"In the first book devoted to the impact made by Borges on the contemporary aesthetic imagination, Aizenberg brings together specially commissioned essays from international scholars in a variety of disciplines to provide a wide-ranging assessment of Borges's influence on the fiction, literary theory, and arts of our time."--Publishers website.
Meets the needs of today's teachers and students Gathered to meet the upsurge of interest in Latin America, this collection features major critical articles dealing with the authors and texts customarily taught in colleges and universities in the United States. The articles are in English and Spanish, with a predominance of the former. Surveys a dynamic and exciting area of research Four Latin American writers have won the Nobel Prize for Literature: Guatemalan Miquel Angel Asturias, Chilean Gabriela Mistral, Colombian Gabriel Garcia Marquez, and Chilean Pablo Neruda. Also internationally recognized are the Argentine Jorge Luis Borges, the Mexican Carlos Fuentes, and the Chilean Isabel Allende, to name only a few. Moreover, the sociopolitical circumstances of the past four decades of Latin American history, and the growing importance of the region have resulted in the creation of Latin American studies programs in numerous American universities. All of this literary activity hasinspired innumerable dissertations, theses, books, and journal articles. Explores contemporary Latin Americanissues and concerns In the face of such an enormous proliferation of commentary, students of Latin America and its literature need a body of basic texts that will provide them an orientation in the various research areas and new schools of thought that have emerged in the field. Particularly important are the essays and articles that have appeared in periodicals and other sources that Anglo American readers often find difficult to obtain. Individual volumes available: Vol. 1 Theoretical Debates in Spanish American Literature 448 pages, 0-8153-2676-9 Vol. 2 Writers of the Spanish Colonial Period 456 pages, 0-8153-2678-5 Vol. 3 From Romanticism to Modernismo in Latin American Literture 352 pages, 0-8153-2680-7 Vol. 5 Twentieth-Century Spanish American Literature Since 1960 416 pages, 0-8153-2681-5
Until recently, Spinoza's standing in Anglophone studies of philosophy has been relatively low and has only seemed to confirm Friedrich Heinrich Jacobi's assessment of him as a dead dog. However, an exuberant outburst of excellent scholarship on Spinoza has of late come to dominate work on early modern philosophy. This resurgence is due in no small part to the recent revival of metaphysics in contemporary philosophy and to the increased appreciation of Spinoza's role as an unorthodox, pivotal figure - indeed, perhaps the pivotal figure - in the development of Enlightenment thinking. Spinoza's penetrating articulation of his extreme rationalism makes him a demanding philosopher who offers deep and prescient challenges to all subsequent, inevitably less radical approaches to philosophy. While the twenty-six essays in this volume - by many of the world's leading Spinoza specialists - grapple directly with Spinoza's most important arguments, these essays also seek to identify and explain Spinoza's debts to previous philosophy, his influence on later philosophers, and his significance for contemporary philosophy and for us.
Homeland, Exile, Imagined Homelands are features of the modern experience and relate to the cultural and historical dilemmas of loss, nostalgia, utopia, travel, longing, and are central for Jews and others. This book is an exploration into a world of boundary crossings and of desired places and alternate identities, into a world of adopted kin and invented allegiances.
Latin America has a rich literary tradition that is receiving growing amounts of attention. The body of Latin American mystery writing is especially vast and diverse. Because it is part of Latin American popular culture, it also reflects many of the social and cultural concerns of that region. This reference provides an overview of mystery fiction of Latin America. While many of the authors profiled have received critical attention, others have been relatively neglected. Included are alphabetically arranged entries on 54 writers, most of whom are from Argentina, Mexico, and Cuba. Every effort has been made to include balanced coverage of the few female mystery writers. Each entry is written by an expert contributor and includes a brief biography, a critical discussion of the writer's works, and primary and secondary bibliographies. The volume closes with a general bibliography of anthologies and criticism.
