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Los 32 artículos de este volumen se ocupan de la traducción literaria a la lengua española y otras lenguas románicas. Las exposiciones fueron sostenidas durante la Conferencia Internacional «Traducción e Intercambio Cultural en la Época de la Globalización», que tuvo lugar en el mayo de 2006 en la Facultad de Filología de la Universidad de Barcelona. La Conferencia fue organizada por el grupo de investigación del CRET «Traducción e interculturalidad», de la Universidad de Barcelona. El «Ministerio de Educación y Ciencia» español ha tenido a bien financiar tanto la Conferencia como la antología dentro del marco del Proyecto de Investigación BFF2003-002216.
This book offers a stylistic analysis of an early-twentieth-century Venezuelan writer known for his travel accounts, stories, novels, and essays. It concentrates on three novels: dolos rotos, Sangre patricidia, and Peregrina. It discusses contexts (criollismo and modernismo), summarizes plots, and examines sense impressions, imagery, and syntactic devices.
Poet, journalist of world wars and the Russian Revolution, prolific novelist, translator, playwright, respected society figure: Sofía Casanova intrigued and influenced the Spanish reading public for over fifty years. Sofía Casanova's unique achievements should have drawn considerable critical and scholarly notice. Yet today her life and works remain unexamined or ignored. It is the purpose of this book, researched in Spain and Poland, to reintroduce Sofía Casanova to the scholarly and general public.
Originally presented as the author's thesis (Ph. D.--Toronto, 1981).
This collection of eight critical essays on the modern French novelist (selected from a session devoted to her at the 1991 MLA meeting) employs contemporary theory to examine "the unspeakable" in relation to postmodern (and classical) issues of desire and language: textuality, selfhood, femininity, psychoanalysis, madness, ontology, and mythology.
A detailed examination of Beckett's dramas based on reductionist models in the arts and sciences. Various experimental aspects of composition and production are shown to reflect Beckett's search for a minimal theater of silence and inaction, as well as his epistemological uncertainty.