This book examines the translations carried out by Italian novelist Beppe Fenoglio, one of the most important Italian writers of the twentieth century. It stems from the acknowledgement that Beppe Fenoglio’s translations have not been examined in the political, cultural and ideological context in which they were produced, but have been dismissed as a purely linguistic exercise. The author examines Fenoglio’s translations as culturally and ideologically informed artistic expressions, in which Fenoglio was able to give voice to his dissent towards the mainstream ideology and poetics of his times, often choosing authors and characters with whom he identified, such as Shakespeare, Milton and Marlowe. The interaction between the theories of Translation Studies, Literary Theory and Adaptation Studies foregrounds the centrality of the role of the translator, showing how Fenoglio’s ideology and poetics were clearly visible both in the selection of the texts he translated and in his translation strategies.

This book addresses one of the most important theories to arise in recent American literary scholarship. Developed over the past two decades, Sacvan Bercovitch’s ideas about the relationship of American cultural institutions to voices of dissent have repeatedly posed challenges to pervasive assumptions about American culture and the methods used by cultural critics and literary historians. The contributors to this book respond to different aspects of Bercovitch’s ideas by exploring a wide range of scholarly disciplines, including American, Chicano, Amerindian, African-American, Asian-American, feminist, comparatist, philosophical, legal, and critical studies. In addition to essays that focus on the theoretical backgrounds and implications of Bercovitch’s concepts, this book interrogates the uses of those concepts in the study of American literatures. Works by a variety of American writers are analyzed: the Colonial poet Phillis Wheatly; nineteenth-century writers Hawthorne and Melville; modernists Pound and Eliot; contemporary authors John Barth, Norman Mailer, Arturo Islas, and John Yau; and philosophers William James and Stanley Cavell. This book offers new directions to students of American culture, while it participates in the ongoing reassessment of American cultural and literary scholarship.

This book offers a comprehensive guide to global literary engagement with the Cold War. Eschewing the common focus on national cultures, the collection defines Cold War literature as an international current focused on the military and ideological conflicts of the age and characterised by styles and approaches that transcended national borders. Drawing on specialists from across the world, the volume analyses the period’s fiction, poetry, drama and autobiographical writings in three sections: dominant concerns (socialism, decolonisation, nuclearism, propaganda, censorship, espionage), common genres (postmodernism, socialism realism, dystopianism, migrant poetry, science fiction, testimonial writing) and regional cultures (Asia, Africa, Oceania, Europe and the Americas). In doing so, the volume forms a landmark contribution to Cold War literary studies which will appeal to all those working on literature of the 1945-1989 period, including specialists in comparative literature, postcolonial literature, contemporary literature and regional literature.

Literary Networks and Dissenting Irish Print Culture examines the origins of Irish labouring-class poetry produced in the liminal space of revolutionary Ulster (1790-1815), where religious dissent fostered a unique and distinctive cultural identity.

Olga Sedakova stands out among contemporary Russian poets for the integrity, erudition, intellectual force, and moral courage of her writing. After years of flourishing quietly in the late Soviet underground, she has increasingly brought her considered voice into public debates to speak out for freedom of belief and for those who have been treated unjustly. This volume, the first collection of scholarly essays to treat her work in English, assesses her contributions as a poet and as a thinker, presenting far-reaching accounts of broad themes and patterns of thought across her writings as well as close readings of individual texts. Essayists from Russia, Ukraine, Germany, Italy, and the United States show how Sedakova has contributed to ongoing aesthetic and cultural debates. Like Sedakova's own work, the volume affirms the capacity of words to convey meaning and to change our understanding of life itself. The volume also includes dozens of elegant new translations of Sedakova's poems.

In a wild variety of topics, polemic, and styles, Bernstein surveys the poetry scene and addresses hot issues of poststructuralist literary theory. What role should poetics play in contemporary culture? Bernstein finds the answer in dissent, in both argument and form--a poetic language that resists being absorbed into the conventions of our culture.

Public Poetics is a collection of essays and poems that address some of the most pressing issues of the discipline in the twenty-first century. The collection brings together fifteen original essays addressing “publics,” “poetry,” and “poetics” from the situated space of Canada while simultaneously troubling the notion of the nation as a stable term. It asks hard questions about who and what count as “publics” in Canada. Critical essays stand alongside poetry as visual and editorial reminders of the cross-pollination required in thinking through both poetry and poetics. Public Poetics is divided into three thematic sections. The first contains essays surveying poetics in the present moment through the lens of the public/private divide, systematic racism in Canada, the counterpublic, feminist poetics, and Canadian innovations on postmodern poetics. The second section contains author-specific studies of public poets. The final section contains essays that use innovative renderings of “poetics” as a means of articulating alternative communities and practices. Each section is paired with a collection of original poetry by ten contemporary Canadian poets. This collection attends to the changing landscape of critical discourse around poetry and poetics in Canada, and will be of use to teachers and students of poetry and poetics.

Traditionally, scholars study ancient Near Eastern royal inscriptions to reconstruct the events they narrate. In recent decades, however, a new approach has analyzed these inscriptions as products of royal ideology and has delineated the way that ideology has shaped their narration of historical events. This ideologically-sensitive approach has focused on kings' accounts of their military campaigns. This study applies this approach to the narration of royal domestic achievements, first in the Neo-Assyrian inscriptional tradition, but especially in nine West Semitic inscriptions from the 10th to 7th centuries B.C.E. and describes how these accounts also function as the products of royal ideology.

Recent criticism is now fully appreciating the nuanced and complex contribution made by Dissenters to the culture and ideas of the eighteenth and nineteenth centuries in Britain. This is the first sustained study of a Dissenting family - the Aikins - from the 1740s to the 1860s. Essays by literary critics, historians of religion and science, and geographers explore and contextualize the achievements of this remarkable family, including John Aikin senior, tutor at the celebrated Warrington Academy, and his children, poet Anna Letitia Barbauld, and John Aikin junior, literary physician and editor. The latter's children in turn were leading professionals and writers in the early Victorian era. This study provides new perspectives on the social and cultural importance of the family and their circle - an untold story of collaboration and exchange, and a narrative which breaks down period boundaries to set Enlightenment and Victorian culture in dialogue.

New York City was the site of a remarkable cultural and artistic renaissance during the 1950s and '60s. In the first monograph to treat all five major poets of the New York School-John Ashbery, Barbara Guest, Kenneth Koch, Frank O'Hara, and James Schuyler-Mark Silverberg examines this rich period of cross-fertilization between the arts. Silverberg uses the term 'neo-avant-garde' to describe New York School Poetry, Pop Art, Conceptual Art, Happenings, and other movements intended to revive and revise the achievements of the historical avant-garde, while remaining keenly aware of the new problems facing avant-gardists in the age of late capitalism. Silverberg highlights the family resemblances among the New York School poets, identifying the aesthetic concerns and ideological assumptions they shared with one another and with artists from the visual and performing arts. A unique feature of the book is Silverberg's annotated catalogue of collaborative works by the five poets and other artists. To comprehend the coherence of the New York School, Silverberg demonstrates, one must understand their shared commitment to a reconceptualized idea of the avant-garde specific to the United States in the 1950s and '60s, when the adversary culture of the Beats was being appropriated and repackaged as popular culture. Silverberg's detailed analysis of the strategies the New York School poets used to confront the problem of appropriation tells us much about the politics of taste and gender during the period, and suggests new ways of understanding succeeding generations of artists and poets.