Literary Center Research Articles

Affect in Literary Translations: What is at Stake for the Author and the Translator

This article explores the relationships between authors, translators, and readers within the context of literature and translation. Emphasising the reciprocal influence between texts, it delves into the desire of writers to control the interpretation of their works during translation. The examination extends to the hierarchy within literature and translation, questioning whether a translated text can be considered an autonomous entity and if translators can be acknowledged as authors considering the transformative nature of translation and the subjective, creative processes involved. The article also sheds light on the emotional and affective aspects involved in the translation process, highlighting the recurring theme of trust and the fear of translatorial non-compliance. Through examples, it demonstrates how authors can actively engage in the translation process to safeguard their narrative nuances. Case studies, including instances involving Umberto Eco, Guillermo Cabrera Infante, Carlos Fuentes, and Günter Grass, illustrate various levels of authorial control and collaboration. The discussion expands to the global literary landscape, emphasising the dominance of certain languages and the dynamics between the literary centre and periphery. Ultimately, it raises fundamental questions about authorship, control, and the transformative power of translation in shaping the “world republic of letters”. The article investigates the multifaceted dynamics between authors and translators, examining collaboration along a continuum from carte blanche to conflictual relationships. The extent of an author’s involvement in the translation process is explored, questioning the reasons behind some authors’ keen interest in ensuring accurate translations. The power imbalances within collaborations are scrutinised, raising questions about the translator’s agency. The article concludes with reflections on the challenges and potential pitfalls of authors participating in the translation of their own works, emphasising the inherent plurality of interpretations in the act of translation.

RUSSIAN ÉMIGRÉ LITERATURE AND THE “RUSSIAN HELP ACTION” OF THE CZECHOSLOVAK GOVERNMENT

The article is devoted to the features of the phenomenon that was formed in the early 1920s in Prague, the Russian émigré literary centre. It is emphasised that thanks to the government support provided within the framework of “The Russian Help Action” dozens of émigré institutions and organisations were founded, which considered their main task to satisfy the cultural, including literary, needs of the exiles. The exile work of writers, critics, historians and publicists was directly connected with Prague, as their heritage had made the important contribution not only to Russian but also to the world culture. Many writers settled there and the significant part of them remained in Czechoslovakia until the end of their lives. Among them were Arkady Averchenko, Alfred Bem, Valentin Bulgakov, Boris Yevreinov, Daniil Ratgauz, Pyotr Kozhevnikov, Vasily Nemirovich-Danchenko, Marina Tsvetaeva, Evgeny Chirikov, Konstantin Chkheidze, Roman Jacobson. Tomáš Garrigue Masaryk, being an expert on Fyodor Dostoevsky’s creative activity, had no doubt that Soviet power would become a thing of the past, therefore in his opinion it was necessary to preserve Russian intelligentsia in exile, which he considered the main bearer and propagator of democratic ideas.

Literary journalism in Pakistan: A History of Magazines

Prior to the establishment of Pakistan, the centers of literary journals were Bambi, Lucknow, Hyderabad, Delhi, Lahore, and Bhopal. After independence, only one literary center came to Lahore in the part of Pakistan. Although Rawalpindi, Karachi, Multan, Peshawar had the status of big cities, and various magazines were also published from these cities, it is not possible to count any of them as epoch makers. Only magazines published from Lahore were nurturing the mentality of the people of Pakistan. However, after the creation of Pakistan, after being cut off from the literary center, there was a vacuum in the literary atmosphere of Pakistan. But the process of filling this gap stated and many magazines which were published from Lahore before independence were re-published.it can be concluded from the above discussion that the role of magazines published before independence is more in the continuity of literary journalism in Pakistan. Which promotes literary journalism in Pakistan. This article covers the history of literary journalism and magazines in Pakistan.

문예회관의 기술 융합 예술교육 사례 연구

The purpose of this study is to examine the justification and expandability by analyzing and synthesizing cases of technology convergence art education in local cultural centers and to suggest the direction of art education converging with cultural technology. Trends and technological advances change the meaning and value of art education content. Culture and arts education has fused with advanced technologies such as artificial intelligence and virtual reality, and has developed technology-worn culture and arts education projects in connection with the cultural identity of each region, continuing to perform and reproduce at literary centers nationwide. Technology convergence arts education can be expected to foster practicality, diversity, value creation of interaction, digital literacy and visual literacy, and the Cultural Center should plan programs suitable for each generation of the life cycle, including the cultural underprivileged, provide them to local residents, and seek feedback.

