Gotowa bibliografia na temat „English prose literature (collections), 21st century”

At the beginning of the 21st century an audience consisting mainly of lawyers will not need to be persuaded that the law has a contribution to make to literature or, at any rate, that it has a literature of its own. A hundred years ago it might have been different. The Oxford Book of English Prose, published in 1925, contained extracts from only three reported judgments. By a coincidence, it was in the Yale Review of the same year that Benjamin Cardozo’s Law and Literature first appeared, since when the opinion has been growing, certainly amongst lawyers, that there must be something in it.

Over the last three decades, in an atmosphere that is quintessentially super-diversified and hyper-active, teaching culture is being celebrated as the emblem of a state-of-the-art branch of teaching and research. Therefore, social activists are today expediting an extraordinary era of multiculturalism, in which the bottom line is to foster cultural literacy and critical literacy as a capstone for social democracy and academic change. Given its ascendency in literature teaching, the current study endeavors to probe into the effectiveness of using literature for promoting critical cultural literacy by adopting a ‘windows and mirrors’ teaching framework. To fulfill this target, research has invested in pre/post-tests as instruments for data collection and analysis, and opted for 30 participants among second-year English as a Foreign Language learners as target randomized sampling. The study findings have revealed that ‘windows and mirrors’ readings of rhetoric have helped to stimulate learners’ empathy, tolerance, and inclusion in others’ cultures, expanded the breadth of their cultural content knowledge, and sharpened advanced critical level literacy. Keywords: Cultural literacy, empathy, inclusion, tolerance, ‘windows and mirrors’ framework.

The end of the 20th – the beginning of the 21st century is characterized by the fact that during this period, interest in non-fiction literature – a special literary genre of documentary prose, which is based on real events, without fiction or conjecture – begins to grow actively. Facts are presented through the imaginative perception of the world by the author of the work. Therefore, in our opinion, this genre can still be called “documentary journalism of life”. Non-fiction has gained particular popularity over the past few years. This is connected, first of all, with the events that are taking place, namely: with the full-scale invasion of the Russian Federation on the territory of Ukraine. Collections of books about the war, the Maidan, and the Revolution of Dignity are published, as well as books that have become bestsellers in the world of psychology, travel journalism, and literature. The article examines the issue of genre features of the book “Dream of Antarctica”, which is an example of modern non-fiction literature. It is clarified why the diffusion of genres is a part of the analyzed book, and how the author combines features of other genres in one work.

The following paper offers a transgeneric analysis of three contemporary German literary texts which shows how the plot setting - which is in all these cases an urban environment, i.e. a city – can be described as a topos to address ongoing migration crises. These urban places of action and the depicted migration crises create a state of paradox and irony: big cities attract the population and represent a place that is desirable to live in, yet they seem to marginalize and ostracize the very groups that migrate towards them. The research presented in this paper stems from an ongoing research project that deals with the phenomenon of crisis in contemporary English, German and Croatian literature, with an emphasis on systems in crisis, where the systems are defined from a sociological perspective as the family, the local community, the state, the region, and so on. The research was conducted within the installation research project “UIP-2020-02-3695 Analysis of Systems in Crisis and of New Consciousness in 21st Century Literature” (2021.