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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle". SMART MOVES JOURNAL IJELLH 7, n. 10 (31 ottobre 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.
Testo completoAbstract (sommario):
Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Martínez-Gil, Víctor. "Mediterrani i apocalipsi en la literatura catalana de ciència-ficció". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, n. 22 (3 dicembre 2023): 499. http://dx.doi.org/10.7203/scripta.22.27844.
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Resum: L’objectiu d’aquest article és analitzar la presència del mediterranisme, entès com a doctrina d’identificació col·lectiva, en la literatura catalana de ciència-ficció sobre la fi del món. L’article estableix les possibles relacions entre els motius que provoquen l’apocalipsi (guerra mundial destructora, invasió d’extraterrestres, motius ecològics) i les diferents imatges del Mediterrani com a refugi de valors clàssics i vitals (durant la postguerra i fins als anys setanta), com a imatge de la societat desapareguda (durant l’exili i en ecoficcions dels anys setanta) o, en la ficció climàtica apocalíptica i en la ficció de l’Antropocè, com a massa d’aigua amenaçadora o com subjecte de nous valors d’identificació. Aquest recorregut pot ajudar a entendre els canvis ideològics esdevinguts entre la guerra freda, la postmodernitat i l’actualitat.Paraules clau: ciència-ficció, apocalipsi, mediterranisme, postmodernitat, Literatura catalanaAbstract: The aim of this paper is to analyse the presence of Mediterraneanism, that is, a collective identification way of thinking, in Catalan science-fiction literature about the end of the world. The paper lays out the possible relationships between what causes the apocalypse (a destructive world war, an alien invasion, environment issues) and the different portraits of the Mediterranean as the sanctuary of classical and life values (literature after the Spanish Civil War and until the 70s), as the portrait of a lost society (literature of the Exile period and 70s eco-fiction), or as a menacing water body or a subject of new identity values in apocalyptic climate fiction and Anthropocene fiction. This paper can help understand the ideological changes that happened between the Cold War, Postmodernity, and the present time.Keywords: Science fiction, Apocalypse, Mediterraneanism, Postmodernity, Catalan literature
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Burgos, Fernando. "Rotaciones y traslaciones en la narrativa de Enrique Jaramillo Levi". LETRAS, n. 49 (12 giugno 2011): 129–45. http://dx.doi.org/10.15359/rl.1-49.9.
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Este ensayo examina el concepto de metaficción en los cuentos de Enrique Jaramillo Levi. Se comienza por una explicación de los orígenes de la metaficción en la literatura universal así como de su establecimiento más sólido en el contexto de la narrativa moderna de la literatura escrita en lengua española. Se desarrolla luego la aplicación particular de lo metaficticio en la obra cuentística de Jaramillo Levi dejando claramente establecido que en su caso se trata de un estilo posmoderno cuya plasmación difiere del uso encontrado en la modernidad artística hispana. Finalmente en el análisis de un conjunto específico de cuentos del autor panameño se discute la manera como esas particulares técnicas posmodernas demuestran la función plural de lo metaficcional, contribuyendo así a la riqueza estética de la narrativa de Jaramillo Levi y, por ende, de la centroamericana. This essay scrutinizes the concept of metafiction in Enrique Jaramillo Levi’s short stories. The article starts with an explanation regarding the genesis of metafiction in world literature as well as its more solid establishment in the context of modern literature written in Spanish. It continues with the particular uses of metafictional discourse in Jaramillo Levi’s short stories by asserting that in his work there is a clear postmodern use whose literary rendition diverges from the one depicted by the works produced during Spanish artistic modernity. Finally, there is a discussion of specific short stories written by Jaramillo Levi, intended to show how those particular postmodern techniques point to the plural functionality of the metafictional mode, thus contributing to the aesthetic qualities of Jaramillo Levi’s narrative as well as to those of Central American fiction.
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Lakhtionova, K. "TRANSLATION ERRORS IN TRANSLATIONS OF FICTION TEXT OR TRANSMITTING TRACKERS". PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, n. 33 (2018): 210–17. http://dx.doi.org/10.17721/2663-6530.2018.33.15.
Testo completoAbstract (sommario):
Everything has been changing all the time in our world. It concerns language and literature as well. New traditions are being formed, and old ones die. Literary activity (creativity) could not avoid such changes: flexible natural form (shape) came instead of classical writing, instead of classical writing, great and sentimental, inherent to French literature. Bokacho`s Style and perfectionism in language mean following the rules of language standard, starting from XIII century and finishing XVIII. Padre Grande was criticized too for glorification of Toskana literary language and humiliation of local dialects. Outstanding personality of Dzhuzeppe Parini appears in early period of defining his positions, ignoring linguistic polemics, avoiding different extremes and exaggerations. Parini demonstrates society in ironic style, old such as “batrachomyomachia” – ironic “Illiada”, Moskeida” – Orlando`s statements: epical forms reflect plebeian picture of the world. Irony – is a kind of obsolete society, which didn`t understand its decline. Obsolete does its best to pretend modern, the more proud is the style, the poorer it is. This is the essence of Parini`s conception incarnated in his literary work “Giorno”(Day) which is based on irony, deep and sad. There are no doubts, that after the research and discuss about Parini, after publications of the translation in Spanish, not only ceased, but gained great interest of literary researches. It is clear, that some mistakes in translations were done, but we are not judges. The most important is basic content which is presented in the introduction of A. Prieto. Analyzing translator`s mistakes from Italian language of original text into Spanish we have to focus on key phrase of Maris Isabel Honsales-Fernandes, that Spanish has not a lot in common with Italian. It is evident especially in translation of lexical units, where the translator did mistakes, that demonstrates not appropriate level of Italian language knowledge. We can call this phenomenon “amici falsi del traduttore”, ignorance of particular lexis and meaning that lexical unit can have in both languages. This ignorance led to misunderstanding even to ugliness and curvature of original text. The translator Marselo Arroyita-Chauresi, who is a poet himself, is much more to be desired. He has tried to follow the text of original in some cases. But he was not successful in his attempts. You can just imagine Spanish translation to be translated into language of original even being of 200 years old, which we could receive. Not a proper level of the Italian language and misunderstanding of some words, which in Spanish and Italian sound the same way. Translator`s work – hard labour which needs flawless knowledge of the language of original not to loose while translating artistic value or even to deface author`s concept. It just verifies common known truth: not to ignore even the slightest peculiarities of the text of original. The translator has to know lexis and a grammar perfectly, be able to use translator`s transformations in order to avoid such phenomena as failed translation and misrepresentation of the content of the text, especially if it is a poetry.