World Literature: An Indian Way of Thinking

The idea of the world is a dynamic phenomenon, and the development of world literature is tied to both literary and extra-literary events. Worldwide literary centers can be found in many locations spanning both time and space. The concept of the world, or Visva (Sanskrit), is considerably older even if world literature has been a discursive framework that has affected the literary structures of many languages around the world since the 19th century. “Vasudhaiba Kutumbakam,” or the universal neighborhood, is a term from ancient Indian literature that attests to the age of the concept of Vasudha, or the world. As a result of numerous trade routes, cultural interactions, the expansion of ancient and medieval kingdoms, and the transit of literary writings, cosmopolitan literary spaces were created in various parts of t8he world. Additionally, the absence of modern cartography and the sovereign state system enabled constant changes in the borders of the empires, resulting in spaces with many languages. India has connections to several Asian nations dating back to ancient times, as well as to Europe since the medieval period. The diverse traditions of human thought from various parts of the world are carried in Indian literature. Significant literary contacts and the ongoing formation of new literary legacies were witnessed in the East, Middle East, South East, and South Asia of the present. The Sufi and Bhakti traditions, the reception of Indian epics as oral, written, and performative texts in South-East Asia, and the role of the royal courts as multilingual literary spaces continue to broaden the intellectual traditions of Bharat (India). Thus, the pre-modern development of world literature seemed intriguing and a subject worth exploring for literary professionals. This essay contends that ancient and medieval India and Bengal, particularly their languages, continually bargained to expand their intellectual frontiers.

Urdu Ghazal’s Initial and practiced forms in Baluchistan

In Baluchistan, the inception of Urdu poetry was delayed compared to other major literary centers of Urdu. There are several important reasons for this, which, along with the unfamiliarity of this remote region with Urdu as a language, the unavailability of chronological links from a research point of view bears specific importance. According to the known facts, the first voice of Urdu poetry was Mulla Muhammad Hassan Brahui; even after him, this region's poetic journey seems to have been divided into large time gaps. This paper presents an analytical study of Urdu Ghazal, which was created in Baluchistan until the establishment of Pakistan. These initial relics of Urdu Ghazal in Baluchistan are not more than practiced forms, so they mostly fail to present a high specimen of creativity. However, under the influence of this poetic capital, this tradition of Urdu Ghazal got strengthened here in Baluchistan, and afterward, through this route, high and unique features of Urdu Ghazal appeared here, which can be proudly compared to the overall Urdu Ghazal.

За някои неизвестни преписи на проложните жития от търновския цикъл в румънски ръкописи

The purpose of this article is to trace the spread of the Prologue texts from the Turnovo cycle in six Romanian manuscripts from 15th–17th centuries containing Prologue in Verse. Four of them are from the collection of Dragomirna Monastery and two are kept in the library of the Romanian Academy of Sciences. Brief archeographical data on these manuscripts are given. Finally, the texts of the Prologue lives of St Petka Tarnovska, St Ivan Rilski, St Hilarion Maglenski and St Michael the Warrior are published. The comparison of the text of Prologue lives in the studied Romanian manuscripts with the text of the Turnovo manuscripts shows that they are very close to each other. The spread of Prologue texts from the Turnovo cycle in the Romanian literary tradition after the end of the 14th century is an important proof of the close spiritual and literary relations between the Bulgarian literary centers and the Romanian principalities.