-2026) funded by the Croatian Science Fund. The aim of the project is to prove the hypothesis that what we have at hand is a predominantly subversive attitude on the part of literature towards the phenomenon of crisis and towards systems in crisis. The research done in the first year of the project (2021) shows that of the 126 German-language prose and drama texts included in the corpus, focusing on texts published from 2000 to 2021, 29 deal explicitly with crises in the local community or in the city and 23 with migration crises (cf. Novak et al. 2021, p. 3). The literary works selected for analysis, which offer urban areas as the setting of the narrative, show how, at the expense of the protagonists’/characters’ isolated experience, a shared, global view is illustrated that might indicate literary trends in dealing with contemporary problems in society, such as the attitude towards the ‘other’, the marginalized, or the ‘different’. Paradoxically, at the same time, through the way they subtly address these problematic attitudes, the literary texts become topoi that allow space for criticism. The novel and two plays that are the focus of this research have all been published in German since the year 2000 and are part of the project’s corpus. They have been selected as representative examples of how the urban, civilized, dominant community acts and reacts when it comes into contact with the ‘other’. They encompass both the individual and the collective, tragedy and comedy, but also social satire which addresses many problems of the world we consider to be structured and ordered, revealing that it is in reality a place of complex dynamics of centricity versus provinciality and inclusion versus exclusion. The paper takes a close look at Robert Menasse’s novel Die Hauptstadt (2017), Philipp Löhle’s play Wir sind keine Barbaren! (2015) and Lutz Hübner and Sarah Nemitz’s play Phantom (Ein Spiel) (2015). The transgeneric analysis of the selected literary texts shows how the migration crises in the big cities are not explicitly addressed, but rather pushed to the sides and margins – both literally and figuratively - and overlooked, and thus made even deeper within the system of the narrative (that is, in the narrative of both the prose as well as the drama text). In all three examples, the “we” is often emphasized as dominant, while “the others” are marginalized, both geographically and symbolically, due to this dominance. The migrants/refugees appear and remain on the geographical periphery, while also not even being recognized, and listened to, or else they become condemned to a life in symbolic parallel worlds. The community in all three examples acts globally in the economic and communication-strategic sense, but limits its self-image and the conception of “we” locally, and in doing so emphasizes the meaningfulness of their own tradition, while diminishing the existence of the others.

The article considers monographs, dissertations and collections on various topics related to Ukrainian-Polish literary comparative studies that appeared in independent Ukraine 2000–2019. The author considers Ukrainian-Polish literary relations and typological aspects of the 19th – the beginning of the 21st centuries: from the era of pre-romanticism and romanticism, then to positivism and hence to modernism and postmodernism. These are primarily works focused on the «Ukrainian school» in Polish Romanticism (R. Radyshevskyi, Ye. Nakhlik, M. Bratska, I. Rudenko), dedicated to Juliusz Słowacki’s creative connections with Ukraine, and P. Kulish’s dialogue with Poland (Ye. Nakhlik), Józef Ignacy Kraszewski’s dialogue with Ukraine (R. Radyshevskyi). The 2000s in Ukrainian-Polish comparative literary criticism were marked by a revival of attention to various aspects in the field of Taras Shevchenko study. Worth mentioning a fundamental edition in three books «Reception of Taras Shevchenko’s Creativity in Poland» (2015) by R. Radyszewskyi, a selection of «Shevchenkiana by Teoktyst Pachovskyi» with R. Radyshevskyi’s introduction «Polish reception of Taras Shevchenko creative heritage in the works by Teoktyst Pachovskyi», published in the book «Kyiv Polonistic Studies» (2014. Vol. XXIV); moreover articles by O. Astafiev, Ye. Nakhlik, R. Kharchuk in periodicals, scientific collections and six-volume «Taras Shevchenko’s Encyclopedia» (2012, 2013, 2015). The author of the paper offers his own experience of typological and contactgenetic analysis of Taras Shevchenko’s works (the monograph «Fate – Los – Destiny: Taras Shevchenko and Polish and Russian Romantics», 2003). Some aspects of Ivan Franko’s studies in Ukrainian-Polish comparative literature are covered in a separate volume of «Kyiv Polonistic Studies» – «Ivan Franko and Polish Culture» (2017. Vol. XXIX), in V. Durkalevych’s monograph «In Searching for Narrative Identity: The Individual Myth in the Works of Ivan Franko, Andrzej Chciuk and Bruno Schulz» (2015), partly in the books of V. Korniichuk «“Like the Organs in the Grand Temple ...”