Vladimir Nabokov’s Lectures on Literature (original) (raw)
Editors' Introduction (Special Issue Argentine Poetry Today: New Writing, New Readings)
This special edition brings together an international group of academics and writers to explore new tendencies and readings in Argentine poetry, including contributions by some of Argentina's foremost contemporary poets and interna tionally recognized experts in the field. The last ten or fifteen years have seen a surprising upsurge in poetic produc tion and publishing in Argentina, in spite – or at times because – of the economic and political crisis of the early 2000s. Young writers, independent publishers, and new forms of diffusion have all emerged. Critics have developed innovative approaches, rethinking both the poetic tradition of the last 60 years and the very latest poetry there. This makes Argentine poetry today a fascinating subject for literary and cultural analysis. The collection of essays and reflections builds on papers delivered during the Institute of Modern Languages Research/University of Oxford symposium hosted at Senate House, University of London, in June 2013. Contributions explore the roots of the latest Argentine poetry, its formal and thematic characteristics, and the continued relevance of poetry as a means of cultural criticism and resistance. In 1992, the poet and anthropologist Néstor Perlongher wrote about Argen 1 We are extremely grateful to a number of individuals and organizations for their help in organizing the symposium that gave rise to this special edition. Senate House, London, hosted the event with the support of the Institute of Modern Languages Research at the University of London. The University of Oxford provided funding to support the sympo sium, as did the Argentine Embassy in London. We are grateful to Professor Edwin Williamson, Ambassador Alicia Castro, and Silvina Murphy for their support. Dr Joanna Page and Dr Gwen MacKeith chaired panels, and Professor McGuirk and Luciana di Leone gave papers that are published elsewhere. The event included a screening of the photo graphic exhibition 'Fases' by Karin Idelson and Natalia Fortuny. Ruta40 Wines very gene rously provided refreshments for the evening reception and poetry reading.
Primeras Voces Feministas desde Argentina: Alfonsina Storni y Alejandra Pizarnik
2019
In line with the prevailing essentialist gender ideology and sexist views of women of the times, the discourse of early 20th century literary tradition systematically marginalized, devalued and deauthorized female authors. Thus, women writers' relationships to texts and to writing was radically different from men's, giving rise to voices of resistance, as well as to a struggle for rights and identities beyond the stereotypical confi nes of femininity afforded by a patriachal society. The goal of this article is to analyze and compare, from the perspective of feminist criticism, some of the poems by Alfonsina Storni and by Alejandra Pizarnik, in which the authors challenge literary (and societal) tradition of their times. To conclude, we will see that while these poets were born almost half a century apart, and each of them were informed by different waves of the feminist movement (the fi rst and second wave, respectively), they both shared the fact that their poetry subverts the popular tropes of romantic love, and of purity, submission and domesticity typically ascribed to women-and women's writing-in those times.
Conversation with the Chilean-Canadian Author Carmen Rodríguez about Her Literary Work
Published at RECONFEM: https://reconfem.ua.es/, 2025
-Carmen Rodríguez (CR): Educator, journalist, and author of poetry—Guerra prolongada/Protracted War (1992)—, short stories—And a Body to Remember with (1997)—and novels—Retribution (2011), Atacama (2021)—, among other writings. Recipient of honorable mentions and a prize from the International Latino Book Awards. For more information, see https://carmenrodriguez.ca/. -Carolina Núñez-Puente (CNP): Associate Professor of English at the University of A Coruña (Spain), author of Feminism and Dialogics: Charlotte Perkins Gilman, Meridel Le Sueur, Mikhail M. Bakhtin (2006) and coeditor of Queering Women’s and Gender Studies (2016). Currently finishing a volume on Feminism across Differences in Literature and Film: Ecofeminism, Posthumanism, Ethics (forthcoming). Th interview was conducted under the auspices of the project “Spaces of Reconciliation: Post-conflict Interventions in Anglophone Women’s Writing” (PID2022-138786NB-100) funded by MCIN / AEI / 10.13039/501100011033 / FEDER, UE.