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Sekulić, Mirjana M. "THE FIRST WORLD WAR IN THE WORK OF VICENTE BLASCO IBÁÑEZ". Филолог – часопис за језик књижевност и културу 14, n. 28 (31 dicembre 2023): 393–414. http://dx.doi.org/10.21618/fil2328393s.
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This paper examines the image of the First World War that the Spanish writer and journalist Vicente Blasco Ibáñez creates in his works of history and fiction. The paper deals with journalistic texts written by Blasko Ibáñez, collected in a multi-volume history of the First World War (Historia de la Guerra europea de 1914) and the novel The Four Horsemen of the Apocalypse (Los cuatro jinetes del Apocalipsis). We interpret the representations of the causes of war, with a special reference to the issue of "modern war" and the news it brings, we find parallels, similarities and differences between the representations in the novel and the historical work. The aim is to question the historical and cultural context in which the author pronounces certain judgments about the war, and then about the German people, with an emphasis on how pre-war Germanophilia turns into Germanophobia expressed in the analysed novel and History.
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Linder, Daniel. "Zbiorniki ze stęchłymi ściekami: przekład specjalistycznej terminologii w powieści detektywistycznej, przełożyła Joanna Sobesto". Przekładaniec, n. 40 (2020): 105–29. http://dx.doi.org/10.4467/16891864pc.20.006.13169.
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Greasy Scummy Sumps: Translating Specialized Terminology in Detective Fiction Fictional texts containing specialized terms pose a challenge for literary translators. Rooted in raw factual accuracy, terms can nonetheless be used in extremely expressive ways. Raymond Chandler used oil industry terminology (bull wheel, derrick, oil field, scum, walking-beam, and especially the term sump) in his first novel The Big Sleep (1939) within intentionally artistic phrasings involving alliteration, parallel structuring and repetition. The novel was (re)translated into Spanish many times (El sueño eterno 1947, 1948, 1958, 1972 and 2001), offering a view into how different translators met this challenge. Though the published translations reveal lower frequency of repetition in all cases, inconsistent co-textual use of the terminology and usage of non-terms, omissions and errors, these instances were qualitatively compensated with creatively reproduced alliterative elements and added literary devices. This study of a seldomly explored aspect of literary translation shows how professionals are aware of the importance of language for specific purposes in literature and how effective balances between technical accuracy and literary expressiveness can be attained. For theorists who might believe that literary and technical translation are separate worlds of translatorial action, the results of this study show that literary translators tend to bridge this gap proficiently with both accuracy and literary flair.
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Kubarek, Magdalena. "Raj utracony – losy Morysków w Trylogii grenadzkiej Raḍwy ‘Āšūr. Konteksty postkolonialne". Studia Orientalne 22, n. 2 (2022): 29–47. http://dx.doi.org/10.15804/so2022202.
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The paper focuses on a historical novel, a genre that enjoys great popularity in Arabic literature. Based on historical material incorporated in literary fiction, the contemporary Arab writers try to deal with the most important subjects of ongoing intellectual discourse, such as colonialism, neocolonialism, and postcolonial identity. The analysed material is the novel The Granada Trilogy by Egyptian writer Raḍwà ‘Āšūr (Radwa Ashour), which in 1994, won the Best Book of the Year Award granted by the General Egyptian Book Organisation and the first prize at the first Arab Women’s Book Fair in 1995. It has been translated into many languages, including English and Spanish. The three-volume chronicle covers the period from 1491 to 1609, i.e., from the fall of Granada to the total expulsion of Muslims from Andalusia. The article aims to show that the author of The Granada Trilogy illustrates the gradual and deliberate elimination of Arab-Muslim culture in Spain as another act of the West-East confrontation, putting it in the colonial and neocolonial context of contemporary conflicts in the Arab World.
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Alison Clemens, Ruth. "‘Languages are so like their boots’: Linguistic Incompossibility in Flush". Comparative Critical Studies 19, n. 2 (giugno 2022): 259–80. http://dx.doi.org/10.3366/ccs.2022.0445.
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Reading the 1933 biography Flush alongside Woolf’s translation theory and Braidotti’s nomadic ‘multilinguism’, this paper argues that Woolf’s modernist dislocation of English both informs and is informed by her relationship with non-English languages. Using the Deleuzean idea of the ‘incompossible’ as a way of considering a world made up of multiple co-existing yet contradictory relations, I trace the presence of a ‘linguistic incompossibility’ throughout Woolf’s oeuvre. As a writer, publisher and translator, Woolf articulates a mode of being in and relating to the world that is positively constituted through the multilingual, and which in turn often constitutes the monolingual as static, ineffective, and even impossible. From the contradictory etymologies of ‘Spaniel’ offered in Flush, to the process-orientated relationship with languages in Woolf's non-fiction writing, the old idea of a closed, objective and monolithic language is inadequate for communicating the nomadic movements of modernist subjectivity. Linguistic incompossibility becomes a way of figuring the affirmatory possibilities of difference across, between and within languages to reveal the fluidity and multiplicity of language itself.
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Cave, Alfred A. "Thomas More and the New World". Albion 23, n. 2 (1991): 209–29. http://dx.doi.org/10.2307/4050603.
