In 1495, the Spanish humanist Antonio de Nebrija published a Spanish-to-Latin dictionary that became a best seller. Over the next century it was revised dozens of times, in nine European cities. As these dictionaries made their way around the globe in this age of encounters, their lists of Spanish words became frameworks for dictionaries of non-Latin languages. What began as Spanish to Latin became Spanish to Arabic, French, English, Tuscan, Nahuatl, Mayan, Quechua, Aymara, Tagalog, and more. Tracing the global influence of Nebrija's dictionary, Byron Ellsworth Hamann, in this interdisciplinary, deeply researched book, connects pagan Rome, Muslim Spain, Aztec Tenochtitlan, Elizabethan England, the Spanish Philippines, and beyond, revealing new connections in world history. The Translations of Nebrija re-creates the travels of people, books, and ideas throughout the early modern world and reveals the adaptability of Nebrija's text, tracing the ways heirs and pirate printers altered the dictionary in the decades after its first publication. It reveals how entries in various editions were expanded to accommodate new concepts, such as for indigenous languages in the Americas -- a process with profound implications for understanding pre-Hispanic art, architecture, and writing. It shows how words written in the margins of surviving dictionaries from the Americas shed light on the writing and researching of dictionaries across the early modern world. Exploring words and the dictionaries that made sense of them, this book charts new global connections and challenges many assumptions about the early modern world.

In 1495, the Spanish humanist Antonio de Nebrija published a Spanish-to-Latin dictionary that became a best seller. Over the next century it was revised dozens of times, in nine European cities. As these dictionaries made their way around the globe in this age of encounters, their lists of Spanish words became frameworks for dictionaries of non-Latin languages. What began as Spanish to Latin became Spanish to Arabic, French, English, Tuscan, Nahuatl, Mayan, Quechua, Aymara, Tagalog, and more. Tracing the global influence of Nebrija's dictionary, Byron Ellsworth Hamann, in this interdisciplinary, deeply researched book, connects pagan Rome, Muslim Spain, Aztec Tenochtitlan, Elizabethan England, the Spanish Philippines, and beyond, revealing new connections in world history. The Translations of Nebrija re-creates the travels of people, books, and ideas throughout the early modern world and reveals the adaptability of Nebrija's text, tracing the ways heirs and pirate printers altered the dictionary in the decades after its first publication. It reveals how entries in various editions were expanded to accommodate new concepts, such as for indigenous languages in the Americas--a process with profound implications for understanding pre-Hispanic art, architecture, and writing. It shows how words written in the margins of surviving dictionaries from the Americas shed light on the writing and researching of dictionaries across the early modern world. Exploring words and the dictionaries that made sense of them, this book charts new global connections and challenges many assumptions about the early modern world.

For twenty years, Ilan Stavans has been translating poetry from Spanish, Yiddish, Hebrew, French, Portuguese, Russian, German, Georgian, and other languages. His versions of Borges, Neruda, Sor Juana Inés de la Cruz, Ferreira Gullar, Raúl Zurita, and dozens of others have become classics. This volume, which includes poems from more than forty poets from all over the world, is testimony to a life dedicated to the pursuit of beauty through poetry in different languages. “Lightning from the Stable” by Elizabeth Schön (Venezuela, 1921–2007) You don’t choose the abyss, the chaos, the nothingness They reach you in water running slowly for you not to be surprised by the absence of matter around you near the light of the soul calling the wing’s passing flap of the earth you live in.

A FINANCIAL TIMES 'BEST BOOK OF THE WEEK' CHOICE A sharp, breath-taking exploration of love and relationships. Pietro and Teresa's love affair is tempestuous and passionate. After yet another terrible argument, she gets an idea: they should tell each other something they've never told another person, something they're too ashamed to tell anyone. In this way, Teresa thinks, they will remain intimately connected forever. A few days after sharing their shameful secrets, they break up. Not long after, Pietro meets Nadia, falls in love, and proposes. But the shadow of the secret he confessed to Teresa haunts him, and Teresa herself periodically reappears, standing at the crossroads of every major moment in his life. Or is it he who seeks her out? Trust asks how much we are willing to bend to show the world our best side, knowing full well that when we are at our most vulnerable we are also at our most dangerous.

Many early novels were cosmopolitan books, read from London to Leipzig and beyond, available in nearly simultaneous translations into French, English, German, and other European languages. In Novel Translations, Bethany Wiggin charts just one of the paths by which newness—in its avatars as fashion, novelties, and the novel—entered the European world in the decades around 1700. As readers across Europe snapped up novels, they domesticated the genre. Across borders, the novel lent readers everywhere a suggestion of sophistication, a familiarity with circumstances beyond their local ken. Into the eighteenth century, the modern German novel was not German at all; rather, it was French, as suggested by Germans' usage of the French word Roman to describe a wide variety of genres: pastoral romances, war and travel chronicles, heroic narratives, and courtly fictions. Carried in large part on the coattails of the Huguenot diaspora, these romans, nouvelles, amours secrets, histoires galantes, and histories scandaleuses shaped German literary culture to a previously unrecognized extent. Wiggin contends that this French chapter in the German novel's history began to draw to a close only in the 1720s, more than sixty years after the word first migrated into German. Only gradually did the Roman go native; it remained laden with the baggage from its "French" origins even into the nineteenth century.

As the discipline of anthropology continues to chart a course along various turns (ontological, ethical, and otherwise), in this pathbreaking volume Carlo Severi and William Hanks return to the question of knowledge and translation as a theoretical and ethnographic guide for twenty-first century anthropology. Translation has played an important but equivocal role in the history of anthropology and linguistics. At least since Ferdinand de Saussure and Franz Boas, languages have been seen as systems whose differences make precise translation exceedingly difficult, if not impossible. Others have argued that, in purely abstract terms, translation between languages is in principle indeterminate. This collected volume suggests that the challenge posed by the constant confrontation of incommensurable paradigms, or worlds, may be the most""fertile ground for state-of-the-art ethnographic theory and practice. With contributions on topics that range from the philosophical to the ethnographic (with refelctions on themes as diverse as tourism in New Guinea, shamanism in the Amazon, the globally ubiquitous restaurant menu, and oral traditions in the Himalayas), this volume provides a new anthropological way to define translation, not only as a key technique for understanding ethnography, but also as a general epistemological principle. "

"The Theogony is one of the most important mythical texts to survive from antiquity, and we devote the first section to it. It tells of the creation of the present world order under the rule of almighty Zeus. The Works and Days, in the second section, describes a bitter dispute between Hesiod and his brother over the disposition of their father's property, a theme that allows Hesiod to range widely over issues of right and wrong. The Shield of Herakles, whose centerpiece is a long description of a work of art, is not by Hesiod, at least most of it, but it was always attributed to him in antiquity. It is Hesiodic in style and has always formed part of the Hesiodic corpus. It makes up the third section of this book"--Provided by publisher.