motivo, la destrucción o "la lógica de la depuración" c...

Rubem Fonseca, "Agruras de um jovem escritor" 1. Feliz Ano Novo ou de como se escreve a violência (I): a testemunha A escolha de falar da representação da violência a partir de uma análise dos contos reunidos em Feliz Ano Novo pode parecer (e talvez seja) tão óbvia, ao ponto de dispensar qualquer justificativa, toda reflexão sobre a razão pela qual uma obra é eleita como exemplar 1 . Na verdade, entre os escritores contemporâneos, Rubem Fonseca pode ser considerado um daqueles que, com maior contundência e com grande arte (para retomar o título de um seu famoso romance), vem tratando o tema da brutalidade nas relações humanas, da conexão indissolúvel entre Poder e Força no universo urbano. E isso a partir dos seus primeiros textos, em que já aflora a sua atenção para fenômenos ligados, de um lado, à situação da marginalidade no contexto das grandes cidades brasileiras e, do outro, à ferocidade de uma burguesia empenhada em defender os seus, pequenos E você? Sou assassino de mulheres -podia ter dito, sou escritor, mas isso é pior do que ser assassino. 1 O presente artigo é fruto de uma discussão conjunta sobre a escrita da violência a partir de uma releitura do célebre -por inúmeras razões, inclusive extraliterárias -volume de contos Feliz Ano Novo, de Rubem Fonseca. Apesar disso, os dois textos que decorreram desse confronto são de autoria individual -o nº. 1 ("a testemunha") de Ettore Finazzi-Agrò; o nº. 2 ("a exceção") de Roberto Vecchi -e refletem opções, opiniões, estilos de cada um dos seus autores. A combinação dos dois ensaios, no entanto, produz um valor acrescido, permitindo detectar preocupações comuns, fios entrelaçados, margens sobrepostas, que, não por acaso, deságuam num desfecho comum que, mais do que encerrar, descortina outros problemas de ordem crítica. Por essas razões, os autores resolveram dispor dentro de uma única moldura o produto de um trabalho, ao mesmo tempo, conjunto e individual.

VIII n.s.L’esegesi dell’opera Los gozos y las sombras è stata preceduta da un capitolo che ha cercato di ripercorrere l’esperienza umana, letteraria e intellettuale di Gonzalo Torrente Ballester, intitolato Torrente Ballester par lui-même. L’uomo e lo scrittore, allora, sono diventati un pretesto per allargare lo sfondo e cercare di rendere più comprensibile un paese passato attraverso le grandi speranze e le grandi tragedie della politica; in più tale capitolo ci ha dato la possibilità di guardare più da vicino le modalità narrative che Torrente ha utilizzato nell’arco della sua lunghissima attività di scrittore. Successivamente si è passati all’analisi della trilogia Los gozos y las sombras, che ha fatto leva essenzialmente sul nesso inscindibile che legava il reale con l’immaginario descritto dalla trilogia, la Pueblanueva del Conde letteraria con la Galizia reale, la storia con la geografia, nella ipotesi, anzi, che la geografia, nei suoi aspetti più significativi, potesse poten...

Rabindranath Tagore enjoys extensive popularity in many Asian countries outside his native Bengal and India, and his rich legacy as a poet and proponent of global dialogue and confluence of cultures is celebrated in those countries. This includes Malaysia, Singapore, and China. Rabindranath visited these countries to experience their cultures first-hand and understand their potential to engage in a constructive network of global symphony. An extensive globetrotter, he visited over 30 countries worldwide, some of them multiple times, literally spending 10 years of his life on the road as a 'chiropathik' or wayfarer, with this grand vision for humanity, and went there with his soul infused with the filaments of compassion, creativity and unity to build the bridges he needed to connect the spheres.

Palabras Clave: Miguel de Unamuno. Eugène Baie. Flandes. Correspondencia. 1932ko maiatzaren 14an, Miguel de Unamunok gutun bat idatzi zion Eugène Baie flandestar idazleari, haren Le siècle des Gueux obra erraldoiaren bigarren liburukia irakurri ondoren. Lan honetan, argitaragabeko gutun horren jatorrizko bertsioa eta horren itzulpena ezagutarazten dira. Era berean, gutunaren edukiari buruzko oharrak egiten dira sarrera labur batean, bai eta Unamunoren eta Flandes/Belgikaren arteko truke kultural horren nondik norakoak agertu ere. Giltza-Hitzak: Miguel de Unamuno. Eugène Baie. Flandes. Gutunak. Le 14 mai 1932, Miguel de Unamuno a envoyé une lettre à l'écrivain flamand Eugène Baie, dont il avait lu le second tome de son monumental Le siècle des Gueux. Ce travail fait connaître aussi bien la version originale que la traduction de cette lettre inédite. Il offre également une brève introduction qui présente le contenu de la lettre et replace dans son contexte cet échange interculturel entre Unamuno et Flandres/Belgique.