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Despite the extensive critical attention that has been lavished upon Sir Thomas More's Utopia, the influence of the early historical narratives of the discovery and conquest of America on the shaping of his fictional commonwealth remains problematic. Proctor Fenn Sherwin, writing in 1917, declared that “it should go without saying” that “the yet novel discoveries of unknown and unguessed of peoples in America and the tales of Spanish explorers” were a “considerable inspiration” to More. But Sherwin admitted that, apart from a few references to Amerigo Vespucci's Four Voyages, he could find no echo of their writings in the text of Utopia. Subsequent research on the rich literary allusions in More's published works and unpublished correspondence has provided some fascinating insights into his remarkable erudition and complex character. It has also prompted extensive debate about the relative importance of various classical and medieval sources in inspiring More's celebrated but enigmatic fictional account of an imaginary commonwealth. But no new evidence demonstrating that More was in fact steeped in the early literature on the New World has been produced. Claims that he read Columbus and Peter Martyr as well as Vespucci remain unsubstantiated.Some commentators have been untroubled by that lack of evidence. H. L. Donner assumed that More was familiar with Peter Martyr's Decades of the New World and from that source learned that the Indians of the West Indies “had an intuitive knowledge of the most essential moral and philosophical truths.” Donner concluded that More modelled Utopian “morality and religion” in large measure on Peter Martyr's description of the West Indians.
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Hermeziu, Cristina. "Le désir de langue. Les dimensions poétique et politique de la diglossie dans le roman « Le jardin de verre » de Tatiana Țîbuleac". Swedish Journal of Romanian Studies 4, n. 1 (13 maggio 2021): 64–74. http://dx.doi.org/10.35824/sjrs.v4i1.22481.
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Still relevant today via mobility and the multicultural environment as the constitutive elements of our globalized societies, the reflections around “the cumbersome problem of the genius of languages” (Cassin 2016) join and enrich the question of living together and building oneself. In the field of literature or human sciences, the thought of the practice of languages in a situation of diglossia has forged an imaginary which often connects the passage from one language to another to a balance of power and a tension of identity. We propose an analysis of the symbolic values of the dilemma between the Romanian language and the Russian language which is at the heart of the diegesis of the novel Grădina de sticlă [The Glass Garden] by Tatiana Țîbuleac. Published in Romanian by Éditions Cartier de Chișinău and translated into several languages, including French and Spanish, the book was awarded the European Union Prize for Literature in 2019. The fictional world and the language of writing describe a symbolic abyss: the author describes in Romanian the fight with the Russian of a Moldovan orphan who is trying to rebuild herself between the two languages. In a very colorful style, the novel deploys a po(ï)etics of “between”, which also has a political dimension.
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KITLV, Redactie. "Book Reviews". New West Indian Guide / Nieuwe West-Indische Gids 82, n. 1-2 (1 gennaio 2008): 113–79. http://dx.doi.org/10.1163/13822373-90002468.
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David Scott; Conscripts of Modernity: The Tragedy of Colonial Enlightenment (Shalina Puri)Rebecca J. Scott; Degrees of Freedom: Louisiana and Cuba after Slavery (Olivia Maria Gomes da Cunha)Patrick Bellegarde-Smith (ed.); Fragments of Bone: Neo-African Religions in a New World (Dianne M. Stewart)Londa Schiebinger; Plants and Empire: Colonial Bioprospecting in the Atlantic World (J.D. La Fleur)F. Abiola Irele, Simon Gikandi (eds.);The Cambridge History of African and Caribbean Literature (A. James Arnold)Sean X. Goudie; Creole America: The West Indies and the Formation of Literature and Culture in the New Republic (J. Bradford Anderson)Doris Garraway; The Libertine Colony: Creolization in the Early French Caribbean (Charles Forsdick)Adélékè Adéèkó; The Slave’s Rebellion: Fiction, History, Orature (Owen Robinson)J. Brooks Bouson; Jamaica Kincaid: Writing Memory, Writing Back to the Mother (Lizabeth Paravisini-Gebert)Gary Wilder; The French Imperial Nation-State: Negritude and Colonial Humanism between the Two World Wars (Nick Nesbitt)Fernando Picó; History of Puerto Rico: A Panorama of its People (Francisco A. Scarano)Peter E. Siegel (ed.); Ancient Borinquen: Archaeology and Ethnohistory of Native Puerto Rico (William F. Keegan) Magali Roy-Féquière; Women, Creole Identity, and Intellectual Life in Early Twentieth-Century Puerto Rico (Yolanda Martínez-San Miguel)Katherine E. Browne; Creole Economics: Caribbean Cunning under the French Flag (David Beriss)Louis A. Pérez, Jr; To Die in Cuba: Suicide and Society (Matt D. Childs)John Lawrence Tone; War and Genocide in Cuba, 1895-1898 (Gillian McGillivray)Frank Argote-Freyre; Fulgencio Batista: From Revolutionary to Strongman (Javier Figueroa-De Cárdenas)Juanita de Barros, Audra Diptee, David V. Trotman (eds.); Beyond Fragmentation: Perspectives on Caribbean History (Bernard Moitt)Matthew Mulcahy; Hurricanes and Society in the British Greater Caribbean, 1624-1783 (Bonham C. Richardson)Michaeline A. Crichlow; Negotiating Caribbean Freedom: Peasants and the State in Development (Christine Chivallon)Peta Gay Jensen; The Last Colonials: The Story of Two European Families in Jamaica (Karl Watson)Marc Tardieu; Les Antillais à Paris: D’hier à aujourd’hui (David Beriss)Rhonda D. Frederick; “Colón Man a Come”: Mythographies of Panamá Canal Migration (Michael L. Conniff)James Robertson; Gone is the Ancient Glory: Spanish Town, Jamaica, 1534-2000 (Philip D. Morgan)Philippe R. Girard; Paradise Lost: Haiti’s Tumultuous Journey from Pearl of the Caribbean to Third World Hotspot (Carolle Charles)Michael Deibert; Notes from the Last Testament: The Struggle for Haiti (Carolle Charles)Ellen de Vries; Suriname na de binnenlandse oorlog (Aspha E. Bijnaar)In: New West Indian Guide/ Nieuwe West-Indische Gids no. 82 (2008), no: 1-2, Leiden
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Maksimenko, Ekaterina Dmitrievna. "The problems of reader’s experience and the search for style in V. S. Naipaul's essayistic writing". Litera, n. 5 (maggio 2021): 40–46. http://dx.doi.org/10.25136/2409-8698.2021.5.35357.