. Contexts and Intertexts of Ivan Franko» (Comparative Studies)» (2007) and Ye. Nakhlik «Bends of Ivan Franko’s Spirit. Worldview. Ideology. Literature» (2019). In the 2010s, the investigation of Ukrainian-Polish literary bilingualism of the 19th century was revived thanks to the book by Ye. Nakhlik «Creativity of Juliusz Słowacki and Ukraine. Problems of Ukrainian-Polish Literary Comparative Studies» (2010), articles-personalities by Yevhen and Oksana Nakhlik in the first volume of «Ivan Franko Encyclopedia» (2016), due to separate editions of works by Leo Węgliński (2011) and Tymko Padurra (2012) compiled with the accompanying articles by R. Radyshevskyi and his colleagues. Models of Polish positivism in nineteenth century Ukrainian literature were also studied (B. Honcharenko). Typological parallels between the «Bohdan Khmelnytskyi» trilogy by M. Starytskyi and the novel «With Fire and Sword» by Henryk Sienkiewicz were traced (V. Martsenishko). Attention was paid on the Ukrainian reception and typology of small prose by Eliza Orzeszkowa (I. Spatar), the literary works of S. Wyspiański (M. Medytska), S. Przybyszewski (T. Tkachuk). The objects of the studies were also V. Stefanyk’s connections with Polish modernism (S. Yamborko), Ukrainian-Polish aspects of the «Lviv» and «Kharkiv» texts by L. Staff (E. Tsykhovska), models of catastrophism in Ukrainian and Polish prose of the interwar twentieth century (O. Harlan), vision of Ukraine in works by Jerzy Stempowski and Józef Łobodowski (O. Vozniuk). On the examples of J. Iwaszkiewicz, L. Buczkowski, R. Wernik, V. Odojewski, A. Chciuk, M. Szofer the biographical preconditions and evolution of the image of the borderland in the prose of J. Iwaszkiewicz of the interwar period and artistic ethnocultural models of literature of the Polish Ukrainian borderlands of the twentieth century are investigated (author of both researches O. Sukhomlynov). Olesia Nakhlik found out the perception and adaptation in Ukraine of artistic and essay prose of Polish writers A. Bobkowski, T. Borowski, G. Herling-Grudziński, W. Gombrowicz, T. Konwicki, Cz. Miłosz, A. Stasiuk. And I. Kropyvko comprehended Ukrainian and Polish postmodern prose of the late twentieth – beginning of the XXIst centuries in aspects of carnival, fragmentation and frontier (as manifestations of transgression) and using the comparative-typological method. Due to these studies, Ukrainian-Polish comparative literary criticism took a prominent place among national comparative studies.

Ecology is a study that transcends disciplinary boundaries. It has roots in the sciences but enjoys a number of representations in the humanities, specifically through literature. Several African writers have in their imaginative works, portrayed the devastating condition of the environment in a 21st century technological-driven world and also proposed solutions to this malady. In fact, environmental degradation has become a global issue, hence, the pressing need for a lasting panacea. Attempts at literary ecocriticism in Nigerian literature have largely focused on prose fictional works and the poetry collections of older and second generation poets like Tanure Ojaide. Consequently, little research has been carried out on the representation of environmental degradation in the poetry of more contemporary poets like Ibiwari Ikiriko and Albert Otto. This paper therefore, is a critical, close reading of Ikiriko and Otto’s poetry engagement with environmental degradation. The paper adopts the notion of ecopoetry from the ecocritical theory, which accounts for poetry foregrounding questions of ethics in relation to the environment. It acts as a reminder to humans of their responsibility towards the earth and challenges the existing status-quo that has the environment and the common people at the mercy of the ruling class. In this paper, Ikiriko’s Oily Tears of the Delta and Otto’s Letter from the Earth are subjected to literary and critical analysis to examine their preoccupation with the destructive onslaught on nature, and the traumatic experiences of the marginalised. Amidst the environmental depredation, the poets express hope and revolutionary fervour towards the rejuvenation of their society.

