Search

The paper examines songs with love and erotic content, dating back from the so-called National Revival Period. They used to be visible part of the popular culture of Bulgaria and the Southeastern Europe region in initial decades of the Modern Bulgarian statehood. These songs were originally written in Bulgarian and in Turkish, but with Cyrillic alphabet. Turkish ones are introduced for the first time in Bulgarian Literary History Studies. They were taken from books by Manol Lazarov, Petko Slaveykov, and by an unidentified author with initials K.S.M. This popular literature genre had a complex biography, following to some extent the ideological planning of the Bulgarian society and the social trajectory of the ideas of the nation, particular for that period. Initially, they were well accepted, so they gained vast popularity. Such a positive reception was particular for the period, when they were not experienced as non-matching to the emerging national ideology. Coincidingly with the rising of Bulgarian nationalism, their popularity decreased and they accumulated certain criticism, so in the beginning of the XX c. they were marginalized. In the last decades of XIX s., according to the changes of the ideological climate in Bulgaria, some of them were reinterpreted in a patriotic key. [ABSTRACT FROM AUTHOR]

Copyright of CECIL Cahiers d'etudes des cultures ibériques et latino-américaines is the property of Revue Cahiers d'etudes des cultures iberiques et latino-americaines (CECIL) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Post-1989, discussions of the so-called controversial author have become one of the central topics in the cultural and literary fields. These were influenced by several factors, primarily motivated by the political and social changes that took place after the fall of state socialism. The article tackles the issue of social determination of authorial controversy through the theories of Michel Foucault and Pierre Bourdieu (authorial genealogy, the notion of the literary field). Chosen case studies help illustrate the way in which aesthetic and axiological criteria shifted in response to the changing ideological requirements that characterise the literary canon at the given time. At present, authorial controversy is discussed primarily in the media where it often serves as a marketing strategy. In didactical practice, the term is based on the incongruity of the empirical author with the institutionalised understanding of literature as part of humanistic traditions. This contradiction is then reflected in cultural journalism as a controversy. Literary historical research draws on archival research and period documents and in this way employs a different theoretical apparatus which in turn enables the scholar to describe period social and cultural mechanisms that generate controversy as part of the period language.

The Soviet literary pantheon of foreign writers widely read and popular in the USSR was made up as a result of conscious focused efforts and purposeful work of Soviet literary institutions. The case study of Theodore Dreiser (who was criticized as a “petty- bourgeois individualist” in the 1920s but gained a reputation of the greatest twentieth- century American classic and the best friend of the Soviet Union by the early 1930s) allows the researchers to uncover and analyze the mechanism of emergence of such a phenomenon as “a Soviet foreign classic”. The study carried out in the spirit of historico- literary and source- based approach involves in-depth exploration of Dreiser’s Soviet translations and publishing strategy that culminated in the twelve- volume collected works published in 1950–1955, as well as detailed examination of literary criticism in periodicals and books that reflected Dreiser’s growing reputation – obviously a response to the changing political agenda and ideological shifts. The paper is based on published materials and unpublished documents from the Russian archives, inclu- ding Dreiser’s correspondence with Soviet literary institutions, periodicals, editors, critics; the authors also use feedback from readers organized and gathered by Goslitizdat – reviews and comments made by “ordinary people” on Dreiser’s views and beliefs, his novels, plots, characters and style. Special attention is paid to the principles of selection of Dreiser’s works by editors and publishers who presented Dreiser to the Soviet readers in the “correct” perspective. The authors look at the phenomenon of Dreiser’s Soviet texts – publications in Soviet press unknown to American audience and adaptations of Dreiser’s works for stage and filming, made by Soviet dramatists and their role in the formation of the Soviet canon of Dreiser. Diving into this material helps to reconstruct the me- thods applied by agents of the Soviet “literary field” to create and convey a specific Soviet image of Dreiser, quite different from his image and reputation at home.

