Tracing the reception of the Yijing in Spain through paratexts: the dominant divination practices and a dynamic evolution from the 1970s to the present

BackgroundReading researchers have generally considered that reading is an interactive combination of top‐down (higher‐level language skill) and bottom‐up (lower‐level language skill) processes. Nevertheless, the mechanisms through which readers apply these skills for online text comprehension are unclear.MethodsThe present study thus used eight classical Chinese (CC) texts and their corresponding vernacular translation (VT) texts for controlling the text structure and meaning to explore such mechanisms in high school students.ResultsWith partial‐out to the influences of (a) students' language achievement scores, (b) word frequency and (c) word length, we observed no significant difference in comprehension accuracy between the CC and VT texts, and the CC texts involved a significantly lower reading speed than did the VT texts. Moreover, the first fixation duration, gaze duration, rereading time and total reading time for the CC texts were longer than those for the VT texts. For all events, CC text reading required a longer fixation duration and significantly longer rereading time and total reading time than did VT text reading. Further observations show that students comprehended CC texts by adjusting their lower‐ and higher‐level language skills.ConclusionThese findings demonstrate that even if CC texts contain a relatively high number of low‐frequency words, as readers get more and more contextual information from the text, they can gradually apply higher‐level reading skills to understand the meaning of the text, which can ease the dependence on word decoding.HighlightsWhat is already known about this topic Lower‐ and higher‐level language skills—which reflect lexical access and higher order text integration, respectively—affect reading comprehension. Theory and research in reading comprehension have emphasised the interactive process of both language skills to lead to successfully understanding text. What this paper adds By using classical Chinese texts and their corresponding vernacular translations to control the meaning of texts, text event structures and the corresponding word sequence, we determined that high school students comprehended classical Chinese texts by adjusting their lower‐ and higher‐level language skills. This study also revealed students' dynamical adjustment of lower‐ and higher‐level language skills within construction and integration phases according to various events. Implications for theory, policy or practice This study demonstrated that word‐based eye‐movement measures can reflect the processing of lower‐ and higher‐level components in online reading and can reveal the even construction and integration processes of construction–integration model theory. By thoroughly examining reading strategies for texts structured according to events, this study revealed how high school students can achieve a certain degree of comprehension of classical Chinese texts through the use of higher‐level language skills.

This chapter introduces two special characteristics of Classical Chinese (CC) texts – conversational style and the prevalence of omissions – and demonstrates how to incorporate them into CC teaching and learning. A famous ancient fable, 畫蛇添足, is used to present an integrated CC pedagogy with a focus on these two special features, which includes a descriptive introduction of grammar structures, reading CC texts, in-class exercises, activities and assignments. The grammatical analysis and pedagogical account provided in this chapter demonstrate that a full appreciation of the characteristics of CC texts and its grammar would help learners achieve a better understanding of CC texts and improve the effectiveness of CC pedagogy.

Lacquer has a long and ongoing tradition of use in Asia. Known as qi 漆 in China, its use can be traced back to the Neolithic period and it remains in use today. The earliest known Chinese archaeological lacquered object dates to approximately 6000 bce. Many Chinese classical texts and historical documents over the last 8000 years mention lacquer and related information. An extensive investigation of Chinese literature from different time periods was carried out to search for useful information scattered throughout Chinese texts. This article outlines some of the highlights and research challenges.

Transliteration pair extraction, the identification of transliterations of foreign loanwords in literature, is a challenging task in research fields such as historical linguistics and digital humanities. In this paper, we focus on one important type of historical literature: classical Chinese Buddhist texts. We propose an approach which can identify transliteration pairs automatically in classical Chinese texts. Our approach comprises two stages: transliteration extraction and transliteration pair identification. In order to extract more possible transliterations without introducing too many false positives, we adopt a hybrid method consisting of a suffix-array-based extraction step and a language-model based filtering process. Using the ALINE algorithm, we then compare the extracted transliteration candidates for phonetic similarity based on their pronunciations in the middle Chinese rime book Guangyun ( ). Pairs with similarity above a certain threshold are considered transliteration pairs. To evaluate our method, we constructed an evaluation set from several Buddhist texts such as the Samyuktagama and the Mahavibhasa, which were translated into Chinese in different eras. Precision and recall are used to measure and show the effectiveness of our method.