The word kitchen has done as much work in the English language as the people who have toiled in the space the word names. The Bard himself, William Shakespeare, “verbed” the term in 1623, using kitchen to mean serving the food in the space in which it was prepared: “There is a fat friend at your master’s house, That kitchin’d me for you to day at dinner.” A century later, Scots used the term as a synonym for both pleasurable eating and frugality—for seasoning food and for budgeting and provisioning food beyond harvest. By the end of the nineteenth century, kitchening was interchangeable with cooking, food service, and the related work undertaken in this domestic production space. Existing examinations of the American kitchen emphasize the architectural design of the space, often pointing to technological and energy innovations as factors for the space’s changing design over the centuries. Historians of women and labor also stress mechanization, arguing that the technologies touted as labor saving were, in reality, not—in many cases, new technology raised standards and increased women’s work. Understanding this, scholars have focused on women’s decisions about kitchen design and cookery, seeking evidence in diaries, letters, and recipes. Rising research interest in food studies has renewed scholarly attention to the kitchen and its contents and occupants, linking in interesting ways food, material culture, labor, and consumption. In this presentation I discuss how attention to the material and visual evidence of American women’s kitchening, from making food to (re)modeling the workspace of the kitchen itself, improves our understanding of the history of the kitchen derived from prescriptive literature such as household manuals and home economics texts. I consider the related changes in domestic kitchens and American foodways in the United States since the 1840s, when the processes of industrialization shifted the ways Americans worked and ate. Last, I devote attention to the ways in which American museums have and continue to collect and display kitchen objects. Museums depicting preindustrial kitchens often feature cooking demonstrations utilizing the era’s tools and foodways or emphasize the dining experience, while museums with industrial and postindustrial collections display the kitchen and its mass-produced material culture as aesthetically delightful products of design divorced from the foods these objects help to prepare. I hope this presentation may elicit a discussion about what museums should be collecting to represent kitchening in the 21st century.

What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.

MAKING SENSE OF DISEASES AND DISASTERS: Reflections of Political Theory from Antiquity to the Age of COVID by Lee Trepanier, ed. New York: Routledge, 2022. 248 pages. Hardcover; $170.00. ISBN: 9781032053950. E-book; $47.65. ISBN: 9781003197379. *Political theorist Lee Trepanier has assembled a collection of scholars to address the political--and human--questions that arise from what he describes as "liminal events" such as pandemics, natural disasters, and the like. In this book, "disaster" includes not only natural but humanly generated disasters, such as the Sack of Rome. Such liminal events can generate considerable political uncertainty, significant social change, and even political collapse. Trepanier states that "These events offer us lessons about the nature of political order and illuminate what political theory can offer in our understanding about politics itself" (p. 1). How do societies respond to these events? Do these events create (or reveal) solidarity or the lack of it? Do governments gain or lose legitimacy based on how they handle these events? More deeply, what do these events reveal about human nature and human behavior when political structures are under strain or broken? Trepanier and contributors work with an expansive, more classical conception of politics; in this conception political theory explores the broad questions of how we live together and how the political order both reflects and shapes our human nature. *The book is organized into Trepanier's introduction and four sections. Section I, "In the Time of COVID," engages the recent pandemic. Section II, "Modern Solutions, Modern Problems," moves to the early modern period with studies of key figures such as John Locke and Francis Bacon. Section III, "God, Plagues, and Empires in Antiquity," moves to the ancient world engaging authors such as