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The three concepts mentioned in the title of this volume imply the contact between two or more literary phenomena; they are based on similarities that are related to a form of ‘travelling’ and imitation or adaptation of entire texts, genres, forms or contents. Transfer comprises all sorts of ‘travelling’, with translation as a major instrument of transferring literature across linguistic and cultural barriers. Transfer aims at the process of communication, starting with the source product and its cultural context and then highlighting the mediation by certain agents and institutions to end up with inclusion in the target culture. Reception lays its focus on the receiving culture, especially on critcism, reading, and interpretation. Translation, therefore, forms a major factor in reception with the general aim of reception studies being to reveal the wide spectrum of interpretations each text offers. Moreover, translations are the prime instrument in the distribution of literature across linguistic and cultural borders; thus, they pave the way for gaining prestige in the world of literature. The thirty-eight papers included in this volume and dedicated to research in this area were previously read at the ICLA conference 2016 in Vienna. They are ample proof that the field remains at the center of interest in Comparative Literature.
Paratexts are those liminal devices and conventions, both within and outside the book, that form part of the complex mediation between book, author, publisher and reader: titles, forewords, epigraphs and publishers' jacket copy are part of a book's private and public history. In this first English translation of Paratexts, Gérard Genette shows how the special pragmatic status of paratextual declaration requires a carefully calibrated analysis of their illocutionary force. With clarity, precision and an extraordinary range of reference, Paratexts constitutes an encyclopedic survey of the customs and institutions as revealed in the borderlands of the text. Genette presents a global view of these liminal mediations and the logic of their relation to the reading public by studying each element as a literary function. Richard Macksey's foreword describes how the poetics of paratexts interact with more general questions of literature as a cultural institution, and situates Gennet's work in contemporary literary theory.
The J. Paul Getty Museum Journal 17 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities, decorative arts, drawings, and photographs. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 17 includes articles written by Elisabeth Doumeyrou, Gerhard Gruitrooy, Lee Hendrix, Clark Hulse, David Jaffé, Jean-Nérée Ronfort, and Belinda Rathbone.
The Cylinder investigates the surprising proliferation of cylindrical objects in the nineteenth century, such as steam engines, phonographs, panoramas, rotary printing presses, silos, safety locks, and many more. Examining this phenomenon through the lens of kinematics, the science of forcing motion, Helmut Müller-Sievers provides a new view of the history of mechanics and of the culture of the industrial revolution, including its literature, that focuses on the metaphysics and aesthetics of motion. Müller-Sievers explores how nineteenth-century prose falls in with the specific rhythm of cylindrical machinery, re-imagines the curvature of cylindrical spaces, and conjoins narrative progress and reflection in a single stylistic motion. Illuminating the intersection of engineering, culture, and literature, he argues for a concept of culture that includes an epoch’s relation to the motion of its machines.
Integrating the history of Paris with the history of consumption, the press, publicity, advertising and spectacle, this book traces the evolution of the urban core districts of consumption and explores elements of consumer culture such as the print media, publishing, retail techniques, tourism, city marketing, fashion, illustrated posters and Montmartre culture in the nineteenth century. Hahn emphasizes the tension between art and industry and between culture and commerce, a dynamic that significantly marked urban commercial modernity that spread new imaginary about consumption. She argues that Parisian consumer culture arose earlier than generally thought, and explores the intense commercialization Paris underwent.
THE STORY: As in its later and substantially re-written version (entitled ORPHEUS DESCENDING), the play deals with the arrival of a virile young drifter, Val Xavier, in a sleepy, small town in rural Mississippi. He takes a job in the dry goods stor
The spellbinding last full-length play produced during the author's lifetime is now published for the first time. Christmas 1982: Cornelius and Bella McCorkle of Pascagoula, Mississippi, return home one midnight in a thunderstorm from the Memphis funeral of their older son to a house and a life literally falling apart--daughter Joanie is in an insane asylum and their younger son Charlie is upstairs having sex with his pregnant, holy-roller girlfriend as the McCorkles enter. Cornelius, who has political ambitions and a litany of health problems, is trying to find a large amount of moonshine money his gentle wife Bella has hidden somewhere in their collapsing house, but his noisy efforts are disrupted by a stream of remarkable characters, both living and dead. While Williams often used drama to convey hope and desperation in human hearts, it was through this dark, expressionistic comedy, which he called a "Southern gothic spook sonata," that he was best able to chronicle his vision of the fragile state of our world.
This book is William's symbol for the military-industrial complex and all the dehumanizing trends it represents from mindless cocktail party chatter to bribery of officials to assassination plots directed against those who won't play the game, to attempted coups by right-wing zealots.
Schapiro here repackages two of his notable essays on Piet Mondrian and abstract painting. In 'On the