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An enormous amount of research has been devoted to studying the Russian classics. Nevertheless, the issue of reflecting social ideas about the writers whose works were included into the Russian literary canon has been insufficiently studied, especially with regard to satirical graphics. Caricature in the legitimate press is considered to be a popular visual art, with the image of a Russian writer demonstrating the attitude of society towards his work. The purpose of this paper is to study the frequency of the portrayals of Russian writers in the satirical graphics of the early 20th century, which are viewed as a reflection of the established (and constantly updated) literary canon of Russia. Our objectives include identifying the images of Russian writers found in the satirical graphics, comparing the visualization techniques used to portray the authors in the caricatures of the 19th and early 20th centuries, highlighting the visual motifs used to contrast the literature of the past and the contemporary magazine issues and pointing out the persistent satirical characterizations and tropes of the images of famous writers, depending on the periodical. On the basis of a selective scan of 25 thin magazines and two newspapers published from 1877 to 1917, more than 200 caricatures and satirical cartoons were identified, including benevolent and spiteful caricatures of Alexander Pushkin, Nikolai Gogol, Nicolai Nekrasov, Leo Tolstoy, Maxim Gorky and many others. The cartoons held the readers’ interest in their literary work, forming the people’s attitude towards the human qualities of the writers and highlighting their personality among the rest of their peers. The prevalence of humor or satire was directly related to the historical context, either to the works of a particular writer, the editorial policy of publications or the position of a caricaturist. The cartoons of the early 20th century reflect the social atmosphere of the Silver Age: creative, critical, nervous and overthrowing the idols of the bygone eras. The article would prove useful for literary critics, historians of journalism and visual content researchers interested in the Russian pre-revolutionary press.

Robinson Crusoe is a world classic that has well transcended national and historical boundaries. Yet, its popularity with Anglophone and Chinese readers does not imply a similar interpretation of the protagonist and its moral lessons. From the perspective of readers' reading expectations and interpretations, the brain text of a literary work functions as a negotiating agent in the interplay among the real author, the implied author, the implied reader, and the actual reader in the sense that it both projects prior understanding based on secondhand knowledge about the text and the framework of interpretation in the cognitive dimension during the actual reading experience of the text. This paper1 attempts to adopt the critical concept of the brain text from a narratological lens to explore how the moral lesson of this world classic is negotiated, accepted, and distorted when traveling from its western cultural and historical atmosphere to China, where it is understood and appreciated on somewhat different ground. However, the differences in interpretation, reception, and literary taste interestingly attest to the same obsession in the west and China with the moral values of a literary canon and the intriguing traveling of its brain text. [ABSTRACT FROM AUTHOR]

Copyright of Human Review is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A doxa of the literary institution consists in associating the reading of a classic to a timeless and universal pleasure. But this conception clashes with the real experience of reading a classic text, whose framework, most often school and university, implies a reading framed in time and in its finalities. Based on the results of a research conducted among high school students who read Madame Bovary as part of the literary section curriculum (baccalauréat littéraire), the article therefore examines the forms of pleasure and displeasure that reading a classic takes on today, in relation to the temporal framework that is specific to it. [ABSTRACT FROM AUTHOR]

Copyright of Co-herencia is the property of Universidad EAFIT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reconsiders the canonical figure of Juan Goytisolo through the lens of archive studies. Focusing on Goytisolo's allusions to and fictionalized interpolations of letters written by Casilda, a Black woman who was enslaved in the nineteenth century in Cuba by Goytisolo's great-grandfather, I contend that Goytisolo used Casilda's letters as archival elements in his major works, in such a way that he came to control the discourse of Spanish self-critique. Goytisolo set the terms by which his relationship to his family's coloniality would be understood, continually evoking the letters to renounce his colonial lineage. Following Jacques Derrida's theory of archive fever, I interpret Goytisolo's compulsive desire for Casilda's letters as his own death drive, since Goytisolo reproduces the letters in an attempt to distance and destroy a part of himself, his whiteness. I read Goytisolo's longing for Casilda as a real desire for a secret origin, as archive fever, and not as simply postmodernist intertextuality. Goytisolo reinscribed Casilda's letters within an autofictional counter-archive, recontextualizing Casilda herself as the secret in the national/family archive, and as the source, or source material, of his own brand. [ABSTRACT FROM AUTHOR]