The Jesuit missionary to the Wanli Emperor, Matteo Ricci (1552–1610), is renowned as the first European Christian to command classical Chinese literature, history and philosophy, which he studied as part of an effort to understand late-Ming culture and spread Christianity in the vast empire. Yet, the overall contours of his reliance on classical Chinese texts have not been studied rigorously. This article identifies relevant examples of text reuse in Ricci’s eight surviving works (two of which show particularly high patterns of reuse), while in the process also comparing three current approaches to automatically detecting text-reuse in sinographic (classical Chinese) texts. We then explore the possible historical factors behind these patterns and subject the reuse frequencies of particular classical works, historical periods and genres to analysis using linear and nonlinear regression models. In the end, we conclude that Ricci’s oeuvre borrows heavily from works generally categorized as “Confucian” from the Warring States period, as well as poetic texts of various sorts. This reflects the existing consensus in the historiography, while adding important granular detail. This article is the result of an interdisciplinary summer research project undertaken by undergraduate students majoring in history, computer science, statistics and the natural sciences.

There exists no sentence boundary in most classical Chinese literature texts. Since it is difficult to read literature of this kind, experts in literature or linguistics would segment the sentence manually. This article explores the effectiveness of classical Chinese sentence segmentation method so as to provide a reference for classical Chinese punctuation. On the basis of the machine learning methods, we chose three components of machine learning, namely models, tagging schemes, and features, to compare the learning results. The models include conditional random field (CRF) models, long short term memory (LSTM) models, BiLSTM–CRF models, and three Bidirectional Encoder Representation from Transformers (BERT) models. There are five tagging schemes in this article and three features including the statistical feature, Guangyun, and Fanqie. Finally, the performance of the combined feature template is evaluated by ten-fold cross-validation on four classical Chinese texts in different genres. The SikuBERT model is proved to be the most effective model for sentence segmentation at present. Different tagging schemes and various features are introduced. The results show that 5-tag-J tagging schemes can improve performance. Statistical feature, as an important clue for classical Chinese sentence segmentation, is useful in related tasks, but Guangyun and Fanqie have little impact. Other important factors of sentence segmentation are genres and writing styles.

Chinese classical literature refers to ancient texts that represent China’s philosophical, historical, and cultural heritage. Chinese classical literature texts and the internet language trends were investigated with NLP that demonstrate the evolution of cultural, along with the linguistic shifts, and current communication methods. The purpose of this research is to analyze the Chinese classical literature texts and to predict the internet language trends using NLP techniques. To begin with, the ancient Chinese text data have been collected from Kaggle. In addition, text cleaning, tokenization, stop word removal, stemming, and lemmatization are applied for text preprocessing. Then, text representation and N-Grams Analysis are utilized for feature extraction. Furthermore, the present investigation employs analytical techniques that contain Chinese classical literature and trend prediction. LDA and sentiment analysis has been employed for the Chinese classical literature, and elevated LSTM is used for trend prediction. Lastly, the topic modeling outcomes, sentiment analysis of ancient Chinese texts, elevated LSTM model performance, and trends in language usage over time are utilized for analyzing the performance. This research utilizes some metrics for analyzing the performance of elevated LSTM. The results of elevated LSTM model performance are 0.92 accuracy, 0.89 precision, 0.91 recall, and 0.90 F1-score. This investigation efficiently analyzes the Chinese classical literature and predicts the internet language trends by using the NLP techniques which demonstrate important insights into historical themes and modern language trends.

La finalidad de este trabajo es analizar la presencia de la música de Ludwig van Beethoven (1770-1827) en la Asociación de Música de Cámara de Barcelona (1913-1936). Al mismo tiempo, se pretende comparar los resultados de esta investigación con los datos que ya poseemos de la sociedad gemela en Madrid: La Sociedad Filarmónica (1901-1936), para así aportar nuevos datos sobre la historia de la recepción de Beethoven en España en el primer tercio del siglo XX.

