What Remains: Pseudotranslation as Salvage

Pseudotranslations are literary works which purport to be translations of lost or suppressed originals, i.e. to be ‘salvaged’ from oblivion or obscurity. Pseudotranslation has attracted a good deal of attention within translation studies in recent years, but as a practice it can be traced back a long way. This article discusses a number of examples of the type, from Cervantes’ Don Quixote and modern works treating Shakespeare as pseudotranslated (Star Trek VI, Tom Stoppard’s Arcadia) through notable eighteenth-century examples (Walpole’s The Castle of Otranto, MacPherson’s Ossian) to non-fictional fictions The Book of Mormon and ‘Nietzsche’s’ fraudulent late autobiography My Sister and I. Readers of translations usually trust that an original exists, and pseudotranslations abuse that trust. But even when an original does exist, translation performs a kind of salvage operation, acting as a kind of lifeboat which rescues a text from the passing of time and keeps it afloat for posterity

Introduction. Viktor Shklovsky’s Heritage in Literature, Arts, and Philosophy

This book aims to examine the heritage of Victor Shklovsky in a variety of disciplines. To achieve this end, we drew upon colleagues from eight different countries across the world – USA, Canada, Russia, England, Scotland, the Netherlands, Norway, and Hong Kong – in order to bring the widest variety of points of view on the subject. But we also wanted this book to be more than just another collection of essays of literary criticism: we invited scholars from different disciplines – literature, cinematography, and philosophy – who have dealt with Shklovsky’s heritage and saw its practical application in their fields. Therefore, all these essays are written in a variety of humanist academic and scholarly styles, all engaging and dynamic

Mikhail Bakhtin’s Heritage in Literature, Arts, and Psychology. Introduction

This volume celebrates hundred years of Bakhtin’s heritage: in September 13 of 1919 in the literary journal Den Iskusstva (The Day of the Art) was published the first work of Mikhail Bakhtin, Art and Answerability, the work that became his literary manifesto. This book aims to examine the heritage of Mikhail Bakhtin in a variety of disciplines. To achieve this end, we drew upon colleagues from eight different countries across the world--United States, Canada, Spain, Great Britain, France, Russia, Chile, and Japan--in order to bring the widest variety of points of view on the subject. But we also wanted this book to be more than just another collection of essays of literary criticism. For this reason we invited contributions by scholars from different disciplines- -including theater, translation, and psychology--that is, those who have dealt with Bakhtin’s heritage and saw its practical application in their fields. Therefore, some of these chapters are not written in a typical humanist academic scholarly style. And that is as it should be

El Quijote filantrópico victoriano: Donna Quixote, de Justin McCarthy

The paper undertakes the analysis of a little known Victorian quixotic novel, Donna Quixote, by Justin McCarthy. In so doing, it places the latter, in the first place, within the conception of quixotism characteristic of the Victorian age and, in the second place, within the previous tradition of female quixotes, particularly as a response to George Eliot’s Middlemarch. Then, the text studies the novel’s originality within the English quixotic tradition, which lies in the way it relates quixotism to both philanthropy and feminism, not just by means of the heroine but also of some quixotic secondary figures, and argues the author’s conservative position in the debate on women’s rights known as the woman question. Finally, the paper illustrates such a position and its ideological context by presenting another “Donna Quixote,” in this case a satiric cartoon on the so-called new woman.El artículo analiza una novela quijotesca victoriana poco conocida, la Donna Quixote de Justin McCarthy. Para ello la sitúa, en primer lugar, dentro de la concepción del quijotismo distintiva de la época victoriana y, en segundo lugar, dentro de la tradición previa de quijotes femeninos, en particular como respuesta a Middlemarch, de George Eliot. A continuación, el texto estudia la originalidad de la novela dentro de la tradición quijotesca inglesa, que procede de la forma en que relaciona quijotismo tanto con filantropía como con feminismo, a través no solo de la protagonista sino de otras figuras quijotescas secundarias, y muestra la posición conservadora de su autor dentro del debate sobre los derechos de la mujer conocido como woman question. Finalmente, el artículo ilustra tal posición y su contexto ideológico presentando otra “Donna Quixote”, en este caso una viñeta satírica, tanto gráfica como literaria, sobre la llamada new woman