Augustine, Thucydides, and Sophocles. The final section, "Reflections on Surviving Disasters," brings us forward again to the present day with studies of how contemporary authors grapple with early twenty-first century disasters such as the Fukushima Earthquake of 2011 or Hurricane Katrina. *Aside from the introduction, there are twenty chapters. Some chapters are densely written, while others are quite accessible. The authors come at their topics from a variety of methodological angles, such as historical analysis, literature, and post-modernist theory. All chapters are quite short, rendering them as tasters for exploring the ideas in greater depth. A particular point of interest is the extensive use of works of literature as a lens for exploring these liminal events; several chapters use this lens. *One takeaway of the book is that dealing with diseases and disasters is not just a matter of "following the science"--we need to understand the political, social, cultural, and intellectual context of the society in question. Disease and disaster reveal human interconnectedness in its physical, social, and spiritual aspects. *A recurrent theme in the collection is the ambiguity of globalization: not only does globalization enable the spread of ideas, people, goods, and services, but it also enables the spread of disease and the movement of terrorists. Furthermore, given that this is so, how should polities deal with these problems? Are they best dealt with at a more local level or more at the national level? *Arpad Szakolczai's lead-off chapter, "The Permanentisation of Emergencies: COVID Understood through Liminality," may be the most challenging for readers, both in the sense of the difficulty of its prose and in its challenge to what he sees as a pernicious attempt at rule by technocratic "experts." By "experts," Szakolczai does not simply mean those who are knowledgeable about a particular topic, but additionally those who have been intellectually shaped by a problematic conception of nature, a conception that does not adequately grasp what capital-N Nature truly is: a gift. He notes that this does not rule out a God who is doing the giving, but he doesn't explicitly affirm one either. Either way, we receive Nature, but, he claims, the experts fail to respect Nature as a gift; they are actually hostile to Nature and the natural. Szakolczai seems to be gesturing at "technology-as-idolatry" critiques of contemporary society: our experts have been detached from a true notion of the natural. Because of this, the experts see the COVID epidemic as an opportunity to expand their influence. His argument is provocative but extremely compressed and hence to me unclear. *Jordon Barkalow uses James Madison's concept of faction to analyze the varied reactions to government efforts to respond to COVID. A faction as Madison defines it is a group that has an interest or passion adverse to the interests of the whole political community. In "Federalist No. 10," Madison famously argues that a large republic will dilute the power of factions by way of multiplying them.1 However, Barkalow suggests, "The ability of personal factions to negatively affect national efforts to combat the spread of COVID suggests that the benefits Madison associates with the extended size of a republic might no longer apply to a technologically advanced 21st century" (p. 41). Factions have become national in scope. *Another common theme is that of apocalypse, in the sense of unveiling; diseases and disasters rip away veils and expose aspects of human nature and behavior that ordinarily lie under the surface. The chapters involving literature do a particularly good job of exploring this area. For example, Catherine Craig discusses James Lee Burke's 2007 novel The Tin Roof Blowdown, set in New Orleans in the aftermath of Hurricane Katrina.2 Craig contends that "the novel shows hope for the possibility of redemption and the presence of goodness even when all established order is brought to chaos. This possibility depends on human freedom to choose and pursue a transcendent good. While this freedom can be fostered or neglected by political institutions, it ultimately precedes and transcends them (p. 198)." *The hardcover edition of this book is unfortunately ludicrously expensive, apparently priced only for library collections. (The e-book version is less expensive.) That being said, I would recommend this book as a source book for beginning to explore the political and social implications of disease and disaster. *Notes *1James Madison, "Federalist No. 10," in The Federalist, ed. George W. Carey and James McClellan (Indianapolis, IN: Liberty Fund, 2001), 42-49. *2James Lee Burke, The Tin Roof Blowdown (New York: Simon & Schuster, 2007). *Reviewed by Daniel Edward Young, Professor of Political Science, Northwestern College, Orange City, IA 51041