«Пушторг» как ключевое произведение русского конструктивизма

The article is an attempt to study the poetics and ideology of the literary grouping of the 1920s LCC (Literary Center of Constructivists) based on the work of its leader Ilya Selvinsky, in particular, his novel in verse «Pushtorg».
 LCC was organized in 1923, becoming in the second half of the 1920s one of the most famous and influential literary groups in the USSR. In 1930, he shared the fate of other groups and trends that announced their self-dissolution under pressure from the Central Committee of the party.
 The novel in verse «Pushtorg» was written by I. Selvinsky in 1927, in 1928 it was published with abbreviations in the magazine «Krasnaya Nov», the full text was published in a separate edition in 1929 (reprinted in 1931).
 The novel had a great resonance, as evidenced by dozens of reviews and mentions in the press of 1928-1930.
 In «Pushtorg» Selvinsky raised burning issues of modernity, the main of which was the problem of the intelligentsia and revolution – one of the key problems in the poetry of constructivism. Selvinsky's solution to this problem could not satisfy party criticism – as a result, the overwhelming majority of responses to the novel were sharply negative.
 In the first part of this article, the features of the poetics of constructivism are investigated on the basis of the theoretical works of K. Zelinsky and I. Selvinsky, their embodiment in the novel "Pushtorg" is traced.
 The second part examines the historical context in which "Pushtorg" and other works of Selvinsky were created, links are established between verses from Selvinsky's first book "Records" (1926) and "Pushtorg" – and the phenomena of social and literary life of the 1910s-20s.
 Attention is also paid to the interpretations of «Pushtorg» by soviet and modern researchers.

Literary center to promote the study of contemporary Colombian literature

This study aimed to propose a literary center of interest as a playful method to strengthen the meaningful learning of contemporary Colombian literature in eighth-grade A students of the Institución Educativa Agropecuaria Rosa Jaimes Barrera. Methodologically, the study was located in the post-positivist paradigm, from a qualitative approach, framed in participatory action research, considering the following phases: deconstruction, reconstruction, and evaluation of practice. 38 students of grade 8-A constituted the unit of analysis. The survey and observation (techniques) and the questionnaire, logbook, and rubric (instruments) were used for data collection. The results show that the playful activities allowed the students to realize the relevance of literary learning to strengthen linguistic expression. It is concluded that the literary works and the design of collaborative and participatory play activities strengthened the students’ meaningful learning.

Poe in Cyberspace: The Pleasure Principle Revisited

Poe in Cyberspace: The Pleasure Principle Revisited

Yangzhou Revisited: Spatial Imaginaries and Women's Literature during the Qing

Yangzhou was known for its “women” but not for women's literature. Underlying literary imaginations about the beautiful women of Yangzhou were salt wealth and a commerce of women serving the wealthy during the late imperial period. The notoriety of this commerce seemed to exclude the possibility that Yangzhou might also boast accomplished women writers, like the cultural heartland of the Jiangnan region. This study revisits these assumptions in light of the literary sources and prominent cases that testify to the vibrancy of women's literary activities in Yangzhou. The city was a transregional literary center and a favored destination of sojourning poets and merchants, particularly those from Huizhou, creating opportunities for women to attain literary fame. Central to this discussion is a poetic language about sites and spaces that became current in Yangzhou during the Qing era. For a woman poet to place herself at the sites of Yangzhou that were repeatedly celebrated by poets was to claim membership in the elite networks or trends of cultural emulation formed on the basis of the sites. Viewed in transregional contexts, sites and spaces comprised the spatial imaginaries in women's literature—defined broadly as the spatial ordering of the world, and Yangzhou's place in it, as imagined and written about by women.

Market structure and creative cluster formation: the origins of urban clusters in German literature, 1700–1932

Abstract Using yearly data on 153 prominent German authors (1700–1932), we show how changes in the political and economic environment facilitated the formation of literary clusters. Early authors follow general population patterns, leading to geographic dispersion in a patronage system characterized by spatial competition. At the end of the nineteenth century, authors concentrate in large economic and political capitals. These changes in location patterns mirror trends in political and territorial consolidation and the professionalization of authorship. The last cohort shows large-scale migration into literary centers around the age of 20 years. Therefore, these literary clusters are not due to changing birth locations.

Spoon River America: Edgar Lee Masters and the Myth of the American Small Town by Jason Stacy