Cambridge History of Latin American Women's Literature
The Cambridge History of Latin American Women’s Literature is an essential resource for anyone interested in the development of women’s writing in Latin America. Ambitious in scope, it explores women’s literature from ancient indigenous cultures to the beginning of the twenty-fi rst century. Organized chronologically and written by a host of leading scholars, this History off ers an array of approaches that contribute to current dialogues about translation, literary genres, oral and written cultures, and the complex relationship between literature and the political sphere. Covering subjects from cronistas in colonial Latin America and nation building to feminicide and literature of the indigenous elite, this History traces the development of a literary tradition while remaining grounded in contemporary scholarship. The Cambridge History of Latin American Women’s Literature will not only engage readers in ongoing debates but also serve as a defi nitive reference for years to come.
Re)Collecting Argentina´s Recent Past: The Role of Literature
Linguistics and Literature Studies, 2014
(Re)collecting Argentina's recent conflictive past has been and continues to be an effort that involves the country's entire intellectual potential and energy. Writers of fiction, no less than the historians, politicians, sociologists, anthropologists and human rights activists, actively contributed to the demand to repeal the amnesty laws of the 1980s. That repeal and the setting up of formal procedures for the investigation and adjudication of the past's wrongdoing were finally achieved in 2003. Among the many intellectuals active in this political process is the Argentinean writer Cristina Feijóo. In her narrative, particularly her novel Memorias del río inmóvil (2001), she (re)presents Argentina's collective memory as it confronts the junta period and questions the availability of personal and social 'spaces' for those who survived torture, exile and persecution during the military dictatorship.
A Stranger in My Own Land: Sofía Casanova, a Spanish Writer in the European Fin de Siècle (review)
Hispanic Review, 2009
reviews j 127 focuses on images of Argentina in the novels of Judith Katz and Isaac Bashevis Singer. The eighth, ''The Outlaw Jews of Buenos Aires,'' continues the analysis of Singer and Katz, showing how they (and earlier, Sholem Aleichem) grapple with the presence of Jewish groups in ''white slavery'' and prostitution in Argentina early in the twentieth century (also the subject of a well-known historical study, Donna Guy's Sex and Danger). The ninth, ''Dirty War Stories,'' focuses on international representations of the military dictatorship of 1976-1983, with particular attention to Lawrence Thornton's Dirty War trilogy (of which the first novel, Imagining Argentina, was the best known), Douglas Unger's Voices from Silence, and Manuel Va ´zquez Montalba ´n's Quinteto de Buenos Aires; an eloquent final section concerns V. S. Naipaul's essay ''The Return of Eva Pero ´n.'' The tenth, ''Violent Exclusions,'' analyzes films such as Robert Duvall's Assassination Tango, Wang Kar-Wai's Happy Together, and Martin Donovan's Apartment Zero, showing how these works explore the connections between sexual repression and state violence. The final chapter, ''The Persistence of Memory,'' continues this exploration of cinematic representations by looking at Alan Parker's Evita (and the much earlier Down Argentine Way and You Were Never Lovelier); the final pages sum up the ways in which Argentina is represented as familiar and other in works by Blasco Iba ´n ˜ez, Dominique Bona, and several recent films on tango. Kaminsky's work is polemical in the best sense of that term. She grapples with the ways in which familiar explanations are inadequate, looking at things from different angles. Even as early as Reading the Body Politic her account of the uses of feminist theory in the field of Latin American literature grappled with linguistic and cultural difference, though ultimately the kind of gender analysis that she argued for, and the word ge ´nero itself, did come to the fore in work on the topic in Latin America. In recent work, she brings layers of complexity to her discussions of sex, gender, sexuality, national identity, and linguistic self-fashioning. Kaminsky once again in Argentina: Stories of a Nation reveals her intellectual curiosity and wide-ranging knowledge, bringing together texts and problems that no one had thought to bring together before; she finds connections, and explores tensions, in a way that I can only call eloquent.