The article compares the functioning of Russian fiction works in the artistic narrative (“Manaraga”, the short story of Vladimir Sorokin) and in the space of the Slovak book market. It draws attention to the relationship between the works of fiction value and a certain literary space, that is, to the problem of a literary canon formation (pantheon) as an essential component of the literature system. The value in the text is understood as the cultural (symbolic) capital of a work of art, awarded to it by a certain institution, within which the work is functioning. To a certain extent, this perception is opposed by its identification in Sorokin’s short story with economic capital (the cost of individual publications) and the profit expectation from the sale of books by publishers, since these two antagonistic capitals – the cultural and the economic one – are, according to Pierre Bourdieu [Bourdieu 2010], an integral part of literature existence in the literary field. The value of works of fiction in these two systems is considered by the example of the Russian literature model and its hierarchy presented in “Manaraga” and on the basis of the Russian literature model that has developed over the past 30 years in the Slovak book market. The article reveals the parallels between these two systems, which indicate: firstly, Sorokin’s reflection on the Russian literature functioning in the space of world literature; secondly, the essential importance of the value attributed to individual literary texts (the status of a classical writer, or a representative of world literature), as an essential factor of the Russian literature model formation in the Slovak book market.

The Covid-19 crisis has led to a re-definition of our lives and a significant de-stabilization of our mental condition. Research shows that we tend to conceive of challenging realities in terms of war and battle: thus, we have struggled with depression, lower spirits and a lack of human interactions. If so, how can we counteract such depressive tendencies? Although today it seems both writing and reading are efficient in mitigating feelings of loneliness, historical records of the reactions to the Spanish influenza pandemic (1918) reveals that silence and evasion are also possible. Using the method of wide reading, I first examine the divergent responses to crisis. Through close reading, I then explore the manner in which literature may be therapeutic for both writers and readers. Finally, I argue that the literary choices of the reading public, recently re-directed towards auto/biographical fiction, may soon impact on the canon within education. This, in turn, prompts a final hypothesis concerning a generic re-shaping of a future literary canon.

The paper deals with the specifics of outsiders’ laughter in the book Unknown letters (Неизвестные письма/Unbekannte Briefe, Russian 2014, German 2017) by a Russian-German writer Oleg Yuryev. In particular, it analyzes how Russian cultural and historical traumas of the 20th century were reinterpreted in the book from the perspective of an ironical outsider. In doing so, it focuses on a fictional letter by the writer Leonid Dobychin, which is contextualized with fictional letters of Jakob Michael Reinhold Lenz and Ivan Pryzhov, representing previous historical and cultural periods. Yuryev’s ironic reflections on the Russian historical reality and literary scene of the 20th century manifest themselves at different levels, from the positioning of outsiders’ laughter in relation to the official and marginal hierarchies of the literary canon to the postmodernist play with the traditions of literary classics. In addition, the paper addresses the inter- and/or transcultural aspect of outsiders’ laughter in Yuryev’s book.

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In such regions of the East Asian cultural sphere as China, Korea and Japan, the canonization of Du Fu was a relatively lengthy process. It was achieved mainly because of strong support from three different cohorts: the first cohort is the Chinese literary giants who expressed strong commendations of Du Fu, the second cohort is the Japanese scholars who conducted rigorous evaluation of Du Fu's poetry within academic frameworks, and the third cohort is the Korean royals who directly contributed to the rise of Du Fu's poetry. The first two cohorts are unofficial, while the latter one is official but not without amicable interactions with the masses. Korean literature was in tune with the character of Du Fu's poetry because it displayed a strong tendency towards politics; Japanese literature, on the other hand, was somewhat not, for it hardly included coverage on issues of social politics. Du Fu was given the highest literary recognition in both Korea and Japan for his poetic prowess, and his poetry was used by the state in both regions to serve different purposes; this goes to demonstrate that the two countries made their own culturally-driven decisions when accepting the influence of Chinese culture. It is a norm in East Asian literature for literary canons, whether old or new, to coexist, regardless of type or level, and such a norm is particular to the admission of literary works into literary canons within the East Asian cultural sphere. [ABSTRACT FROM AUTHOR]