Mary Wollstonecraft’s A Vindication of the Rights of Woman (1792), is nowadays presented as a foundational text for modern feminism. Its rapid rendering into European languages such as French and German contrasts with the late translation into Spanish, which was not published until 1977. Nevertheless, the twenty-first century has witnessed a renewed interest in the figure of Wollstonecraft and her role as a precursor of the first feminist wave in Europe. Within this framework, this study examines Wollstonecraft’s public reception in Spain through contemporary (re)translations of her work. For this purpose, attention is paid to translations into Spanish and other co-official languages published during the first two decades of the twenty-first century, as well as the author’s public reception in Spanish newspapers. This research, thus, attests to the recent process of recovery of Wollstonecraft’s work in Spain and underscores her iconic role in contemporary local and international feminist discourses.

Chinese classical texts represent the essence of Chinese culture, encapsulating rich humanistic, philosophical, and scientific content. This paper takes the translation and appreciation of Chinese classical texts as its focus, aiming to delve into the significant implications for cultural heritage and cross-cultural communication in this field. With Arthur Waley's English translation of the Tao Te Ching as the subject of study, the paper initially explores the linguistic and cultural differences encountered in the translation process, as well as the contextual shifts between ancient and modern times. Subsequently, the paper places a particular emphasis on analyzing the role of translation and appreciation in cultural heritage, underscoring the importance of disseminating Chinese culture through translation. Building on this foundation, the paper further investigates the facilitating role of classical text translation in cross-cultural communication, conducting a thorough analysis of how translation can foster dialogue and understanding between different cultures. Finally, in conjunction with the translation philosophy of Roman Jakobson, the paper proposes practical methods for translating Chinese classical texts, with the overarching goal of accurately conveying the original content.

I own a work entitled Honkoku chikan keimō (Introduction into the Circle of Knowledge, [Japanese] Reprint), dated Keiō 3 (1867) and published with appropriate Japanese punctuation added by the Kaibutsusha in Edo.a My copy also bears a red seal which reads ‘Seal of the Library of the Domainal School,’ though which ‘school’ is not made clear. The work is a sort of small encyclopedia, divided into 200 entries, explaining the basics of Western learning. The entire work is only 100 pages, and each page carries the English text on top with Chinese translation on the bottom. The preface is in English and is signed ‘J. L.’ These were the initials of James Legge (1815–97), the famous British missionary who lived in Hong Kong and used the Chinese name Liyage. Legge is well known as the translator of such Chinese classical texts as Shujing (Classic of History), Shijing (Classic of Poetry), Chunqiu Zuoshi zhuan (The Spring and Autumn Annals with the Commentary of Mr. Zuo [Qiuming]), and Liji (Book of Rites). Legge began his work in Hong Kong, but was later recalled to his native Scotland. He was much helped in his translation work by Wang Tao. Legge translated into Chinese the text in my Japanese edition of Zhihuan qimeng, by a Mr. Baker, under the Chinese title Zhihuan qimeng shuke chubu (Elementary School Lessons of the Circle of Knowledge), which carried the English title of Graduated Reading: Comprising a Circle of Knowledge in 200 Lessons, Gradation 1.b

The research is devoted to an analysis of the translation and commentary to the Chinese classical text — “Troеslovie” (“San tse jing”), made by N.J. Bichurin and published in 1829. The text dates from the 13th century, the authorship is attributed to Wang Ilin. “San tse jing” was one of the first books to be addressed by Christian missionaries arriving in China. The book attracted them to the saturation of cultural, religious, historical and literary information and external simple language of presentation. Bichurin’s translation became a transplant of the Chinese text of the 13th century into a new socio-cultural discourse and was provided with a deployed, occupying two-thirds of the volume of the book, commentary. The study shows that thanks to the comment of N.J. Bichurin, a large Chinese text created in a written language other than the spoken language becomes available to the Russian reader. N.J. Bichurin, in his desire to convey the meaning of the Chinese original as accurately as possible and transfer all explanations to the commentary, anticipated the approach of Russian sinologists to the translation of Chinese classical texts.