The Author in Criticism:Italo Calvino’s Authorial Image in Italy, the United States, and the United Kingdom explores the cultural and historic patterns and differences in the critical readings of Italian author Italo Calvino’s works in the United States of America, the United Kingdom, and Italy. It considers the external factors that contribute to create recognizable patterns in the readings of Calvino’s texts in different contexts. This volume therefore covers, most notably, matters of genre (science fiction, postmodernism), cultural perceptions and conventions, the (re)current image of the author in different media, academic schools, -curricula and -canons, biographical information (such as gender and background), and translation and the language in which the author speaks (or fails to speak) to us. It traces the influence of these aspects in the academic discourse on Calvino. The Author in Criticism also analyzes Calvino’s various professional roles as writer, editor, essayist, journalist, private correspondent, and public, cosmopolitan intellectual, reappraising their often little acknowledged importance for academic criticism. An important underlying idea is that the preconceived image that every critic has of Calvino before even opening one of his books is often solidified and repeated even in the most refined and complex critical analyses. This volume purposefully foregrounds the textual and non-textual parts that are usually considered peripheral to the works of an author, such as book covers, blurbs, reviews, talks, interviews, etc. In this way, this book provides insight into the reception of Calvino’s works in different countries. Moreover, it forms a broader reflection of and on important constants in the workings of literary criticism, and on the way academic discourses have developed in various cultural contexts over the last decades.
&“Titology,&” a term first coined in 1977 by literary critic Harry Levin, is the field of literary studies that focuses on the significance of a title in establishing the thematic developments of the pages that follow. While the term has been used in the literary community for thirty years, this book presents for the first time a thoroughly developed theoretical discussion on the significance of the title as a foundation for scholarly criticism. Though Maiorino acknowledges that many titles are superficial and &“indexical,&” there exists a separate and more complex class of titles that do much more than simply decorate a book&’s spine. To prove this argument, Maiorino analyzes a wide range of examples from the modern era through high modernism to postmodernism, with writings spanning the globe from Spain and France to Germany and America. By examining works such as Essais, The Waste Land, Ulysses, and Don Quixote, First Pages proves the power of the title to connect the reader to the thematic, cultural, and literary context of the writing as a whole. Much like a fa&çade to a building, the title page serves as the frontispiece of literature, a sign that offers perspective and demands interpretation.
The Theater of Truth argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics have to be understood as part of the same complex. The Neobaroque, rather than being a return to the stylistic practices of a particular time and place, should be described as the continuation of a cultural strategy produced as a response to a specific problem of thought that has beset Europe and the colonial world since early modernity. This problem, in its simplest philosophical form, concerns the paradoxical relation between appearances and what they represent. Egginton explores expressions of this problem in the art and literature of the Hispanic Baroques, new and old. He shows how the strategies of these two Baroques emerged in the political and social world of the Spanish Empire, and how they continue to be deployed in the cultural politics of the present. Further, he offers a unified theory for the relation between the two Baroques and a new vocabulary for distinguishing between their ideological values.
In his new book, Christian Moraru argues that post-Cold War culture in general and, in particular, the literature, philosophy, and theory produced since 9/11 foreground an emergent “planetary” imaginary—a “planetarism”—binding in unprecedented ways the world’s peoples, traditions, and aesthetic practices. This imaginary, Moraru further contends, speaks to a world condition (“planetarity”) increasingly exhibited by human expression worldwide. Grappling with the symptoms of planetarity in the arts and the human sciences, the author insists, is a major challenge for today’s scholars—a challenge Reading for the Planet means to address. Thus, Moraru takes decisive steps toward a critical methodology—a “geomethodology”—for dealing with planetarism’s aesthetic and philosophical projections. Here, Moraru analyzes novels by Joseph O’Neill, Mircea Cartarescu, Sorj Chalandon, Zadie Smith, Orhan Pamuk, and Dai Sijie, among others, as demonstration of his paradigm.