Embodied cognition and autopoiesis in Don Quixote

RESUMO: Seres humanos são animais e, portanto, um conceito de cognição incorporada, junto com ferramentas como a teoria da mente e a teoria do corpo, devem ser aplicados aos estudos literários. Nós lemos os romances de Cervantes pensando e discutindo personagens como Dom Quixote e Sancho Pança como se eles fossem reais, seres humanos incorporados. Seus corpos contextualizados, e nossa compreensão de como eles pensam, são essenciais ao longo da obra. Nós lemos personagens literárias como sistemas biológicos autopoiéticos. Autopoiese (um organismo vivo que se gera em si mesmo dentro de seu contexto físico, histórico, social, linguístico) e o conceito de acoplamento estrutural relacionado (a interação dinâmica de corpo e contexto) são dois importantes conceitos da biologia que nos ajudam a entender a noção da incorporação e são de importância primária para críticos literários. PALAVRAS-CHAVE: Autopoiese. Dom Quixote. Incorporação. Personagens literárias. Teoria da mente.ABSTRACT: Human beings are animals, and therefore a concept of cognition as embodied, together with tools such as Theory of Mind and Theory of Body, should inform all literary study. We read Cervantes’ novel thinking of and discussing characters such as Don Quixote and Sancho Panza as if they were real, embodied human beings. Their contextualized bodies, and our understanding of how they are thinking, are important throughout the work. We read literary characters as autopoietic biological systems. Autopoiesis (a living organism generates itself within its physical, historic, social, linguistic context) and the related concept of structural coupling (the dynamical interaction of body and context) are two important concepts from biology that help us understand the notion of embodiment and are of primary importance to literary scholars. KEYWORDS: Autopoiesis. Don Quixote. Embodiment. Literary characters. Theory of Mind

The chivalric world of Don Quijote : style, structure, and narrative technique

Includes indexBibliography: page 226-234The purpose of this book is to examine the characters, style, themes, structure, and narrative technique of that chivalric world. I hope to show, among other things, that Don Quijote begins to retreat from his chivalric fantasy and to reach an accord with reality in part I of the novel rather than in part II as is generally believed; that Sancho Panza both undermines and sustains his master's fantasy from the start; that the priest and the barber are not, as first presented, Don Quijote's friends, but rather his greatest enemies; and that Cide Hamete Benengeli becomes increasingly unreliable as a narrator and increasingly comic as a character in the second part of the novel.Part 1: El Ingenioso Hidalgo. Knighthood exalted -- Knighthood compromised -- Knighthood defeated. Part 2: Segunda Parte del Ingenioso Caballero. Knighthood imposed -- Knighthood deniedDigitized at the University of Missouri--Columbia MU Libraries Digitization Lab in 2012. Digitized at 600 dpi with Zeutschel, OS 15000 scanner. Access copy, available in MOspace, is 400 dpi, grayscale

Cervantes as Narrator of Don Quijote

Es una premisa casi unánimemente aceptada en la teoría literaria contemporánea que un autor histórico no puede aparecer de manera alguna en un texto ficticio. Esta actitud ejemplifica, a veces, lo que Bajtín ha llamado ¿teoreticismo¿: el confiar más en una bella teoría que en una realidad pragmática. En este ensayo se propone lo contrario: Miguel de Cervantes es el narrador de Don Quijote. Se critica especialmente la actitud binaria: algo puede ser o verdad o ficción (o autor histórico o personaje) pero no algo entre ambas cosas, ni una combinación de ellas

Camila's Story

¿El curioso impertinente¿ está dividido en dos partes casi iguales. La primera la dominan los varones Anselmo y Lotario, y en su discurso figuran análisis, razones y argumento. No se oye la voz de Camila. Todo cambia a partir de la frase ¿Rindiose Camila; Camila se rindió,¿ que aparece al centro de la narración. Después el enfoque pasa a ser femenino. Oímos a Camila y Leonela, en cuya conversación hay narración, intimidad y humor. Camila ya habla más que los hombres, controla la acción y con maestría trama la escena climáctica en la cual finge suicidarse para así manipular a su marido voyeur y a su amante atónito