In a previous paper the authors considered a statistical method for analyzing Chinese classic text by computer and applied them to a commentary of Huang-ti Yin-fu-ching. This method is to make a permutated matrix by a two-way clustering which shows the mutual relationship between important words and commentary units, which are assumed to be units of meaning in the commentary. In spite of its usefulness, this method has following problems to be overcome. (1) It is difficult to compare different permutated matrices from different commentaries. (2) The previous method depends upon commentary units which is a particular form of commentary. Therefore its application is severely restricted.In the present paper new methods are considered and discussed to solve these two problems. For problem (1), we try cluster analysis of commentaries by different authors based on unified re-phrasing of the original canon and the commentary to enable comparison of different permutated matrices. For problem (2), instead of a commentary unit, we consider a sentence and neighborhood of a keyword as a unit of meaning. These methods can be applied Chinese classic texts of any format. In particular the latter method need not any manual phrasing.

This article aims to discuss the interrelations between human and animals from the perspective of comparative reading of biblical narratives and Chinese classic texts. By reviewing animal symbolism in these two traditions, this article argues that the Chinese symbolic animals are closer to nature, and the biblical symbolic animals are depicted with political and theological reflection. The article reads the garden of Eden narrative with a cross-textual approach, the understanding of she in traditional Chinese culture shed light on the serpent, an alternative interpretation of the serpent's theological importance is unveiled.