Reviewed by: Spoon River America: Edgar Lee Masters and the Myth of the American Small Town by Jason Stacy Gregory Brown Jason Stacy, Spoon River America: Edgar Lee Masters and the Myth of the American Small Town. Urbana: University of Illinois Press, 2021. 234 pp. $27.95 (paper). In Spoon River America: Edgar Lee Masters and the Myth of the American Small Town, Jason Stacy states that he has "treated Spoon River Anthology like a historical subject" but cautions the reader that the work's "significance lies not only in its history but also in its enduring life as a book that people read" (173). Stacy's analysis of the text is sensitive to the literary aspects of Masters's work, and it is thus useful and engaging to literary critics and historians alike. Stacy begins by tracing two distinct origin myths of the American small town: the New England version and the midwestern one. The myth of the New England small town has roots that reach back before the American Revolution and defines itself as moral, industrious, and cooperative. The midwestern small town, on the other hand, is steeped in the frontier mythos popularized by Frederick Jackson Turner and emphasizes rugged individualism. These rival mythologies "both featured an established small municipality," but "the New England village served as a founding enterprise [of the nation] and thereby preserved original values" while the "Midwestern town was the result of a mythical frontier experience" (33). Both contrasted with urban centers such as New York City, which were portrayed as "dens of hypocrisy and vice" (11). Masters's family history intersected with both myths due to Illinois's patterns of settlement. On both sides of his family tree, Masters's ancestors moved into Illinois to distance themselves from slavery; however, Masters's branch of the family shifted their political sympathies to the South after the Civil War due to increases in federal power and taxation. Stacy notes that Hardin Masters, Edgar Lee's father, "sought to enlist on the side of the North" at the age of sixteen, but by the end of the conflict he [End Page 206] supported the South, and Edgar Lee was named after the famous southern general (38). Hardin Masters was haunted by his reputation as a southern sympathizer; rumors that he had been a Copperhead cost him prestige and business. This opprobrium, Stacy demonstrates, is the seed of the character of the exile, a major trope of Spoon River. In the central chapters of Spoon River America, Stacy synthesizes the familial and cultural currents that surround the creation of Edgar Lee Master's Anthology. As Masters was turning his attention away from practicing law and fully toward a literary career, he moved to Chicago, which had become an important cultural and literary center. There, Masters became acquainted with the "'Little Room,' an informal club of artists, social reformers, and philanthropists" (61). Among the members of the Little Room was Harriet Monroe, the future editor of Poetry; nevertheless, Masters was uncomfortable among this society and faulted them for what he perceived as "haughty exclusiveness" (61). Instead, cultivating an outsider status he would uphold for the rest of his life, Masters preferred the society of the more libertine "Press Club." Through close readings of several poems, Stacy identifies character types such as the moralistic fraud, the libertine, and the exile. The character of the exile fits well with Masters's conception of himself as both a Midwesterner and a populist in post-Civil War America. This character type was also key to the popular success of Spoon River Anthology. The necessity for the exile type was clear to Masters's contemporaries: Stacy quotes a review of Masters's subsequent book, Songs and Satires (1916), wherein T. S. Eliot notes that Masters requires a "personage … detached from himself in order to give his particular meditative irony its opportunity" (113). The detached, meditative tone of Spoon River Anthology, together with its popular if imitable style, allowed readers to take from the work what they wanted. Through the concluding chapters, Stacy demonstrates how the myths that led to Spoon River Anthology continued through the twentieth century. Disneyland commercialized the small town, and...

Past Flight, and: Gone

Past Flight, and: Gone Holly Day (bio) Past Flight Sometimes, poemsare as elusiveas orgasms. However,when it comesto losing my placein a poem I can only blame myself. [End Page 178] Gone There's this guy who walks past me every morning when I take the dog out.He's super friendly and says hi to everyone, even when he's on the other side of the street.Today, I passed him and I said hi but he looked down on the ground,his face covered in a mask, hands shoved deep in his pockets,body tucked into itself to take up as little space as possible.He didn't say anything.This is what this disease has done to us.This is what this disease has done to him. My dog sees other dogs in the neighborhood that she usuallygets to sniff and say hi to but we can't do that anymore, she tugs at her leashand I yank her back towards the house, we can't stop.There's this lady that owns this dog that usually just runs around the neighbor- hoodand her dog runs up to us and I have to pull my dog away quickly, say"We can't play today, I'm sorry," and the lady who owns the doglooks so sad, as if I rejected her dog out of some kind of spite, like I rejected her.This is what this disease has done to our neighborhood.This is what this disease has done to my dog. Inside, my daughter fights with the inadequate wireless connection for her schoolwork,the same connection I've used for years without complaint, but suddenlynothing is good enough, our house isn't big enough,it grows smaller by the day. Every door in our house is shut. We all have a room,a place to get away from each other to hide.There's mention of escape in every conversation,something that'll have to take place in some unspecified future.This is the thing that's killing me.This is the thing we're all learning to live with. [End Page 179] Holly Day holly Day's writing has recently appeared in Analog SF, The Hong Kong Review, and Appalachian Journal. She currently teaches at the Loft Literary Center in Minnesota and the Richard Hugo House in Washington. Copyright © 2023 University of North Dakota