Background: In the Kingdom of Yugoslavia, leftist ideologies were promoted under the shadow of pacifism, as opposed to which Crnjanski, a right-wing writer and nationalist, was placed. Unfortunately, even after the Second World War, such position cost Crnjanski a decades-long exile, the political stigmatisation of his literary work in school curricula and in historical reviews of the then Yugoslav literatures, all the way until the writer’s return to Belgrade in 1965, when such perception slowly started to change. Even though Crnjanski, as a right-winger, nationalist and fascist, would bear this mark for quite a while, his literary works, at least those written before 1934, have since the early 1970s returned to the sphere of scientific interpretations. Purpouse: This paper adopts an interdisciplinary method to approach the work of Miloš Crnjanski from the 1930s in light of the two latest publications – Diplomatic Papers (1936–1941) and Political Articles (1919–1939). Based on the hitherto unknown historical materials and Crnjanski’s reports from the diplomatic missions in Berlin and Rome, and from his travels across Spain at the time, we will present a complex network of prejudices about a writer who was declared a right-winger. By analysing a work published in this period, Crnjanski’s Love in Tuscany, and the reports written in the capacity of a press and culture attaché in Berlin from 1935 to 1938 and in Rome from 1938 to 1941, we will present Crnjanski in the framework of a new reception that has been shifting in scientific circles and memories Embahade. Milo Lompar’s book Crnjanski – Biography of One Feeling (2018) and Gorana Raičević’s latest study Agon and Melancholy. The Life and Work of Miloš Crnjanski (2021) bring a new reception of the work and life of Crnjanski. Results: With the development of interdisciplinary studies and certain forms of awakening and strengthening of the right in Europe since the beginning of the 21st century, bolder and bolder studies, statements and interpretations of fascism have been appearing. In this vein, Umberto Eco published the essay ‘Ur-Fascism’ in English in 1995, which has been translated into the Serbian language. An important text by Enco Traverso was also translated. The study in question poses a modern understanding of the strengthening of right-wing movements in Europe at the end of the 20th and the beginning of the 21st century. In this manner, the Italian literary historian Alessandra Tarquini in the study History of Fascist Culture gives a precise view of the breadth of fascism in the entire Italian society from its first appearances in the early 1920s to its collapse in 1943. In this study, fascism is interpreted as an ideology, but also as a form of culture and a way of living determined by myths, old and new. By taking into account the latest findings in historical documents and literature on fascism in Italy, this paper show the connections between literature, political ideas and basic writings of Crnjanski as a diplomat in the period between 1935 and 1941. In this text we show new reception in Serbian literature science and history after printed – Diplomatic Papers (1936–1941) and Political Articles (1919–1939) and Milo Lompar’s book Crnjanski – Biography of One Feeling (2018) and Gorana Raičević’s latest study Agon and Melancholy. The Life and Work of Miloš Crnjanski (2021). In conlusion we can see that Crnjanski has been writer and diplomatic atase for culture and information but that he is on rightets in political and any other way with fascism in Europe. Key words: Slavonic histories, literatures, cultures, diplomatic missions, rightist ideas, nationalist and fascist ideas. Aćimović, D., 2005. With Crnjanski in London. Belgrade: Filip Višnjić. (In Serbian) Avramović, Z., 2004. The defense of Crnjanski. Private edition Zoran Avramović: Belgrade. (In Serbian) Avramović. Z., 2016. Writers and Politics in Serbian Culture 1804–2014. Novi Sad: Pravoslavna Reč. (In Serbian) Crnjanski, M., 1995a. Travelogues I. Belgrade: the Serbian Literary Guild or Serbian Literary Cooperative (SKZ), Belgrade Publishing Institute (the