Singularity and the Literary Market

2014 ◽  
Vol 45 (1) ◽  
pp. 71-88 ◽  
Author(s):  
Günter Leypoldt
Keyword(s):  
Literary Market

scholarly journals Two different faces of Cavafy in English: A corpus-assisted approach to translational stylistics

2012 ◽  
Vol 12 (2) ◽  
pp. 93
Author(s):  
Iraklis Pantopoulos
Keyword(s):  
Crossing Over ◽  
Dominant Language ◽  
Stylistic Feature ◽  
Major Language ◽  
Literary Market ◽  
Word Frequencies ◽  
The Way

<p>A translator is seen to leave a personal mark on the text through their stylistic choices and the patterns formed by these choices. This article comprises a case study that uses a specialized comparative corpus containing translations of C.P. Cavafy's canon in order to explore the distinctive stylistic features of Rae Dalven and of Edmund Keeley and Philip Sherrard (working in collaboration), in both quantitative and qualitative terms. Exploring the different approaches to Cavafy's poetry on the stylistic level reveals the stylistic fragmentation of the poet after crossing over into a dominant language and literary market.</p><p>Overall word frequencies for each translation are examined, the stylistic features that are prominent in each case are identified, and their significance is considered. Special attention is also paid to the way a stylistic feature belonging to the ‘universal aspects of literature’ is treated by each translator. By foregrounding the translators and their distinct choices, the “homogenization” effects that often characterize translation into a major language are arrested. Instead, the focus falls on the factors that shape each translator's use of language and their impact.</p>

scholarly journals A reflection on literary canon and translation: the case of Spain in the Late 1990s and early 2000s

2011 ◽  
pp. 376
Author(s):  
María Isabel Herrando Rodrigo
Keyword(s):  
Higher Education ◽  
Literary Canon ◽  
Complex Issue ◽  
Literary Market

The term Literary Canon has always been a complex issue to describe. The debate that this fact origins affects either the editorial market and higher education. In this exploratory reflection, based on the literary market observation in the last ten years, a lot of parameters are questioned. I question from the personal criteria that lead somebody to gather an anthology to the relation between canon and power. Fowler, Evan-Zohar, Sullà and Reyes, among others, have presented different approaches to the possible structure of Literary Canon: dynamic, hierarchic, primary, secondary, etc. Nonetheless, there are neither sources nor academics that openly claim if there is a known identity that establish the Canon under political, social, cultural or globalisation factors. Though, it is generally conveyed that the quality of a work is measured according to the number of languages to which it has been translated. El concepto de Canon literario siempre ha sido una cuestión compleja. El debate que origina afecta tanto al mercado literario, y por tanto editorial, como a la educación de los estudiantes españoles (en este caso). En esta breve reflexión, basada en la observación del mercado literario de los últimos diez años, se plantean desde los criterios personales que llevan a elaborar una antología literaria hasta la relación entre poder y el canon literario. Fowler, Evan-Zohar, Sullà, Reyes (entre otros escritores) han planteado distintos modelos que definen la posible estructura del canon literario: dinámica, jerarquizada, primaria, secundaria, etc. Sin embargo, ninguna fuente o académico puede identificar con claridad si tras la identidad que establece el canon podemos encontrar factores políticos, sociales, globalizantes o culturales. Pese a ello, se sigue creyendo, a nivel general, que la calidad de una obra literaria se puede medir según el número de lenguas al cual se traduce dicha obra.

scholarly journals Online Life Writing

2020 ◽  
Vol 1 (1) ◽  
pp. 147-150
Author(s):  
Silvia Schultermandl
Keyword(s):  
Life Style ◽  
Asylum Seekers ◽  
Life Writing ◽  
The Political ◽  
Online Media ◽  
The Past ◽  
Everyday Lives ◽  
Wide Range ◽  
Literary Market ◽  
Do So

In lieu of an abstract, here is the first paragraph of this contribution to this forum: The advent of Facebook in 2004, Twitter in 2006, Tumblr in 2007, Instagram and Pinterest in 2010, and Snapchat and Google+ in 2011 facilitated the emergence of “everyday” autobiographies out of keeping with memoir practices of the past.[1] These “quick media” enable constant, instantaneous, and seemingly organic expressions of everyday lives.[2] To read quick media as “autobiographical acts” allows us to analyze how people mobilize online media as representations of their lives and the lives of others.[3] They do so through a wide range of topics including YouTube testimonials posted by asylum seekers (Whitlock 2015) and the life-style oriented content on Pinterest.[4] To be sure, the political content of these different quick media life writing varies greatly. Nevertheless, in line with the feminist credo that the personal is political, these expressions of selfhood are indicative of specific societal and political contexts and thus contribute to the memoir boom long noticed on the literary market.[5]

The ‘Freedom Machine’: The New Woman and the Bicycle

2017 ◽  
Author(s):  
Lena Wånggren
Keyword(s):  
New Woman ◽  
Geographic Mobility ◽  
Social Effects ◽  
The Third ◽  
Public Debates ◽  
The New Woman ◽  
Literary Market ◽  
Specific Technology

The third chapter examines the specific technology most commonly associated with the New Woman: the safety bicycle. When the safety bicycle first came into widespread use in the late 1880s it became connected with the New Woman and her ‘unsexing’ potential, with the loosening of social restrictions and with geographic mobility. Engaging first with medical as well as public debates around the perceived physical and social effects of the bicycle, along with guidebooks for female cyclists, the chapter moves on to consider how the bicycle through literature becomes a symbol of emancipation. Reading H. G. Wells Wheels of Chance (1897) and Grant Allen’s Miss Cayley’s Adventures (1899), the chapter complicates the notion of the bicycle as a democratising ‘freedom machine’, by insisting on the class specifics of the New Woman and the commercialism of the late-Victorian literary market.

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