Testo completoAbstract (sommario):
This article conducts a chronological reconstruction of the key milestones of the reading path of V. S. Naipaul, as well as reviews the problems of his reader’s experience and the search for writing style. Emphasis is placed on the creative and personal relationship between V. S. Naipaul and his father S. Naipaul, who was his teacher and mentor, developed his literary taste, aptitude and style of the future Nobel laureate. Their collaboration draws the interest of researchers based on the fact that namely S. Naipaul introduced world literature to his son, affected his choice of books, and helped to understand a different sociocultural context. The author reveals the impact of the Russian writers (Gogol, Tolstoy) and the Spanish picaresque novel (“Lazarillo de Tormes”) upon writing style of V. S. Naipaul; as well as determines the reading preferences of V. S. Naipaul at a mature age. Among the authors who considerably influenced V. S. Naipaul in different periods of his creative path, the author names R. Kipling, D. Defoe, J. R. R. Tolkien, and J. Conrad. The analytical overview of the “writer's library” and his reading preferences allows carrying out a more systematic, consistent, and logical examination of V. S. Naipaul's works. The idea of the circle of authors and writings that considerably influenced the creative personality of V. S. Naipaul gives the key to the analysis of quotations, borrowings, allusions and reminiscences, i.e. the problems of intertextuality in his prose fiction. V. S. Naipaul's essayistic writing has not been published in the Russian language; this article introduces it into the Russian scientific discourse in literary studies.
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Boytsun, Iryna, e Yevhen Kharkovskyi. "Coloronyms as representatives of ukrainian being in Mykhailo Stelmakh's Novel «Four Fords»". Linguistics, n. 1 (49) (2024): 73–84. http://dx.doi.org/10.12958/2227-2631-2024-1-49-73-84.
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This article delves into the idiostyle of Mykhailo Stelmakh's novel "Four Fords". In recent times, Stelmakh's work has been largely overlooked, often dismissed as belonging to the realm of Soviet literature. However, this overlooks the rich inner content and nation-building character of his literary heritage. Stelmakh's prose embodies the cultural values of the Ukrainian people, which are revealed in the work through the use of specific vocabulary. To this end, the semantic load of color names in the novel is examined as a representation of Ukrainian existence, comparing their interpretation in Ukrainian and Spanish languages. The study notes that in fiction, neutral vocabulary acquires semantic weight through the use of colors that evoke certain associations in the reader. Traditionally, in the works of Ukrainian writers, white, black, red, green, yellow, blue, and brown colors prevail, which were chosen for this research. The associative palette of black color names in Stelmakh's novel "Four Fords" has many variations, among which black color prevails as a marker of tragedy, loss, sorrow, and evil. There are also options for using black as part of the Universe, which exists in harmony with white according to the pagan beliefs of the Ukrainians. White color has a traditional semantic load: it personifies purity, peace, and wisdom. Red, yellow, blue, and green colors have a congratulatory semantic meaning in most episodes of the work. The occasional image of red wheat personifies the continuation of life, victory over death. It is emphasized that Stelmakh's novel "Four Fords" presents a model of Ukrainian society based on the principles of mythological perception of the world. The philosophy of the Ukrainians is represented by color names, which can be conditionally divided into two groups that personify life and death. Depending on the context, ambivalent coloristic images acquire expressive metaphorical meanings, which is a characteristic feature of the author's idiostyle.
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Vázquez- Espinosa, Emma, Claudio Laganà e Fernando Vazquez. "The Spanish flu and the fiction literature". Revista Española de Quimioterapia 33, n. 5 (7 luglio 2020): 296–312. http://dx.doi.org/10.37201/req/049.2020.
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This review focuses on the fictional literature in which the Spanish flu is represented either as an anecdotal or as a historical aspect and the effect on the author or fictional character. We examine this sociocultural period in the press and mainly in Anglo-Saxon literary works and from other countries, including Spanish and Latin American literature that is not very represented in some international reviews on the subject. Also, we include books about the previous and subsequent influenza pandemics to the Spanish flu.
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Holgate, Ben. "A New World Literature Canon". Journal of World Literature 7, n. 3 (9 settembre 2022): 427–48. http://dx.doi.org/10.1163/24056480-00703008.
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Abstract Scholarly debate about world literature often relegates non-fiction as secondary to fiction. This article argues that non-fiction is as important as fiction, and uses the Financial Times Business Book of the Year Award as a case study. Although the FT award focuses on business, it has a wider cultural impact influencing academia, global media, and literature. After seventeen years, the award’s consistent quality of longlisted books has created a canon that has genuine literary value. My analysis of the award demonstrates that the finalists and winners have been concentrated in terms of author’s country of work, author’s profession, and primary subject. This concentration can be partly explained by the dominance of the US in the publishing of business books as well as by the mechanics of the award’s selection process. The FT award also prompts a discussion about the merits of a literary award that embraces both fiction and non-fiction.
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King, Stewart. "Crime Fiction as World Literature". Clues: A Journal of Detection 32, n. 2 (1 settembre 2014): 8–19. http://dx.doi.org/10.3172/clu.32.2.8.
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Castroverde, Aaron. "Philosophical Fiction as World Literature". Sartre Studies International 29, n. 2 (1 dicembre 2023): 59–78. http://dx.doi.org/10.3167/ssi.2023.290205.
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Abstract This article will examine Jean Paul Sartre's Nausea from the perspectives of philosophical fiction and world literature. Philosophical fiction is a specific kind of literature that insists on its absolute modernity. However, the literary aspects of philosophical fiction place it within its political and historical context, thus threatening this pretense to universality. Our examination of Nausea will show the internal tension between philosophy and fiction and how the interplay of both of those elements informed the structure of the novel. The formal, literary aspects help further the actual philosophical content that purports to be the central focus. The implications of that interplay will lead us to a new understanding of the inner logic of world literature.
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Reis, Amândio. "Short fiction as world literature". Short Fiction in Theory & Practice 13, n. 2 (1 ottobre 2023): 119–23. http://dx.doi.org/10.1386/fict_00090_2.
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Amândio Reis introduces a Special Issue of Short Fiction in Theory and Practice devoted to the theme of ‘Short Fiction as World Literature’. After discussing the short story’s generic vocation as an object of world literary studies, he considers the absence of critical discussions that recognize and engage with the short story as such, and not simply as a handier and lighter instrument than the novel. Following the footsteps of still rare but important contributions to address this lack, he comments on the ways in which each article participates in the collective challenge to problematize notions of the local and global, identity and otherness, in the short story. He introduces the reader to the contents of the issue by locating it at the intersection of short fiction studies and current pathways of world literature, including translation, multilingualism, migration and exchanges across literary periods and cultures.