Ce travail se penche sur des relations interculturelles entre zones soi-disant périphériques, notamment le Pays Basque et la Belgique, à la fin du XIX e et au début du XX e siècle. Divisé en trois parties, ce travail analyse la traduction en langue basque de Hendrik Conscience, explore les relations, souvent méconnues, entre Miguel de Unamuno et les littératures (française et néerlandaise) de la Belgique, et porte un regard nouveau sur les échanges artistiques et littéraires entre Émile Verhaeren et Darío de Regoyos.

Bruselas. Es un episodio muy poco conocido, al que quería dedicar mi intervención. Son muy pocos los estudios que hacen referencia a ese episodio, quizá por la brevedad, quizá por la falta de documentación. Rastreando la correspondencia que se conserva en la Casa-Museo de Salamanca, he podido encontrar datos significativos, especialmente a partir de las cartas de Paul Vanderborght, uno de los promotores del homenaje a Unamuno en Bruselas, y a partir de la correspondencia que surgió entre Unamuno y agentes socioculturales belgas a raíz del homenaje. A esa correspondencia hay que añadir la documentación que se puede encontrar en bibliotecas y archivos belgas, como por ejemplo una reseña del famoso escritor Michel de Ghelderode. A continuación os presentaré brevemente esa documentación con el fin de reconstruir ese acontecimiento y la red intercultural que surgió a raíz de ello. Pero, además, me dedicaré también a un par de artículos en los que Unamuno plasmó las impresiones de su estancia, y cuya redacción está íntimamente relacionada con el paso por la capital belga. Esos textos dejan entrever la imagen discursiva de Flandes que Unamuno construyó y promovió. A principios de 1924 y poco después del golpe militar de Primo de Rivera, Miguel de Unamuno fue desterrado a consecuencia de su rechazo radical de la dictadura. Tras una breve estancia en Fuerteventura, a mediados de julio de 1924, se instaló en París y trece meses más tarde se desplazó a Hendaya y el País Vasco francés, donde permanecería hasta febrero de 1930, fecha de la caída de la dictadura y de su regreso a España. Fueron seis largos años de exilio, en los que numerosos momentos de desánimo y crisis se alternaban con momentos menos pesimistas. El destierro no fue, sin embargo, un paréntesis en la producción literaria de Unamuno, y menos en la difusión de su obra. Tal y como observa Juan Marichal, "en los años 1924 y 1925 aparecen centenares de artículos, motivados por su confinamiento y destierro, en diarios y revistas de todo el mundo, pero, sobre todo, de los países europeos" (Marichal, 2002: 124). Esa productividad lleva a Jean-Claude Rabaté a cuestionar y matizar la imagen dramática del Unamuno desterrado, su "misoparisianismo" y "misogalismo": La imagen dramática de un Miguel de Unamuno solitario y envejecido, angustiado por la muerte, hostil a la cultura francesa, de un escritor que desprecia con soberbia la vida parisina y los paisajes de la capital, víctima de una crisis estéril y que redacta a duras penas algunos folletos, ha sido alimentada por crónicas y artículos en los que la anécdota poco significativa se mezcla con lo sensacional. [...] Pero dichos estudios impresionistas e intimistas no resisten a la obra del escritor autoexiliado por motivos que aún no han sido aclarados del todo. [...] Y la "crisis parisina", si existe de veras en un hombre que sufrió crisis durante toda su vida, resulta particularmente fecunda: don Miguel ahonda su cultura francesa con las lecturas de Gustave Flaubert, de Victor Hugo, de Marcel Proust, traba amistades indefectibles con Georges Duhamel y Jean Cassou, su traductor habitual, como lo atestigua la abundante correspondencia de los años de exilio, se granjea una reputación internacional, participa, como invitado de