A long overdue examination of Rubén Darío's multilingual work and influences alongside the contexts and politics of canonization in world literature. Rediscovering Rubén Darío through Translation addresses the peculiar obscurity of Darío by asking these questions: How can one of the most important writers of a major world language be almost entirely unknown in the English-speaking world? How is it that other writers of the same language (e.g., Lorca or García Márquez) achieve widespread recognition in the anglophone world, while he remains unnoticed? What role does translation play in this? What can it tell us about the way in which world literature is articulated? Carlos F. Grigsby approaches Darío's oeuvre through translation. In doing so, he explores not only the place of Darío in the translation of Spanish American literature into English, but also the place of translation in Darío's own writing. The result is a double-sided painting, as it were: the recto is titled “Translation in Darío” and the verso “Darío in Translation.” This book challenges the field of world literature by revealing some of the biases present in its representation of Spanish American literature. It adopts a multilingual framework – chiefly using English, Spanish, French, and to a lesser degree Latin and Catalan – in analyzing Darío's writing alongside that of his contemporaries. As a result, it reveals the multilingualism of Darío's own writing, opening new avenues for the study of his work and of Spanish American modernismo more generally.

"How can one of the most important writers of a major world language be almost entirely unknown in the English-speaking world? How is it that other writers of Spanish (e.g., Lorca or García Márquez) achieve widespread recognition, while he remains unnoticed? What role does translation play in this? This book challenges the field of world literature by revealing some of the biases in its representation of Spanish American literature. It adopts a multilingual framework - using English, Spanish, French, and to a lesser degree Latin and Catalan - in analyzing Darío's writing alongside that of his contemporaries, revealing the multilingualism of Darío's own writing"--

Challenging the notion that Central American literature is a marginal space within Latin American literary and world literary production, this collection positions and discusses Central American literature within the recently revived debates on world literature. This groundbreaking volume draws on new scholarship on global, transnational, postcolonial, translational, and sociological perspectives on the region's literature, expanding and challenging these debates by focusing on the heterogenous literatures of Central America and its diasporas. Contributors discuss poems, testimonios, novels, and short stories in relation to center-periphery, cosmopolitan, and Internationalist paradigms. Central American Literatures as World Literature explores the multiple ways in which Central American literature goes beyond or against the confines of the nation-state, especially through the indigenous, Black, and migrant voices.

Multilingual Literature as World Literature examines and adjusts current theories and practices of world literature, particularly the conceptions of world, global and local, reflecting on the ways that multilingualism opens up the borders of language, nation and genre, and makes visible different modes of circulation across languages, nations, media and cultures. The contributors to Multilingual Literature as World Literature examine four major areas of critical research. First, by looking at how engaging with multilingualism as a mode of reading makes visible the multiple pathways of circulation, including as aesthetics or poetics emerging in the literary world when languages come into contact with each other. Second, by exploring how politics and ethics contribute to shaping multilingual texts at a particular time and place, with a focus on the local as a site for the interrogation of global concerns and a call for diversity. Third, by engaging with translation and untranslatability in order to consider the ways in which ideas and concepts elude capture in one language but must be read comparatively across multiple languages. And finally, by proposing a new vision for linguistic creativity beyond the binary structure of monolingualism versus multilingualism.

Las Raras proposes that the Modernistas’ advocacy for a writing style they considered feminine helps us to understand why so few (and perhaps no) women were accepted as active participants in Modernismo. Author Sarah Moody studies how particular writers contributed to the idea of a feminine aesthetic and tracks the intellectual networks of Modernismo through periodicals and personal papers, such as albums and correspondence. Buenos Aires, Paris, and Montevideo figure prominently in this transatlantic study, which reexamines some of the most important period writers in Spanish, including Rubén Darío, Amado Nervo, and Enrique Gómez Carrillo. This book also considers the critiques launched by women writers, such as Aurora Cáceres, Clorinda Matto de Turner, and María Eugenia Vaz Ferreira, who experienced Modernista exclusion firsthand, deconstructed the Modernista discourse of a modern, “feminine” style, and built literary success in alternative terms. These writers reoriented the discussion about women in modernity to address women’s education, professionalization, and advocacy for social and civic improvements. In this study, Modernismo emerges as both a literary style and an intellectual network, in which style and sociability are mutually determining and combine to form a system of prestige and validation that excluded women writers.

In the same way that students of Shakespeare discuss their "Supreme Quartet" of plays, so Irish Studies has its own quartet of writers, Yeats, Joyce, Beckett and Wilde, whose fame is outstanding and worldwide. The inclusion of Wilde in the quartet may surprise some, but it is an incontrovertible fact that scholars are coming to appreciate Wilde's importance as a major influence on 20th century literature. Over the past years, conferences on all four members of this Irish quartet have been organized by the Princess Grace Irish Library of Monaco (the proceedings of each being published in this series), the most recent, on Wilde, in 1993. This collection of papers given at that conference, covers every aspect of Wilde's oeuvre, not only considering his plays, poetry and novels, but his family, his influence on writers both in English (such as Joyce and Stoppard) and in other languages (including Marti, Dario, Borges and Lispector). How influential and far-reaching he has become can be seen by the nationalities of those who attended the conference and contributed papers: Antonio Ballesteros Gonzalez, Mariano Baselga, Pia Brinzeu, Edward Burns, Richard Allen Cave, Davis Coakley, Jean M. Ellis D'Allessandro, Masolino D' Amico, Lawrence Danson, Denis Donoghue, Joseph Donoghue, Irene Eynat-Confino, Michael Patrick Gillespie, Robert Gordon, Warwick Gould, Merlin Holland, Joel H. Kaplan, Patricia Kellogg-Dennis, Melissa Knox, Jacques de Langlade, Donald Lawler, Jerusha Mccormack, Bart J. Moore-Gilbert, Isobel Murray, Sylvia Ostermann, Norman Page, Kerry Powell, Maria Pilar Pulido, Peter Raby, Gerd Rohmann, Roy Rosenstein, Neil Sammells, Ronald Schuchard, Theorharis Constantine Theoharis, Deirdre Toomey, Emmaneul Vernadakis, and Marie-Noelle Zeender. This is the eighth volume in the Princess Grace Irish Library Series.

This is an edition of an important early work by a writer who has since become a leading Latin-American author and a figure in Peruvian politics. It provides a picture of the hedonistic and selfish lifestyle of the young men and women who will one day become Peru's ruling elite.