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Szymyslik, Robert. "La traducción de mundos ficticios en la literatura entre el alemán y el español: el caso de Die andere Seite. Ein phantastischer Roman de Alfred Kubin". mAGAzin Revista intercultural e interdisciplinar, n. 28 (2020): 69–82. http://dx.doi.org/10.12795/magazin.2020.i28.06.
Testo completoAbstract (sommario):
El presente artículo se centra en la indagación de la traducción de las estructuras narrativas denominadas «mundos ficticios» en la modalidad literaria entre el alemán y el español. De forma concreta, en él se pretenden analizar los mecanismos que pueden aplicarse al trasvase de los elementos específicos que actúan como cimientos de los mundos ficticios entre entornos socioculturales. La transferencia funcional de estos componentes garantiza que los receptores meta sean capaces de concebir mentalmente una nueva realidad narrativa, por lo que es fundamental que esta tarea se lleve a cabo eficientemente. Los objetivos de investigación de este trabajo se cumplen a través de la observación del mundo ficticio construido en la obra Die andere Seite. Ein phantastischer Roman de Alfred Kubin, que presenta un ejemplo destacado de esta clase de dimensiones hipotéticas. Este análisis está basado en teorías provenientes de los estudios descriptivos de traducción y en los trabajos de autores como Toury (1980), Lambert y Van Gorp (1985) o Munday (2001). Consiste en un vaciado integral de los elementos conceptuales fundacionales del universo de esta novela, una selección de los ejemplos más relevantes para los propósitos de este trabajo y su disección traductológica con la meta de identificar los procesos utilizados para trasvasarlos y para evaluar la funcionalidad de cada uno de los equivalentes propuestos para evocar la realidad de esta novela en el contexto hispanohablante.
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Pritchett, Kay, e Robert C. Spires. "Post-Totalitarian Spanish Fiction". World Literature Today 71, n. 2 (1997): 359. http://dx.doi.org/10.2307/40153091.
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Ning, Wang, e Charles Ross. "Contemporary Chinese Fiction and World Literature". MFS Modern Fiction Studies 62, n. 4 (2016): 579–89. http://dx.doi.org/10.1353/mfs.2016.0053.
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Juárez-Almendros, Encarnación. "Fictions of Containment in the Spanish Female Picaresque: Architectural Space and Prostitution in the Early Modern Mediterranean. Emily Kuffner. Gendering the Late Medieval and Early Modern World 6. Amsterdam: Amsterdam University Press, 2019. 222 pp. €95." Renaissance Quarterly 73, n. 3 (2020): 1106–7. http://dx.doi.org/10.1017/rqx.2020.196.
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Juanma Santiago. "Symposium on Spanish Science Fiction". Science Fiction Studies 44, n. 2 (2017): 229. http://dx.doi.org/10.5621/sciefictstud.44.2.0229.
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Arrington, Melvin S., e Naomi Lindstrom. "Twentieth-Century Spanish American Fiction". World Literature Today 70, n. 1 (1996): 170. http://dx.doi.org/10.2307/40151906.
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Crispin, John, e Robert Spires. "Transparent Simulacra: Spanish Fiction 1902-1926". World Literature Today 63, n. 4 (1989): 659. http://dx.doi.org/10.2307/40145583.
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Novey, Idra. "Resisting Category: New Spanish-language fiction". Yale Review 111, n. 1 (marzo 2023): 46–49. http://dx.doi.org/10.1353/tyr.2023.0008.
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CHERKASHYNA, Tetiana, e Bohdan PARAMONOV. "NONFICTIONAL LITERATURE: NATURE, TYPOLOGY, TERMINOLOGY". 6, n. 6 (9 dicembre 2021): 72–100. http://dx.doi.org/10.26565/2521-6481-2021-6-04.
Testo completoAbstract (sommario):
The article is devoted to the reviewing of theoretical aspects of nonfiction literature. Similar in semantic content, but not identical terms as nonfictional literature, nonfictional writing, literature of fact, factography, fiction-documentary literature, fiction-documentary prose, fiction-documentary writing, literary nonfiction, literature of non-fiction, nonfictional prose, factual narrative, which have become commonly used in American, Spanish, Ukrainian, French, Slavic terminology, are analyzed. All these terms refer to a set of texts written on the basis of real events without the use of fiction. Typical features of this type of literature are the synthesis of documentary components and fiction, veracity, factuality, authenticity, objectivity, the use of real names, dates and geographical indications. At the same time, the reflection of real events and their participants is presented through the prism of the author’s self, and therefore subjectivity, personal component, merging of images of the author and the narrator are added to the leading features of nonfiction literature. The article focuses on the main structural and typological branches of nonfiction literature – historical nonfiction, literary biography, fictional journalism and memoirs. In compiling this classification, the main object of the non-fiction narrative was taken into account in the first place; sources of documentary information; varieties of author's presence in the text (in particular, as an outside observer, witness or main character); subjective factor of personal participation in the events described in the work, or personal acquaintance with the direct participants in the events; genre-typological characteristics of nonfictional works. The article highlights the main typological characteristics of each type of non-fiction, analyzes their genre system, presents the characteristics of varieties and subvarieties. Particular attention is paid to the analysis of memoirs, which is a complex and multilevel type of non-fiction, which, in turn, consists of several subvarieties – the memoirs, the autobiography, the diary, the epistolary. The article differentiates the subvarieties of memoir literature, considers options for the synthesis of its types and forms.
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Berman, Carolyn Vellenga. "World of Fiction". Novel 52, n. 3 (1 novembre 2019): 461–65. http://dx.doi.org/10.1215/00295132-7738695.
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Babina, Agata. "Mikrostāsta jēdziens mūsdienu literatūrā". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, n. 25 (4 marzo 2020): 299–310. http://dx.doi.org/10.37384/aplkp.2020.25.299.