김정일의 『영화예술론』과 북한영화

The history of North Korean cinema is divided into before and after Kim Jong-il led the film territory. Kim Jong-il was in charge of propaganda and agitation in the mid-1960s. In addition, he led the qualitative change in the literary territory with a focus on the film territory. In the process, he took the lead in the liquidation of person in the North Korean film industry and took the lead in creating so-called revolutionary films such as “Sea of Blood” with detailed guidance in all areas of production, from writing a scenario to directing, filming, acting, and making stage.Kim Jong-il’s achievements in the film territory are concentrated in his “On the Art of the Cinema”. This book is a problematic work that encompasses the development and limitations of film art during the Kim Jong-il era. This article focuses on the theory of film art and examines its system, form, and content. Also in this article, I reveal that starting with the theory of film art, the literary center of the Kim Jong-il era began to expand into fields other than film. It relates to achievements in the fields of play, literature, art, architecture, music, etc., completed from the late 1980s to the early 1990s.

Dwór i zbiory Michała Pawlikowskiego w Medyce

The manor and collections of Michał Pawlikowski in Medyka In 1809 Józef Benedykt Pawlikowski bought a landed estate in Medyka near Przemyśl from Wincenty Głogowski. Since then until 1939 Medyka remained in the hands of successive members of the Pawlikowski family, who made it their family hearth and main administrative centre of their large estate. Under the Pawlikowskis Medyka was not only a prosperous estate but also an important culture centre. The Medyka manor played an exceptional role between the wars, when it was a renowned literary centre and a painter’s atelier. Michał Pawlikowski (1887–1970), the last owner of Medyka, built a new manor between 1920 and 1927, where he ran a private publishing house called “Biblioteka Medycka” (The Medyka Library). The atmosphere of the place attracted representatives of the cultural elite of the period, famous politicians, outstanding scholars, army officers and clergy. The invaluable archival material and works of art accumulated in the manor reflected his archivist and collector’s passions. This paper presents Michał Pawlikowski as the last owner of the Medyka manor and also as an art collector and patron of the arts. The text discusses the development of the manor in Medyka with special attention paid to architectural achievements of particular members of the Pawlikowski family. The paper also describes at length the residence erected by Michał after the First World War, its architecture and the invaluable collections accumulated inside it, including the legacy of artist Artur Grottger and manuscripts of eminent Polish poets.

Multilingual Life Writing by French and Francophone Women: Translingual Selves by Natalie Edwards