This article proposes to examine the theoretical and critical "new normality" of the figure of the witch, as well as its limits in Chloé Delaume's Les Sorcières de la République (2016). In doing so, it also seeks to question the performative power of literary discourse (by analogy with magical and political speech) and the definition of a possible "sororal" literary canon. [ABSTRACT FROM AUTHOR]

The paper discusses two defining phenomena of recent years: transculturalism and translingualism in the context of contemporary Hungarian literature. The first part of the article deals with the theoretical basis of transculturalism and focuses on the relationship between transculturalism and literature. The second part presents the most significant translingual authors of Hungarian origin and lists some of the most typical characteristics of their works. Finally, the paper poses a question about the place of translingual writers in the canon of national literature. [ABSTRACT FROM AUTHOR]

The essay analyzes the historiographic project of the Historia feminista de la literatura argentina, focusing on the modes of periodization and on the interventions on the canon of the first published volume: En la intemperie: poéticas de la fragilidad y la revuelta (Córdoba, EDUVIM, 2021) and taking into consideration previous inquiries about the histories of Argentine post-dictatorship literature.

This paper considers Daljit Nagra's engagement with concepts of canon and tradition in British Museum (2017). Throughout the collection, Nagra provides readers with a multifaceted insight into the ways in which a plurality of 'cultures' and 'traditions' — literary, historical, political, religious — inform contemporary notions of Britishness and shape his work as a writer living with the legacies of literary heritage. British Museum, this paper argues, explores how Nagra's work relates to canons of English Literature, and how he makes sense of his own position. The discussion is framed by a consideration of what happens when we review canons of culture and their place within an increasingly diverse society. Underlying the inevitable conflicts and dislocation involved in (re-)defining traditions and cultural canons, this paper considers the ways in which Nagra identifies, through plurality, a fundamental desire for the meaningful connection of canonical culture with the diverse 21st century world. [ABSTRACT FROM AUTHOR]

Gender Studies and contemporary Literary History have recently begun to promote the (re)discovery of female writers, artists, and intellectuals of the Spanish Silver Age, with the aim of bearing witness to their cultural contributions to the present day, which have often been silenced and forgotten. The recovery of female writers and artists of that period is not only a way out of "anonymity" for these women --a process that is undoubtedly a work of absolute justice--, but it also entails a reworking of the canon of the Spanish Silver Age, questioning assumptions and interpretations consolidated in our critical tradition, as well as recovering a large amount of literary/artistic production and identifying the patriarchal nature of our cultural and artistic elites at the dawn of modernity. One of the most striking cases of this group of "silenced" women is María Lejárraga, an essential and also a very active literary writer of the Hispanic Modernism. Several circumstances --starting with her own decisions, since she adopted as her pseudonym the name of her husband-- led her to become a true ghostly absence, despite her great relevance for the Hispanic literature of the first half of the twentieth century. [ABSTRACT FROM AUTHOR]

This article discusses the results of the initiative "200 years of republican history, 200 Colombian literary works" in which an important group of readers - conformed mostly by specialists and connoisseurs of Colombian literature- selected the 'most important' literary books in Colombian history. The Technological University of Pereira (Master and Doctorate in Literature, the University of Caldas (Manizales Book Fair, in association with La Patria from Manizales and Colombia National Radio in 2019, call this project to celebrate the bicentennial of Colombia's national independence. In the selection, the image of literature in the midst of globalization is projected, that is, that articulates local production with modern practices of cultural production, a vision that faces, at the same time, the risk of ignoring authors and homogenizing evaluations of literary practice, which do not adjust to certain 'stereotypical' forms. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article addresses Mihai Iovănel's 2021 History of Contemporary Romanian Literature: 1990-2020, the first history of Romanian literature that presents the development of Romanian post-communist prose and poetry. Iovănel's book sparked a heated debate among literary critics, historians and writers, because it discusses and redefines prevalent concepts in Romanian literary theory and criticism, focusing on the extraliterary (political, social, economic) conditioning of literary production and inscribing Romanian literature into the system of transnational literary interactions. The paper shows thus the most important assumptions of Iovănel's work and discusses the critical reception of the volume among Romanian intellectuals. [ABSTRACT FROM AUTHOR]