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The glorious, overwrought, and ambitious modernism of the early 20th century has gradually been replaced by minimalism in art, architecture and other cultural expressions. In such a changing environment, minimalism trends also appear in the literature. Turning to the analysis of literary fiction over the last hundred years, critics of Romanic and Anglo-Saxon literature have come to the conclusion of the emergence of a new literary genre. In Anglo-Saxon literature, among many other names of this genre, the most recognizable name is flash fiction, while in Spanish, the term microrrelato has been established in the last decade. However, in Latvian literature, the characteristics of the genre correspond to minimas written by Aivars Eipurs. The paper aims to provide insight into the development and textual characteristics of flash fiction and to seek its equivalents in the literature of different Western nations. The study looks at the concept of flash fiction and its synonyms in English, Spanish, French, Russian, and Polish languages, includes definitions of flash fiction as an independent literary genre of a variety of authors and sets out the key features and examples. In addition to the concept of flash fiction, it includes concepts of intertextuality and ellipsis, which, along with humor and metafiction, are essential linguistic elements of flash fiction. Flash fiction merges different genres and their patterns into a new literary form consisting of certain linguistic, syntactical, and pragmatic texting techniques. In building the theoretical base of the study, the emphasis was placed on the critics of contemporary Spanish literature less known in Latvia, such as professor Irene Andrés-Suárez (b. 1948) of the University of Neuchatel (Switzerland), Argentinian writer and literary critic David Lagmanovich (1927–2010) and Mexican literary critic Lauro Zavala (b. 1954). Examples of the genre are mostly referred to by Hispanic authors.
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Kurti, Bledar. "THE OLD MAN AND THE SEA, THE BATTLE OF LIFE FOR ALL HUMAN KIND". ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies 12, n. 6 (29 giugno 2023): 28. http://dx.doi.org/10.58885/ijllis.v12i6.28bk.
Testo completoAbstract (sommario):
<p><span>The Old Man And The Sea, by Ernest Hemingway, went in printing in 1952, a year later was awarded the Pulitzer Prize for fiction. In 1954, Hemingway was given the Nobel Prize in Literature. After such a big success and a long and well accomplished career, a few years later, on a Sunday, the morning July 2nd 1961, Hemingway committed suicide. The paradox of the author’s ending with the ending of his most famous novel The Old Man And The Sea is that Ernest Hemingway, the man, gave up, whereas his character in the novel Santiago never gave up, was never defeated, emerging triumphant with the struggle against larger forces. This paradox raises the question: is The Old Man And The Sea a reflection of the author’s personal life and agony, as most commentators believe, or is it much more than that? A novel that depicts and represents the constant struggle of human kind in every era? Why was Hemingway in agony? Ernest Hemingway was a writer that belonged to the Lost Generation. One can imagine living the horrors of WWI, known as the Great War, being a personal witness in the Civil Spanish War, then WWII, living the entire adult life in and between wars. One looses hope and only dwells in the despair of loss, and agonizing in every breath. But as painful as his life was, Hemingway wrote this novel not just like a reflection of his own agony, not just as an expression of his own voice, but more than that, he portrayed the constant human struggle throughout the centuries, speaking in the voice of all humanity, past, present and future. This approach is the key what makes the novel so great. And the style and symbolism used in it make it a masterpiece therefore reading it a very thrilling experience. In this paper I will analyze the symbolism used in The Old Man And The Sea as well as make a comparison with a flow of historical and literary memory and conscience of the human kind, the world at large and of its author Ernest Hemingway. The purpose of this paper is to present an analysis on why this novel goes beyond the voice of the author. It is a universal work that represents the struggle and calling of humanity throughout the ages.</span></p><p><span><strong>Keywords:</strong> Hemingway, Old Man, sea, symbolism, Santiago, Manolin, Marlin, sharks, lions, fish, humankind, struggle, universal.</span></p>
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Molloy, Molly. "Sources: World Literature in Spanish: An Encyclopedia". Reference & User Services Quarterly 52, n. 2 (1 dicembre 2012): 172. http://dx.doi.org/10.5860/rusq.52n2.172.
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Dabove, Juan Pablo. "The Post-Boom in Spanish American Fiction". Revista Iberoamericana 66, n. 190 (13 marzo 2000): 207–11. http://dx.doi.org/10.5195/reviberoamer.2000.3607.
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Durán, Manuel. "Fiction and Metafiction in Contemporary Spanish Letters". World Literature Today 60, n. 3 (1986): 398. http://dx.doi.org/10.2307/40142203.
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Simsone, Bārbala. "Science Fiction In Latvian Literature". Interlitteraria 22, n. 2 (16 gennaio 2018): 397. http://dx.doi.org/10.12697/il.2017.22.2.16.
Testo completoAbstract (sommario):
The present paper is devoted to the overview of the beginnings and development of the genre of science fiction in Latvian literature. Similarly to other popular fiction genres, science fiction in Latvian literature has not been very popular due to social and historical reasons; however, during the course of the 20th century several authors have at least partially approached the genre and created either fully fledged science fiction works or literary works with science fiction elements in them. The paper looks at the first attempts to create science fiction-related works during the beginning of the 20th century; it then provides an insight into three epochs when the genre received comparatively wider attention: 1) the 1930s produced mainly adventure novels with elements of science fiction mirroring the correspondent world tendencies of that time period; 2) the period between the 1960s and 80s saw authors who had the courage to leave the strict platform of Soviet Social Realism, experimenting with a variety of science fiction elements in the postmodern literary context which allowed for a wide metaphoric interpretation. This epoch also saw the emergence of a specific phenomenon – humorous / satiric science fiction which the authors employed in order to offer social criticism of the Soviet lifestyle; 3) the beginning of the 21st century saw the emergence of several science fiction works by a new generation of writers: these works presently comprise the majority of newly published science fiction. The paper outlines the main tendencies of the newest Latvian science fiction such as authors experimenting with a variety of themes, the preference for dystopian future scenarios and humour. The paper offers brief conclusions as to the possible future of Latvian science fiction in context of the current developments in the genre.
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WANG, Yiping. "World Literature, Industrialization, and the Two Faces of Contemporary Chinese Science Fiction". Cultura 18, n. 1 (1 gennaio 2021): 95–108. http://dx.doi.org/10.3726/cul012021.0007.
