Anuario de Letras Modernas

11-28

Authors: Ana Elena González Treviño

The practice of including authorial portraits along with literary works may be found already in the marble busts of classical Antiquity. With the advent of the printed book, the use of this authorial marker acquired greater importance to he extent that it is sometimes an indispensable paratext for literary interpretation. Authorial portraits are based on processes of ethopoiesis, or the construction of character, circumscribed by prevailing values. A few typical models for the construction of the authorial persona are the following: the poet laureate, the romantic genius, the erudite nun, the courtesan, the exotic author; one of the most common poses is the melancholic pose. This article surveys a few meaningful examples.

46-64

Authors: Cynthia Lerma Hernández

Pantun is a fixed form of poetry(forme fixe) that came from Malaysia and which was introduced into French poetry in a peculiar way in the 19th century. The pantun began to spread through a translation from a note at the end of Victor Hugo’s "Les Orientales" and by other Arabic and Persian translations provided by a renowned orientalist of the time, Ernest Fouinet. Together, these series of translations participate in the justification of romantic aesthetics. After this first appearance, the pantun became subject of exploration throughout the 19th century. Some of its images are evoked insistently in various texts of some poets and their form encourages them to explore the effects of the alternate and organized repetition of the lines. Over time, “Harmonie du soir” by Beaudelaire has become the most immediate reference model of this poetic structure. The structure of the pantun developed in France possesses a unique mechanism of repetition of lines (the second and fourth lines of each stanza are taken up again in the first and third lines of the following) that creates an analogy that accurately distinguishes nature and experience. As well as observing the characteristics and conditions of its first insertion in Victor Hugo’s work, the purpose of this article is to reflect on the functions performed by a fixed form imported from another culture and the circumstances that allow its assimilation in French literary history.

84-97

Authors: Guillermo Badenes, Josefina Coisson

The form-content dilemma was extensively discussed by authors throughout the better part of the 20th century. Hayes (1975) relied on the translator’s common sense when approaching the art of literary translation. Taking a more descriptive approach, Ben-Ari (1992) and Shavit (1992) discussed specific features of literature in translation from German into Hebrew revising historical variables and understanding the canonical power of certain children’s books within the catalogue of the system under study. In English, as in Spanish, children’s literature lacks an important canonical pull. Nonetheless, there are certain specific examples such as the work of the great English authors of the 19th century, Lewis Carroll, Stevenson, or CS Lewis, which not only have become greatly influential in the English language but also in other languages, as is the case of Spanish. As the epitome of peripheral literary writing, translation—in this case the translation of children’s textualities—becomes a peripheral practice of a peripheral literature. If we consider that within the polysystem literary works tend to flux from central to peripheral positions and vice versa, we may conclude that it is important to open spaces for alternative cultures, a process that may rely heavily on translation. This paper aims at shedding light upon the strategies used by three different translators of three books belonging to the Dr. Seuss series. Our findings may give focus to Hayes’, Ben-Ari’s and Shavit’s ideas centering on children’s literature.

106-123

Authors: Sabina Longhitano Piazza

Traducción comentada de “Da Verga a Sciascia: la sfida dei siciliani”, conferencia de Antonio Di Grado

130-133

Authors: Claudia Ruiz García

Reseña de SCULL, Andrew. (2019). Locura y civilización. Una historia cultural de la demencia, de la Biblia a Freud, de los manicomios a la medicina moderna. México: Fondo de Cultura Económica.

10-20

Authors: Gabriela Villanueva-Noriega

This paper introduces the works of Daniel Defoe and Eliza Haywood in a com-parative manner while it examines each author’s role in the development of the English Novel during the eighteenth century and its legacy. To establish a point of contact between these two very different narrative styles, the paper focuses on the connection between body, writing, and control, and the dissimilar ways in which both authors convey bodily experience by means of narrative.

38-47

Authors: Bárbara Pérez Curiel

This paper examines the contribution of Eliza Haywood’s first work of amatory fiction, "Love in Excess; or the Fatal Enquiry", to the tradition of women’s critical writing that have questioned the hidden exclusions at the core of the European Enlightenment. "Love in Excess" addresses the dichotomy of reason versus emotion and the paradoxical expectations it imposed upon upper-class women during the European Enlightenment. Haywood’s exploration challenges this binary construction by showing the mutual interdependence of reason and passion, and by exposing the double standards on the basis of which women’s and men’s desires were regulated.

70-89

Authors: Julia Constantino Reyes

Since the 1970s translation theories have benefitted from their contact with social movements and theoretical and critical views from other disciplines. Such is the case of their links with different lines of feminist thought, gender studies, and queer theory, as well as feminist and LGBTIQ+ movements. Those links have reinvigorated the role and scope of translation in different social scenarios, and have supported self-reflection, the rise of other theoretical and critical ways of explaining the translation phenomenon in general, and its concrete outcomes. This article, as the beginning of a theoretical exploration, offers some views on translation as seen from performativity, particularly from repetition and difference—performativity taken as rising from speech acts and used in feminist and queer discussions that have provided them with immediate social, political, and theoretical meanings and uses as regards gender construction. Two elements are added to performativity—the body and emotions, which, taken from Douglas Robinson and Sara Ahmed’s work, turn out to be complementary just as they are crucial to approach gender and trans-lation. Putting these elements together points at the possibility of a more flexible theoretical view of translation, and the recognition of the active role of the reader and, more importantly, of the translator as agents in a performative process that can have an impact on social and cultural transformations. Likewise combining those terms and mechanisms allows for the resignification of traductological jargon and of concepts that define translation itself as a discipline and an activity, something that can lead to its redefinition as a field of knowledge, study, and practice.

96-99

Authors: Anaclara Castro Santana

Reseña de Rodríguez Álvarez, Argentina. (2017). The Links in the Chain: imágenes de la mujer en la literatura del siglo XVIII en Inglaterra. Ciudad de México: FFyL, UNAM.