The paper deals with the specifics of outsiders' laughter in the book Unknown letters (Неизвестные письма/Unbekannte Briefe, Russian 2014, German 2017) by a Russian-German writer Oleg Yuryev. In particular, it analyzes how Russian cultural and historical traumas of the 20th century were reinterpreted in the book from the perspective of an ironical outsider. In doing so, it focuses on a fictional letter by the writer Leonid Dobychin, which is contextualized with fictional letters of Jakob Michael Reinhold Lenz and Ivan Pryzhov, representing previous historical and cultural periods. Yuryev's ironic reflections on the Russian historical reality and literary scene of the 20th century manifest themselves at different levels, from the positioning of outsiders' laughter in relation to the official and marginal hierarchies of the literary canon to the postmodernist play with the traditions of literary classics. In addition, the paper addresses the inter- and/or transcultural aspect of outsiders' laughter in Yuryev's book. [ABSTRACT FROM AUTHOR]

Post-1989, discussions of the so-called controversial author have become one of the central topics in the cultural and literary fields. These were influenced by several factors, primarily motivated by the political and social changes that took place after the fall of state socialism. The article tackles the issue of social determination of authorial controversy through the theories of Michel Foucault and Pierre Bourdieu (authorial genealogy, the notion of the literary field). Chosen case studies help illustrate the way in which aesthetic and axiological criteria shifted in response to the changing ideological requirements that characterise the literary canon at the given time. At present, authorial controversy is discussed primarily in the media where it often serves as a marketing strategy. In didactical practice, the term is based on the incongruity of the empirical author with the institutionalised understanding of literature as part of humanistic traditions. This contradiction is then reflected in cultural journalism as a controversy. Literary historical research draws on archival research and period documents and in this way employs a different theoretical apparatus which in turn enables the scholar to describe period social and cultural mechanisms that generate controversy as part of the period language. [ABSTRACT FROM AUTHOR]

Copyright of Language & Intercultural Communication is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jeroen Deploige and Jeroen De Gussem introduce Cluster 2 of Interfaces 8, on the topic of Medieval Authorship and Canonicity in the Digital Age.

This article studies the production of the Romanian novel published between 1933 and 1947 by deploying instruments of quantitative analysis. More precisely, based on the corpus resulted from the project The Digital Museum of the Romanian Novel: 1933-1947 (more than 700 digitized novels), our analysis focuses on the canonical writers and their “rivals”, the authors and their novels bypassed by the literary canon, the geographical networks of production and the origin of the authors. The relevance of such a study lies not only in recording the evolution of the Romanian production centers, but also in mapping the formula, the mechanisms and, taking into account the article that analyzes the period 1901-1932, the process of canonization of the Romanian novel published in the first half of the 20th century. [ABSTRACT FROM AUTHOR]

Copyright of Acta Marisiensis: Philologia is the property of Sciendo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Literary text and literature, as a cultural expression of a community, take a necessary place in the teaching of a second language, understood from the communicative and social point of view. This approach has historically centred the discussion of its teaching around the selection of contents, whose solutions have oscillated between absolute respect for the canon or a use of the literary text with a merely practical purpose (to teach lexicon, grammar, expressions...), devoid of its aesthetic and cultural significance. The aim of this article is to re-evaluate this question, through a review of the methodological transformations that have placed the literary text as a significant learning tool, starting from a processual and task-based approach. Inductive learning, on which it is based, empowers the active role of the learner and enables the conversion of his or her cultural habits and practices into academic skills relevant to his or her training. Alternative canon criteria and models will also be presented. In this case, the use of works belonging to the canon of Galician literature will be based on a specific didactic proposal, based on a broad and plural conception of Hispanic literary references. In order to achieve the intercultural purposes, that it pursues, it will rely on the significance of literary geographies to construct maps, discourses and conceptual imaginaries, relevant to the construction of a solid, broad and diverse cultural competence.