Testo completoAbstract (sommario):
Abstract: In "World Literature, Industrialization, and the Two Faces of Contemporary Chinese Science Fiction" Yiping Wang discusses contemporary Chinese science fiction against the backdrop of the influence of world literature and the development of industrialization in China. Wang argues that two sides represented respectively by Liu Cixin and Han Song constitute the feature of contemporary Chinese science fiction. The side characterized by the works of Liu Cixin is the close connection with world science fiction and the positive attitude and consistency with technological innovation and industrialization in China while the other side has Han Song as its representative, whose works, with similarities to high literature of world canons and the mainstream Chinese literature, reflect on the development of technology and industrialization focusing on individuals and disasters in the shadow of modernization. These two sides join together in the illustration of the basic image of science fiction in contemporary Chinese literature. By absorbing the essence of world literature and echoing the concerns of the nation, contemporary Chinese science fiction surmounts the hierarchy of literary genres and make its way into the active center of world literature.
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Niama, Haidyr Hashim. "IMPACT OF BRITISH LITERATURE ON GLOBAL LITERATURE". American Journal of Social Science and Education Innovations 6, n. 6 (1 giugno 2024): 176–89. http://dx.doi.org/10.37547/tajssei/volume06issue06-24.
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The influence of British literature on global literature is enormous. In so many ways, British literature has influenced world literature. The Anglo-Saxon period established the British literature tradition, which continues to influence world literature today. In this blog post, we will look at various aspects of British literature's influence on global literature. The study of literary works from the United Kingdom and other countries around the world is known as British and world literature. It includes classic and contemporary works, often translated into English, that reflect regional and historical cultural and social norms. Individuals who study British and world literature gain insights into the historical, social, and cultural contexts in which the works were written. This allows for a better understanding of human experiences and the appreciation of different points of view. British literature composition is the process of creating written works in the English language that originate in or are related to the United Kingdom. This includes works written by British authors throughout history in the genres of fiction, poetry, drama, and nonfiction. Different literary movements, such as Medieval, Renaissance, Romanticism, and Postmodernism, have shaped the evolution of British literature composition. The composition of British literature has had a significant impact on the literary world and continues to inspire many contemporary writers.
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Jordan, Barry, e Patricia Hart. "The Spanish Sleuth: The Detective in Spanish Fiction". Modern Language Review 85, n. 2 (aprile 1990): 483. http://dx.doi.org/10.2307/3731895.
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Diaz-Migoyo, Gonzalo, e Patricia Hart. "The Spanish Sleuth. The Detective in Spanish Fiction". Hispanic Review 57, n. 3 (1989): 398. http://dx.doi.org/10.2307/473616.
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Spires, Robert C. "Information, Communication, and Spanish Fiction of the 1990s". Romance Quarterly 51, n. 2 (aprile 2004): 141–60. http://dx.doi.org/10.3200/rqtr.51.2.141-160.
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Young, Victoria. "Beyond “Transborder”: Tawada Yōko’s Vision of Another World Literature". Japanese Language and Literature 55, n. 1 (21 aprile 2021): 1–33. http://dx.doi.org/10.5195/jll.2021.181.
Testo completoAbstract (sommario):
This article presents a critical examination of “transborder” literary approaches that seek to renegotiate the position of Japanese fiction within the world. The concept of transborder fiction has emerged in recent decades as a means of breaking down the boundaries of Japanese literature that assume agreement between the nationality of a writer and the language of her text. However, as it takes its cues from David Damrosch’s influential study of 2003, What is World Literature?, which suggests that literature gains in value in translation, transborder literature betrays its desires to promote Japan’s national literature in a globalising literary context. This more critical view reveals that despite their calls for greater literary diversity, transborder approaches exhibit problematic tendencies that threaten to erase the multiple flows of language and intertextuality already extant within modern Japanese fiction and turn its eye away from history. This critique is focalised through the writing of Tawada Yōko, whose prolific output of literary works and essays in Japanese and German appear to epitomise the image of transborder writing, and yet which frequently challenge these assumptions. Both the book-length essay Exophony (2003) and the Japanese novel Tabi o suru hadaka no me (2004) offer prescient critiques rooted in history that expose moments of rupture, asymmetry and untranslatability, which an emphasis on border crossings threatens to overlook. However, by choosing to peer through those gaps, guided by the latter’s Vietnamese narrator, these texts also incite hitherto unseen connections between Tawada’s Japanese fiction and the world.
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Polishchuk, Yaroslav. "LITERATURE AND POST-TRUTH". Слово і Час, n. 6 (26 novembre 2020): 57–71. http://dx.doi.org/10.33608/0236-1477.2020.06.57-71.
Testo completoAbstract (sommario):
The author examines the current state of literature, which has been marginalized by the boom of modern media and the free market. Literature is called to restore a worthy place in the system of cultural communication of society. It is contradicted by the experience of postmodernism, which has led to disorientation in the system of art values. Postmodernism was an important formation of the transition period. Three aspects of the postmodern worldview ― dehumanization of art, lack of truths' hierarchy and their plurality, and the loss of the author’s authority ― have led to a long-lasting crisis in the post-Soviet literatures, but in the wider context, it was a crisis of relations with society and public opinion. The continuation of this crisis is stimulated by the use of technologies aimed at producing the post-truth. In the contemporary world, dominated by mass media and popular culture, fiction is not fully responsible for the crisis of society. The author of the paper considers examples that confirm the relevance of literature to ideological conflicts and propaganda rhetoric. The novelties of Ukrainian, Russian, and Belarusian literatures provide good material for the study of the post-truth in its Eastern European modifications. Nowadays fiction is seeking its place once again; its potential means of influencing the human consciousness in the post-truth world are being renewed. This process should be seen dialectically, with its probable positive and negative consequences. The post-truth world gives literature a chance to leave the shadows of media and restore its authority in the cultural sphere. At the same time, the confluence of literary fiction with post-truth poses a considerable danger, since it may be applied in modern manipulative technologies. The establishment of social and psychological communication, which became one of the priority tasks of modern literature, should not be implemented at the cost of human degradation.
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Foster, David William, e Naomi Lindstrom. "Twentieth-Century Spanish American Fiction". Hispanic Review 64, n. 4 (1996): 556. http://dx.doi.org/10.2307/474903.