BIGZ company), edited by N. Bertolino. Belgrade: the Miloš Crnjanski Endowment. (In Serbian) Crnjanski, M., 1995a. Travelogues II. Belgrade: the Serbian Literary Guild or Serbian Literary Cooperative (SKZ), BIGZ – Publishing Institute (the BIGZ company), edited by N. Bertolino. Belgrade: the Miloš Crnjanski Endowment. (In Serbian) Crnjanski, M., 2010. Embassies. Edited by Nada Mirkov, Belgrade: the Endowment Miloš Crnjanski, Faculty of Orthodox Theology, University of Belgrade. (In Serbian) Crnjanski. M., 2017. Political articles 1919–1939. Edited by Časlav Nikolić. Belgrade: the Miloš CrnjanskiEndowment, Catena Mundi. (In Serbian) Crnjanski, M., 2019. Diplomatic Reports (1936–1941). edited by Aleksandar Stojanović, Rastko Lompar, Belgrade: Miloš Crnjanski Catena Mundi. (In Serbian) Crnjanski, M., 2020. The Serbian Viewpoint. Third edition. Belgrade: Catena Mundi. (In Serbian) Jaćimović, S., 2009. Travelogue prose of Miloš Crnjanski. Belgrade: Teacher Education Faculty. (In Serbian) Lompar, M., 2018. Crnjanski – A Biography of a Feeling. Novi Sad: Pravoslavna Reč. (In Serbian) Mićić, S., 2018. From the bureaucracy to the diplomacy. History of the Yugoslav Diplomatic Service 1918–1939. Belgrade: The Institute for Recent History of Serbia (INIS). (In Serbian) Popović, R., 2004. The Letters of Love and Hate:Letters to Marko Ristić. Edited by Radovan Popović. Belgrade: Filip Višnjić. (In Serbian) Raičević, G., 2021. Agon and Melancholy. The life and work of Miloš Crnjanski. Novi Sad: Academic book. (In Serbian) Simić, B., 2019. Milan Stojadinović and Italy: Between diplomacy and propaganda. Belgrade: the Institute for Recent History of Serbia (INIS). (In Serbian) Eco, U., 2019. Ur-Fascism. Translated by Aleksandra Nedeljković. Belgrade: The Faculty of Media and Communications. (In Serbian) Tarquini, A., 2011. Storia della cultura fascista. Bologna: il Mulino. (In Italian) Giubilei, F., 2018. Storia dellla cultura di destra. Giubilei Regnani: Roma-Cesena. (In Italian)

The aim of this study is to map the reception of Latin American Poetry within the corpus of the Bangla world of letters for three decades, from 1980 to 2010. In the 1970s and the 1980s, the influence and reception of Latin American Literatures in Bangla was reflected primarily in the introductions to translations, preludes, and conclusions of translations. During the late 1960s and the early 1970s Latin American poets like Pablo Neruda, Victoria Ocampo, Octavio Paz, and Jorge Luis Borges had caught the attention of eminent Bangla poets like Bishnu Dey, Shakti Chattopadhyay, and Shankha Ghosh who started taking interest in their works. This interest soon got reflected in the form of translations being produced in Bangla from the English versions available. The next two decades saw the corpus of Latin American Literatures make a widespread entry into the world of academic essays, journals, and articles published in little magazines along with translations of novels, short stories and poetry collections by leading Bangla publication houses like Dey’s Publishing, Radical Impressions, etc. This period was marked by a proliferation of scholarship in Bangla on Latin American Literatures. By the 21st century, critical thinking in Latin American Literatures had established itself in the Bangla world of letters. This chapter in particular studies the translations of Latin American poetry by Bengali poets like Shakti Chattopadhyay, Subhas Mukhopadhyay, Bishnu Dey, Buddhadeb Bhattacharya, Shankha Ghosh, Biplab Majhi among many others. The analysis relates to issues they focus on including themes like self, modernity, extension of time and space, political and poetic resonances, and untranslatability. Through a step by step research of the various stages of translation activities in Bengal and Bangla, it traces how translations of Latin American Literatures begin to take place on literary grounds that had already become sites of engagement with these issues. The chapter further explores the ways in which all these poet-translators situate their translations in relation to the issues of concern. In addition, it also addresses the question of what they hence contribute to Bangla literature at large. I first chose to explore the ways in which these issues are framed in the reflections and debates on translation in India and Bengal in the 20th century. Thereon I have tried to show how these translations of Latin American poetry developed their own thrust in relation to these issues and concerns.