Il contributo intende prendere in rassegna le principali traduzioni italiane dell’Eneide nel Novecento (con l’inclusione di due prove recenti), soffermandosi in particolare su alcune fasi della storia traduttiva del poema. Se le traduzioni realizzate durante il Fascismo concorrono a presentare, in chiave nazionalistica, l’opera di Virgilio come «prima luminosa giornata della letteratura italiana», dopo la guerra, mutati i paradigmi traduttivi e le coordinate culturali, il ritorno all’Eneideavviene nel segno di una ritrovata vicinanza al «doloroso penare» del suo eroe. Si realizza quindi un «recupero romanzesco» del poema di Enea, con un cambiamento di prospettiva che incide in maniera netta sulle caratteristiche stilistiche (soprattutto lessico e sintassi) delle traduzioni allestite in questo periodo. Tra gli anni Ottanta e Novanta, infine, compaiono numerose nuove versioni del testo epico virgiliano, improntate a criteri di leggibilità e chiarificazione del testo di partenza, al quale si subordina quello che Fortini chiamava «il tasso d’ispirazione, d’appropriazione, di “genialità” del traduttore». Si distinguono, nel quadro di sostanziale omogeneità che contraddistingue questa fase, due recenti e antitetiche prove di traduzione (Sermonti e Fo), analizzate in chiusura del contributo. La ricognizione, ancorché lacunosa e non esaustiva, si propone di evidenziare il fondamentale ruolo della traduzione nel percorso della ricezione del testo classico. This article aims to present a detailed review of Italian translations of the Aeneid during the Twentieth and early Twenty-first Century. Translations help to explain how and why Aeneid has been interpreted in particular times and contexts. During Fascism, translations played a large part in bringing Virgil and his poem into Italian literature and culture: according to this view, translators of the Aeneid made the connection with Italian literary tradition clear and explicit. After World War II, Virgil was seen as a source of humanity and as a reflection on human grief: translations of this time reflected this important shift using a language which became less grandly majestic, more reflective and plain. After 1980, translations of Virgil’s work have incredibly increased in number and have become more and more devoted to the ideal of the “invisible” translator, with two remarkable and very recent exceptions (Sermonti and Fo). In conclusion, this article aims to show how the activity of translation has contributed to interpretation and reception of the Aeneidin Italy throughout the century.

In Frumoasa necunoscută. Literatura și paradoxurile teoriei, Carmen Mușat analyzes and systemizes the relational character of literature and the discourses on literature. She revisits famous notions of modernity which can be capitalized on in our current context, where we speak of the death of the author and even the end of literary theory. In all of the approaches that she takes in the book, the author is certain that the theorist and his presence in the world retain a valid purpose, as they can counterargue, wherever the case may be, and justify the beauty of literature from novel points of view. Frumoasa necunoscutăpresents to us an inventory for an ideal way to look upon the world and literature. Carmen Mușat is a researcher who is up to date with the most sophisticated conceptual systems. The result of this is a narration under the form of a complex declaration of love for literature and the paradoxes of theory.

This article considers the Francophone literary canon based on a transnational reception study. It focuses on the circulation of French language literature within the Swedish academic system during the last thirty years. A longitudinal empirical study of bachelor and doctoral dissertations in French between 1986 and 2016 allows the author to examine the dynamics of canon formation and renewal, as well as the role of universities in this process, particularly in regard to the creation of a canon of Francophone literary works. In response to recent scholarly anthologies which have debated the Francophone canon, this study is able to confirm the existence of Francophone classics. Finally, it is argued that further reception studies focusing on areas outwith the Francophone literary system will be of prime importance if the question of the Francophone canon is to be fully assessed beyond the immediate context of the Hexagone. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)