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Naumann, Barbara. "Introduction: Science and Literature". Science in Context 18, n. 4 (dicembre 2005): 511–23. http://dx.doi.org/10.1017/s0269889705000645.
Testo completoAbstract (sommario):
ArgumentThe purpose of this volume is to investigate a number of selected examples of contact zones between the sciences and literature. We will be dealing with prominent cases of how science and literature encounter and interact with each other and profit by this recourse to their corresponding other, yielding aspects of self-reflection and self-representation. The volume will not attempt to address the question whether the so-called “two cultures” can be brought closer together or superseded by a third (Lepenies 1988, passim). We will be dealing neither with science and literature in an autobiographical or “life-world” sense, nor with popular scientific texts with quasi-literary claims, such as Stephen Hawking's theory of time, nor, in the parallel universe of popular fiction, with science fiction.
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Shaw, Donald L. "When Was Modernism in Spanish-American Fiction?" Bulletin of Spanish Studies 79, n. 2-3 (marzo 2002): 395–409. http://dx.doi.org/10.1080/147538202317345087.
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Wang, Ning. "Contemporary Chinese Fiction and Its Relations with World Literature". Telos 2022, n. 199 (2022): 83–90. http://dx.doi.org/10.3817/0622199083.
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Lu, Sheldon Hsiao-peng. "Telling Details: Chinese Fiction, World Literature by Jiwei Xiao". Rocky Mountain Review of Language and Literature 76, n. 1 (marzo 2022): 156–58. http://dx.doi.org/10.1353/rmr.2022.0014.
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He. "World Literature as Event: Ibsen and Modern Chinese Fiction". Comparative Literature Studies 54, n. 1 (2017): 141. http://dx.doi.org/10.5325/complitstudies.54.1.0141.
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Heath, Malcolm. "Greek Literature". Greece and Rome 63, n. 1 (29 marzo 2016): 116–21. http://dx.doi.org/10.1017/s0017383515000285.
Testo completoAbstract (sommario):
As Aeschines famously said, phēmē (‘fame’) can't be trusted: that's why ‘famously’ so often prefaces a mistaken report. Karen ní Mheallaigh knows that in Gorgias B23 it is the sophisticated audience which is deceived, and she understands the ‘contractual’ relationship that Gorgias posits between audience and author (e.g. 30, 32, 78). But, making the fatal mistake of calling it ‘Gorgias’ famous dictum’, she hallucinates a reference to madness and says that ‘what is at stake…is the confusion between reality and representation, which is a measure either of the audience's lack of sophistication, or of the artist's supreme skill’ (29). Her invitation to ‘read with imagination, and with pleasure’ (xi) succeeds admirably. Reading her exploration of the self-conscious, extremely sophisticated, and persistently playful fictionality of Lucian (Toxaris, Philopseudes, True Stories) and others (Antonius Diogenes, Dictys and Dares, Ptolemy Chennus) was, for me, an intensely stimulating and pleasurable experience. But the Gorgias aberration was not the only thing that also often made it annoying. ‘The irony that pervades Lucian's work…is not a symptom of exhaustion but of exuberance’ (37): doesn't that state the obvious? ‘Having read Toxaris, it is difficult to read Chaereas and Callirhoe without feeling its improbable storyishness’ (49): is that any less difficult for those who haven't read Toxaris? ‘Is Toxaris a dialogue about friendship, or about fiction?’ (67): the headline answer (‘both: for the theme of friendship is itself entwined with the dynamics of fiction in the dialogue’) is undercut by what follows, which reductively treats the friendship theme as a pretext and pretence (‘in Lucian's work, fiction is almost invariably enjoyed under the pretext of doing or talking about something else, and Toxaris is no exception: it is a dialogue about novelistic narrative, masquerading as a dialogue about friendship’; my emphasis). A fictional speaker's oath ‘compels the reader into acquiescence that the story he is listening to is true’ (68, original emphasis): how is that possible when (given the existence of perjury) even non-fictional oaths don't have that power? Is it true that a ‘constant oscillation between the poles of belief and disbelief…takes place in the reader's mind when (s)he reads fiction’ (70)? The internal audience may be waveringly doubtful about the status of what they are hearing, but sophisticated external audiences of fiction are capable of maintaining a complex attitude free of oscillation. ‘The reader must wonder whether (s)he is him or herself contained within that remote specular image on the Moon, a minute mirror image of a reader and a book, within the very book (s)he is now holding’ (226): that's not the ‘must’ of necessity, since I don't wonder that at all. Am I violating some ‘must’ of obligation? But why should anyone be obliged to wonder anything so daft? I was not disturbed by ‘the disturbing idea that every reality may be a narrative construct, another diegesis in which we are the characters, being surveyed by some remote and unseen reader, perhaps right now’ (225; compare 207), nor unsettled by ‘the unsettling possibility that the real world outside Lucian's text could be just as fictional, if not more so, than the world inside the book’ (230; compare 8). If you are of a nervous disposition, do not read this book: thirty-six occurrences of ‘anxiety’ and ‘anxious’ might make you jittery. Otherwise, read it, enjoy it, and (from time to time) shout at it in frustration.
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Gunn, James. "Science Fiction around the World". World Literature Today 84, n. 3 (2010): 27–29. http://dx.doi.org/10.1353/wlt.2010.0250.
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Gómez, Isabel. "Brazilian Transcreation and World Literature". Journal of World Literature 1, n. 3 (2016): 316–41. http://dx.doi.org/10.1163/24056480-00103003.
Testo completoAbstract (sommario):
How does one translate an avant-garde classic? How might a translation mediate between experimentalism and canonicity as a work travels away from its culture of origin? This article studies Héctor Olea’s Spanish translation of Mário de Andrade’s Macunaíma (1928) as one response to these questions from a Latin American translation zone. First translated for the Barcelona publishing house Seix Barral (1977), his work soon traveled back across the Atlantic to be re-edited into a critical edition for Biblioteca Ayacucho (1979). This article examines letters from the publisher’s archive to demonstrate that debates over the novel as avant-garde art, literary ethnography, or Brazilian national allegory influenced their views on translation. By including two incompatible translation approaches—transcreation and thick translation—the volume reveals an unresolved paradoxical treatment of cultural hybridity at the heart of the text.