By the same editors from Translated Poe (2014) and part of the Perspectives on Poe series from with Lehigh University Press, this book offers itself as a groundbreaking, innovative work, shedding light on an aspect of Poe studies which, otherwise, has received little attention. Emron Esplin, a scholar particularly interested in Poe's reception by Argentinian writers and critics such as Jorge Luis Borges and Julio Cortázar, and Margarida Vale de Gato, a reputable translator of Poe's works into Portuguese and a specialist in translation studies, contend in their essay-length introduction to the volume that “anthologies and the concepts of anthologizing, organizing, collecting, and/or editing an author's work receive relatively little coverage in the literary market or in the scholarly tradition” (2). In relation to Edgar Allan Poe, this certainly seems to be the case. Although one of the most anthologized authors, not only in the United States but also in many countries in the world, Poe lacks studies regarding his place in the canon of anthologizers, which he himself tried to be, as well as studies addressing up to what extent anthologies have fostered the reading of Poe's tales in different literary systems.Contributors to the collection of essays come from an interesting and diverse range of countries, such as the United States, Russia, England, Portugal, Spain, and Japan, and offer readers interested in Poe's works as well as in anthology and translation studies a rich opportunity to learn about Poe's relation to the topic. Organized into four parts and covering seventeen chapters, the volume opens in Part 1 with three essays dedicated to Poe's role as anthologizer and his place in what Esplin and Vale de Gato call “(proto) anthologies of the 1840s” (v).In Chapter 1, Jana L. Argersinger addresses Poe's interest and role in placing himself as an anthologizer, having published The Literati of New York City, “his 1846 anthology of forty-one such profiles serialized in Godey's Lady's Book” (21). Argersinger contends for what she calls a relational aesthetics pursued by Poe as he portrayed different contemporary writers and evaluated their works, thus coming up with an intense and rather complex intertextual and interpersonal network, sometimes projecting himself in the life and works of contemporaries such as Margaret Fuller. Argersinger claims Poe's anthology may be read as an attempt toward searching for belonging to a canon and, at the same time, trying to build it up. The Poe scholar also remembers the notorious literary battle between Poe and Rufus Griswold, who also organized, published, and republished anthologies and helped forge and perpetuate a dark image of his rival which would last for a long time.In Chapter 2, Harry Lee Poe gives readers an in-depth and detailed account of Poe's literary project and how he planned his publications to form a whole, abiding by his famous “unity of effect” formula. His distant cousin claims that instead of writing and publishing stories and poems around genres and topics, Edgar Allan Poe wanted his works to form “a collective whole” (40), and he carefully planned every step toward reaching such an objective. Harry Lee Poe argues this was no easy task, however, as “Poe had no control over the order of publication of his earliest stories, and he did not necessarily have a plan for the order in which he wrote different kinds of tales” (41). This scenario, according to Harry Lee Poe, started changing as more stories would come out in periodicals and newspapers, especially after Poe managed to publish his first collections of stories and thus gain more control over his works. Overall, Harry Lee Poe offers readers details of negotiations between Poe and his editors and publishers throughout his career, detailing how Poe managed to fulfill his literary project only partially. After Tales of the Grotesque and Arabesque (1840) came out, followed by Tales (1845)—which Harry Lee Poe considers “a supplement of sorts to the earlier collection” (55)—and perhaps given the circumstances of the author's hectic life, no other collection was published, not even Poe's long dreamed of complete works. However, the chapter closes with an interesting idea: Poe was an anthologist and ended up publishing a series of stories in the Broadway Journal, having to constantly deal with choosing what to select or not, which arrangements to make, a careful plan which, according to Harry Lee Poe, relates to the arguments present in Poe's “Philosophy of Composition.”Part 1 of the volume closes with a chapter by Russian Poe scholar Alexandra Urakova, who addresses the connections between the tradition of gift books in the nineteenth-century United States and how poems and prose works would be selected to appear in those books. As Urakova puts it, gift books were not anthologies, but rather “collections of poetry and prose bound together as holiday gifts, usually sold during the Christmas season” (59). Poe's poem “Eleonora” is, according to Urakova, an example of a poem published in the 1842's The Gift: A Christmas and New Year Present. The chapter opens with theoretical considerations aiming at telling gift books and anthologies apart, the former considered random compilations of publications without a unique line of arguments or themes, while the latter imply a careful and planned selection based on a certain purpose. For Urakova, the fact that Poe engaged with a popular tradition and at the same time published a poem many scholars have long considered to be of minor interest to the canon of Poe's works should be reconsidered. On the one hand, Urakova claims “Eleonora” shares aspects with other works by the author, such as “Berenice” and “Island of the Fay,” as far as theme, the topos of the death of a beautiful woman and a romantic take on plot. On the other hand, “Eleonora” seems to bear a dialogue with works by women writers and with the flower tradition portrayed in the gift book: as Urakova argues, the same ornaments present in the poem appear in the flower