"Based on the popular Spanish song Los Pollitos Dicen, [this is a board book to which a child can] sing and learn ... while [hearing] about a mother's nurturing love, in both English and Spanish. Complete with ... illustrations, this book is a ... way to make learning with your little chickie special and unique in not one, but two, languages"--Publisher marketing.
The Translation judges for the National Book Awards--Richard Miller, Alastair Reid, Eliot Weinberger--cited Clayton Eshleman and Jose Rubia Barcia's translation of Cesar Vallejo's The Complete Posthumous Poetry as follows: "This, the first National Book Award to be given to a translation of modern poetry, is a recognition of Clayton Eshleman's seventeen-year apprenticeship to perhaps the most difficult poetry in the Spanish language. Eshleman and his present collaborator, Jose Rubia Barcia, have not only rendered these complex poems into brilliant and living English, but have also established a definitive Spanish test based on Vallejo's densely rewritten manuscripts. In recreating this modern master in English, they have also made a considerable addition to poetry in our language."
Translation is living through a period of revolutionary upheaval. The effects of digital technology and the internet on translation are continuous, widespread and profound. From automatic online translation services to the rise of crowdsourced translation and the proliferation of translation Apps for smartphones, the translation revolution is everywhere. The implications for human languages, cultures and society of this revolution are radical and far-reaching. In the Information Age that is the Translation Age, new ways of talking and thinking about translation which take full account of the dramatic changes in the digital sphere are urgently required. Michael Cronin examines the role of translation with regard to the debates around emerging digital technologies and analyses their social, cultural and political consequences, guiding readers through the beginnings of translation's engagement with technology, and through to the key issues that exist today. With links to many areas of study, Translation in the Digital Age is a vital read for students of modern languages, translation studies, cultural studies and applied linguistics.
Precisely detailed pop-up illustrations, complete with movable parts, demonstrate the anatomy, workings, mechanisms, and interrelationships between internal structures and systems of the human body
This winning debut picture book from Mexican artist Flavia Z. Drago about finding the courage to make friends is perfect for the spooky season — or anytime. Gustavo is good at doing all sorts of ghostly things: walking through walls, making objects fly, and glowing in the dark. And he loves almost nothing more than playing beautiful music on his violin. But Gustavo is shy, and some things are harder for him to do, like getting in a line to buy eye scream or making friends with other monsters. Whenever he tries getting close to them, he realizes they just can’t see him. Now that the Day of the Dead is fast approaching, what can he do to make them notice him and to share with them something he loves? With fancifully detailed artwork and visual humor, debut picture-book creator Flavia Z. Drago’s vivid illustrations tell a sweet and gently offbeat story of loneliness, bravery, and friendship that is sure to be a treat for little ghouls and goblins everywhere.
Mapping literature from Spanish-speaking sub-Saharan African and Afro-Latinx Caribbean diasporas, Decolonizing Diasporas argues that the works of diasporic writers and artists from Equatorial Guinea, Puerto Rico, the Dominican Republic, and Cuba offer new worldviews that unsettle and dismantle the logics of colonial modernity. With women of color feminisms and decolonial theory as frameworks, Yomaira C. Figueroa-Vásquez juxtaposes Afro-Latinx and Afro-Hispanic diasporic artists, analyzing work by Nelly Rosario, Juan Tomás Ávila Laurel, Trifonia Melibea Obono, Donato Ndongo, Junot Díaz, Aracelis Girmay, Loida Maritza Pérez, Ernesto Quiñonez, Christina Olivares, Joaquín Mbomio Bacheng, Ibeyi, Daniel José Older, and María Magdalena Campos-Pons. Figueroa-Vásquez’s study reveals the thematic, conceptual, and liberatory tools these artists offer when read in relation to one another. Decolonizing Diasporas examines how themes of intimacy, witnessing, dispossession, reparations, and futurities are remapped in these works by tracing interlocking structures of oppression, including public and intimate forms of domination, sexual and structural violence, sociopolitical and racial exclusion, and the haunting remnants of colonial intervention. Figueroa-Vásquez contends that these diasporic literatures reveal violence but also forms of resistance and the radical potential of Afro-futurities. This study centers the cultural productions of peoples of African descent as Afro-diasporic imaginaries that subvert coloniality and offer new ways to approach questions of home, location, belonging, and justice.
From the fifteenth century to the beginning of the nineteenth century, devotional music played a fundamental role in the Iberian world. Songs in the vernacular, usually referred to by the generic name of 'villancico', but including forms as varied as madrigals, ensaladas, tonos, cantatas or even oratorios, were regularly performed at many religious feasts in major churches, royal and private chapels, convents and in monasteries. These compositions appear to have progressively fulfilled or supplemented the role occupied by the Latin motet in other countries and, as they were often composed anew for each celebration, the surviving sources vastly outnumber those of Latin compositions; they can be counted in tens of thousands. The close relationship with secular genres, both musical, literary and performative, turned these compositions into a major vehicle for dissemination of vernacular styles throughout the Iberian world. This model of musical production was also cultivated in Portugal and rapidly exported to the Spanish and Portuguese colonies in America and Asia. In many cases, the villancico repertory represents the oldest surviving source of music produced in these regions, thus affording it a primary role in the construction of national identities. The sixteen essays in this volume explore the development of devotional music in the Iberian world in this period, providing the first broad-based survey of this important genre.
From New York Times bestselling, Pura Belpré Award–winning author-illustrator Raúl the Third, ¡Vamos! Let's Go Read follows Little Lobo and friends as they explore their library's Libro Love Book Festival in this picture book from the World of ¡Vamos! Little Lobo and his friends are excited for the out-of-this-world book festival the Guadalupian Library hosts every year! Everyone has a special book they're looking for, but there's so much to see and do first. From cookbook demonstrations and comics workshops to mask making and language classes, this library has something for everyone. Can Little Lobo, Bernabé, Kooky Dooky, Coco Rocho, and La Chida each find the book of their dreams? Full of easy-to-remember Spanish vocabulary and packed with fun details, this colorful celebration of books, libraries, and all forms of reading will bring joy to young bookworms everywhere!
Follow los monstruos and los esqueletos to the Halloween party Under October's luna, full and bright, the monsters are throwing a ball in the Haunted Hall. Las brujas come on their broomsticks. Los muertos rise from their coffins to join in the fun. Los esqueletos rattle their bones as they dance through the door. And the scariest creatures of all aren't even there yet! This lively bilingual Halloween poem introduces young readers to a spooky array of Spanish words that will open their ojos to the chilling delights of the season. Los Gatos Black on Halloween is a 2007 Bank Street - Best Children's Book of the Year, the winner of the 2008 Pura Belpre Medal for Illustration and a Pura Belpre Honor Book for Narrative.
