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Volume 4 | Spring 2006
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Beyond Black and White:
Structural Liminality and Slave Insurrection
William Arighi
Hayden White has argued that the discipline of "history proper (as it is called) buries [its conceptual apparatus] in the interior of the narrative, where it serves as a hidden and implicit shaping device," thereby superficially denying the latent biases and structurings of thought inherent to the chosen material of the historical study. This rhetorical dissembling is part of a fictive opposition of history to fiction...
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An Ideological Conflict: War and Renaissance Philosophies
Olga
Blomgren
Love is a popular theme that the poetry of the Spanish Golden Age addresses in various forms. What is interesting about the sonnet that begins "Between arms, war, fire, wrath and furies" by Gutierre de Cetina is the way in which he employs this theme as a patriotic love. During the Renaissance, courtiers were frequently men of arms and letters and Cetina was no exception...
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Translating Vallejo:
Three Poems
Kelly Brown
The task of translation, if not hopelessly utopian, is at least a trip, a "carrying across" littered mostly with loss. It's also a task we're never not at, translating our words and our selves to fallen circumstances of clash and accommodation, petition and prayer...
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Ecocritical Theory in 20th Century Fiction: Connecting Nature with the Empowered Self
Allison Dressler
The process by which a person discovers the Self and becomes empowered to speak and act in accordance with that Self is dependent upon numerous factors, each of which holds varying importance depending on the particular journey of that individual. The spiritual journeys and quests for Self of three protagonists...
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Research Notes from the Library at Alexandria: Roberto Bolaño and W.G. Sebald Write the Century's End
Jessie Ferguson
Both the Chilean expatriate writer Roberto Bolaño and the German expatriate W.G. Sebald construct first-person narratives out of an uneasy, hybridized mixture of invention, literary reference, and historical fact. Writing in the Times Literary Supplement...
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Translating collage in the Italian Neo-Avant-Garde:
An English Translation of Nanni Balestrini's "X. Frammento dell'anarchia"
Doireann Lalor
Balestrini's poem encapsulates many of the features of the poetics of fragmentation of the Italian neoavanguardia. A translation of "X. Frammento dell'anarchia" necessarily involves a head-on confrontation with the perturbing formal and linguistic ruptures and fascinating polysemy typical of Balestrini's method of creating poetry as "opposition" to the ossified state of language...
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The Music of the Aleph: Paul Auster and Jorge Luis Borges in Concert
Myriam Muriel Mercader Varela
This article aims to draw attention to how the literary space of two authors pertaining to two different cultures and times, namely, Jorge Luis Borges and Paul Auster resemble each other in such a way they may be considered as forming part of one same labyrinth. This labyrinthine structure, it will be demonstrated, can be regarded as an Aleph...
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'Intranquila, poseedora':
An Introduction to Venezuelan Avant-Garde Poetess María Calcaño
Giovanna Montenegro
I here introduce the Venezuelan Avant-Garde poetess, María Calcaño and her work to English readers. I chose to examine three early poems: "Grito indomable," "Carne," and "Madrugada" which were published in the 1935 Alas Fatales. Calcaño's voice is one that is unusual for a Venezuelan woman of her time...
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Quiroga, Kipling, and the Exotic Frontier:
a Comparative Study
Christy Rodgers
Horacio Quiroga, a Latin American master of the short story,
was dismissed as derivative by the Argentine literary generation that succeeded him: Borges summed up their opinion by saying that he merely rewrote stories that Poe or Kipling had written better. He was, however, vindicated by a later generation of critics...
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Translation of Two Poems by Marie Krysinska from her Collection Rythmes Pittoresques
Sandra Sokowski
A Polish immigrant, Marie Krysinska was a recognized figure in the cabaret culture of Montmartre in the 1880's and 90's and is one of the very few female French symbolist poets. She was also one of the few women, next to Sarah Bernhardt, admitted to the elite Parisian artistic circles of the time...
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