illustrations inside the publication. The critic closes the chapter claiming for “Eleonora” and Poe to be reconsidered in the gift book tradition (69), since it was not the only time Poe published in gift books: as Urakova br iefly mentions, “Purloined Letter” and “William Wilson” also appeared in The Gift.Part 2 brings five chapters addressing Poe's works appearing in editions in collective or individual anthologies in the United States and England. Jeffrey Savoye, in Chapter 4, discusses Poe's early editions, those by Griswold, Ingram, Stedman, and Woodberry, as well as the one by Harrison. As Savoye puts it, “These editions represent the formative period of scholarly attempts at publishing a comprehensive collection of Poe's writings” (76). Besides bringing readers the history of those editions, of how they came about and of the choices made by their editors, with their strengths and weaknesses, Savoye argues for their historical relevance in helping future generations have contact with Poe's complete works, a project the author had in mind but could not fulfill in his lifetime.In Chapter 5, Travis Montgomery focuses on the landmark editions of Poe's works in the twentieth century, whose editors followed Harrison's groundbreaking work as a compiler of Poe's writings. Montgomery refers to “Killis Campbell, John W. Ostrom, Floyd Stovall, Thomas Olive Mabbott, Burton R. Pollin, Patrick F. Quinn, and G. R. Thompson” (99); for the critic, “their editions contained generally reliable texts of Poe's writings, texts based on careful study of available sources” (99). Although differing from popular anthologies, according to Montgomery, those editions “bear similarities to compilations of that order” (99). In this chapter, the critic takes a similar path to Savoye's by comparing the different editions, underscoring their uniqueness, and exploring their history of publication.Taking a different space framework into consideration, in Chapter 6 the English Poe scholar Bonnie Shannon McMullen discusses Poe's appearance in anthologies and editions in Britain from 1852 to 1914. The critic shows how Poe's reception and consequent publication history in Britain shifted from initial admiration (given his similarities in terms to themes and topoi with English Romantics) to what McMullen considers “near contempt” as the reading public changed and, finally, to an acceptance as a versatile writer, capable of dealing with various genres and, therefore, being considered “a serious writer” (118).Chapter 7, by J. Gerald Kennedy, focuses exclusively on one anthology, or rather, a reader, published by Penguin, titled The Penguin Portable. Kennedy shares a personal account in the chapter, since he was invited in 2003 to revise the first edition of this collection, from 1947, by Philip Van Doren Stern. Kennedy approaches the history of how he was invited, of how this work relates to his personal background and publication history, as well as of how he decided to reorganize the original edition, in accordance with the publishing house editorial decisions, adding tales, poems, letters, and criticism that the 1947 version had not included. Kennedy thus addresses his personal and Penguin's editorial choices, related to the market and readership interests, and relates how the need he felt to “bring Poe back” to the United States and associate his writings with antebellum America helped frame what to include in the collection.Scott Peeples charts similar ground as Savoye and Montgomery, although the corpus differs, as he compares forty different college anthologies ranging from 1925 to 2017. As he puts it, “I discuss the historical shifts as well as the historical constants in the way Poe has been represented in college textbooks” (151). Peeples surveys those textbooks, searching for repetitions and omissions of Poe's tales and poems. Perhaps of more interest to readers, however, is the fact that the critic pinpoints how Poe is referred to by the editors in footnotes and opening essays to those textbooks: sometimes as a great writer, sometimes as a useless rascal marked by death and drunkenness, which reveals how Poe has been received by the editorial market, critics, and readers alike throughout times.Part 3 opens to a different approach in the volume: the analysis of anthologies organized by genre rather than by author or theme, as well as of audiobooks. In Chapter 9, Stephen Rachman opens with a quick, yet interesting, discussion of what anthologies are about and what they cater toward. In his own words, “What we might call the anthology-function operates by uniting the diverse works of different authors into a generic whole—pointing toward the common features of the genre, movement, or topic covered in the particular anthology, not the individual author” (167). He then moves toward discussing Poe's role as a precursor of science fiction and his presence in anthologies dedicated to the genre due to his many stories portraying scientific or pseudo-scientific events.In Chapter 10, John Gruesser takes a similar path as Rachman regarding Poe and genre, this time in relation to detective fiction. Addressing the five stories critics tend to relate to the genre—“The Murders in the Rue Morgue,” “The Mystery of Marie Rogêt,” “The Purloined Letter,” “The Gold Bug,” and “Thou Art the Man”—plus “The Man of the Crowd,” a tale perhaps less associated with the genre, Gruesser discusses the rise of detective fiction as well as Poe's place in the canon as a forebear in the United States.Chapter 11 brings in Michelle Kay Hansen following a very interesting, although different, path from the other critics in this collection. Rather than discussing literary texts in print, Hansen focuses on audiobooks, opening up for multimodality. She addresses a specific anthology of Gothic and horror literature—that is, an anthology geared toward a specific genre, but in audiobook format—Doug Bradley's Spinechillers: Classic Horror Audio Books. As Hansen claims, “Each of the thirteen volumes of this anthology features Edgar Allan Poe at least