Reviewed by: Multilingual Life Writing by French and Francophone Women: Translingual Selves by Natalie Edwards Araceli Hernández-Laroche Edwards, Natalie. Multilingual Life Writing by French and Francophone Women: Translingual Selves. Routledge, 2021. ISBN 978-0-367-15032-7. Pp. 184. Much has been written about the relationship between power and language. Cardinal Richelieu understood the power of standardizing the French language and literature. His legacy lives through l’Académie française, established in 1635. However, what or who are we excluding when our assumptions about French literature are grounded on unexamined monolingual perspectives? One of the ambitious aims of Natalie Edwards’s pioneering work is “challenging the monolingual paradigm of French literature” (15). Edwards successfully shifts our monolingual focus by exploring contemporary female writers who demonstrate the vibrancy of polyglot eruptions, relationships, hybridity, borrowings, and co-creations through the more intimate genre of life writing in French. Influenced by recent theorizations on multilingual learners by scholars from bilingual education, linguistics, and other disciplines, such as Ofelia García on translanguaging, Edwards challenges us to probe our archive of French literary understandings in more asset-based directions: “[O]ne of the main proponents of translanguaging underscores the ability of bilinguals to transform the two languages they inhabit, suggesting that the term ‘conceives of language relationships in more dynamic terms’” (16–17). Edwards urges us to engage with French literary productions from a more linguistically inclusive perspective as she explores the translanguaging of six contemporary multilingual authors who highlight power dynamics, gender, war legacies, colonial history and postcolonial environmental conditions, indigenous struggles, the porousness of national borders, and the voluntary and forced migrations of so many lived experiences, complicating hybrid identities. The title of Lydie Salvayre’s historical fiction, Pas pleurer, is in itself an example of the way in which Spanish syntax (No llorar) exerts an influence on the spoken French of a character with Alzheimer’s disease, especially when recounting the trauma of the Spanish Civil War after decades of living in France. Translanguaging in Salvayre’s text “restores the stories of the forgotten, the overlooked, the illiterate and the linguistically ‘weak’ to the public domain” (48), Edwards convincingly argues. Kim Thúy’s work, described as a récit de soi based on Vietnamese immigration in an already multilingual Québec, adds French to the more common Anglophone representations of Vietnamese refugees in literary and cultural works. Texts such as Mãn suggest that “the French language can be viewed differently, as a product of other linguistic encounters over time, and that it will continue to be adapted by individuals for their own communicative purposes” (69). Similarly insightful are the explorations of Indigenous or Creole influences and negotiated or impossible translations in the fiction of Catherine Rey’s Francophone Australia, Gisèle Pineau’s Caribbean translanguaging, and Chantal Spitz’s solidarity with the [End Page 260] Tahitian language and eco-struggles within French dominance. Hélène Cixous’s linguistic repertoire is less explored in scholarship but not in Edwards’s analysis of her polyglot childhood in French Algeria, which was immersed in French, Spanish, Arabic, Yiddish, German, and English. Monolingual environments seldom exist. Diverse linguistic appreciation unearths cross-cultural infusions layering any local and globalized setting. French multilingual women writers not only decenter France as a literary center, they also successfully move readers beyond monolingualism. [End Page 261] Araceli Hernández-Laroche University of South Carolina Upstate Copyright © 2022 American Association of Teachers of French

Can the Subaltern laugh? Humour, translatability, and the inequalities of World Literature

ABSTRACT This article discusses translatability and the figure of the illiterate “fanatic” – in the context of the Muslim Egyptian fellah – as the limit of World Literature. The illiterate/fellah’s words cannot reach global readers due to crises of access and translation that characterize the world literary periphery, and forms of “killjoy” critical reading that can silence “subaltern” voices in the written text. Using as case studies Waguih Ghali’s Beer in the Snooker Club (1964) and Amitav Ghosh’s In an Antique Land (1992), it argues that one can side-step the modernizing binary of literacy and fanaticism and hear subalterns “differently” by listening for humour. Humour becomes an instance of surprising translatability between the fellah and global literary centres, allowing him to shed the pejorative connotations of “fanaticism” and highlighting points of resistance in the form of laughter that crosses barriers of literacy, nation, religion, and power.

Iridescent Corners

Abstract Starting in the 1970s, flash fiction developed into an outsized literary practice relative to other Sinophone forms in Singapore. Flash fiction's smallness and brevity cohere with the fast pace of urban Singaporean life and transformation of its cityscape, the compartmentalized relationship between the nation's four official languages, the marginality of literary spaces and challenges to maintaining literature as a profession, and Southeast Asia's relative obscurity as a world literary center (with Singapore as a small but important connective hub). Taking Yeng Pway Ngon's fleeting scene of Speakers' Corner (a flash platform of “gestural politics”) as a point of departure, this article charts a short history of Sinophone flash and its relationship to literary community building in Singapore through integrative readings of representative works by Jun Yinglü, Ai Yu, Wong Meng Voon, Xi Ni Er, and Wu Yeow Chong, recognizing their formal and thematic intersections not as “big ideas in tiny spaces” but as iridescent corners that traverse the state's cultural, political, and geographical out-of-bounds (OB) markers. Rather than privileging professional mastery, their works trace flash fiction's iridescent literariness and worldliness to hyperlocality (the physical and literary “corners” they illuminate), compressed temporality, a participatory culture of authorship, and a spirit of amateurism. This amateurism is derived not from a sense of linguistic underdevelopment or technical lack among these authors, but from their passionate and vulnerable engagement with the flash form, as well as the dissident moral conscience of their thematically and stylistically intersecting critiques of Singapore's sociopolitical OB markers.

About the Contributors

About the Contributors