once. Most of the time, however, Poe appears twice in each volume, with one short story and one poem (which always concludes the volume)” (208). Hansen showcases this anthology, “its use of nostalgia,” and “its reliance on popular culture ‘horror icons’” (208). The chapter offers an intriguing analysis of a fairly recent popular culture genre in relation to Poe's relevance and contribution to it.Chapter 12 presents an essay by Philip Edward Phillips, former Poe Studies Association president, addressing the presence of Poe's poetry in anthologies. He initially mentions Poe's intense career as a poet and his presence in anthologies that readers encounter from an early age. Phillips focuses on a historical overview of poetry anthologies in the United States, from the earliest collections published toward the very end of the eighteenth century, before thoroughly discussing Griswold's anthologies as well as those of his and Poe's contemporaries, and not forgetting the many collections published in the second half of the nineteenth century. The later part of the chapter refers to anthologies from the twentieth century as well as editions by Oxford from the twenty-first. The overview provided by Phillips is enriched by two illustrations from frontispieces of Griswold's The Poets and Poetry of America (1842), given its relation to Poe, as well as the one from Stedman's An American Anthology, published in 1900 and portraying Edgar Allan Poe and Walt Whitman together with six other poets.Part 4 of the book focuses on Poe and his presence in anthologies abroad (beyond the Anglophone path addressed in Part 2). In Chapter 13, Margarida Vale de Gato addresses the French reception of Poe's poems and tales, as well as his French translators, illustrators, and editors, among them Charles Baudelaire, considered “the maker of Poe in French prose” in Vale de Gato's own words (250). She also shows how a specific aspect of Poe's works became prevalent in France—the fantastic—given the editorial choices of those involved in translating, illustrating, and anthologizing Poe in the country.Christopher Rollason, in Chapter 14, tackles France and the United Kingdom (the latter also addressed by Bonnie McMullen, as mentioned above). Rollason argues that Poe's works may be placed on “the fault line between high culture and popular culture” (277). Following this direction, the critic discusses series of popular culture anthologies such as Everyman's Library, in which Poe appeared for the first time in 1908, as well as the Collins Classics anthology of Poe's works, published in 1952. He also addresses the Penguin collection, which may be considered both a popular and academic edition, catering to both publics. As for academic editions, Rollason analyzes the French Folio anthology, largely read by French scholars and encompassing multiple authors and works in its extensive collection.Chapter 15 tackles Poe editions published in Spain. In a richly illustrated essay, Fernando González-Moreno and Margarita Rigal-Aragón show Poe's reception in Spain during the Civil War, the Francoist regime, and its aftermath. His works are discussed from this historical and political perspective, showing how they may be read against what was going on in Spain at that time.Chapter 16 also brings in the Spanish-speaking world, but this time readers encounter the Argentinian context. Emron Esplin discusses Poe's reception in Argentina by some of its most prominent writers and translators, namely Carlos Olivera, Armando Bazán, Jorge Luis Borges, and Julio Cortázar. Esplin shows how, since the first anthology, by Olivera, published in 1884, Poe was read from the point of view of his tales of terror, ratiocination, the fantastic, and the supernatural. Such aspects of Poe's work were what interested those translators, publishers, and critics, according to Esplin, thus framing Poe's reception in Argentina.Closing the volume, in Chapter 17, reputable Poe Japanese scholar Takayuki Tatsumi offers a reading that many will perhaps be less familiar with: how Poe was read in Japan, from the nineteenth century on, in a historical period called the Meiji Revolution (1853–77), which “served as an incubator for the reception of Western literature and culture” (353). As Tatsumi recalls, referring to a previous study published in Translated Poe by the same editors of this collection, the first translations of Poe's stories into Japanese were done by Shiken Morita, who lived during this Meiji Revolution period. Poe would undergo many different periods of intense publication in Japan, from the early twentieth century on, including a strong presence in juvenile anthologies and in recent publications from the twenty-first century. The chapter summarizes those anthologies, offering readers the opportunity to get acquainted with them.Anthologizing Poe: Editions, Translations and (Trans)National Canons thus provides readers with what the title points at: a rich panorama of Poe's presence, in different spaces and times, as well as a diverse picture of how his works were received, read, and reinterpreted by different publishers, editors, translators, and illustrators. The rich introduction opening the collection offers an in-depth analysis of anthology studies, the different theories regarding how anthologies are conceived, and the possible paths toward further studies. In all, the book caters toward anyone interested in Poe's works as well as anthology and translation studies. Poe scholars and undergraduate and graduate students working on Poe's works would certainly benefit from the book as well. Perhaps an anthology in itself, the volume does what its editors mention from the start: it involves choices, inclusions, and deletions. Emron Esplin and Margarida Vale de Gato close the introduction with a disclaimer: that decisions were made and that there is much more room for critics to pursue further studies on the topic. This is certainly true, as many more countries and contexts could have been included. Perhaps a second volume would solve this problem.