MLA Texts and Translations
There are 82 products in MLA Texts and Translations
Monsieur Vénus: A Materialist Novel
When the rich and well-connected Raoule de Vénérande becomes enamored of Jacques Silvert, a poor young man who makes artificial flowers for a living, she turns him into her mistress and eventually into her wife. Raoule’s suitor, a cigar-smoking former hussar officer, becomes an accomplice in the complications that ensue.
Monsieur Vénus: Roman matérialiste
When the rich and well-connected Raoule de Vénérande becomes enamored of Jacques Silvert, a poor young man who makes artificial flowers for a living, she turns him into her mistress and eventually into her wife. Raoule’s suitor, a cigar-smoking former hussar officer, becomes an accomplice in the complications that ensue.
My Mother, My Teacher
Separated from his family in the aftermath of the failed decolonization process in Western Sahara, Bahia Mahmud Awah was sustained by recollections of his mother. In this memoir, he describes her sacrifices, her optimism, and her deep love. His family's experiences exemplify the larger story of loss and displacement in the region even as his story shows how shared memories can nourish community and culture across generations, even in exile. Incorporating poetry in Hassaniya, the traditional Saharawi language, the work highlights the role of language in shaping identity and resisting colonialism.
First published in 2011 as La maestra que me enseñó en una tabla de madera (The Woman Who Taught Me on a Wooden Slate), this edition includes the first complete English translation and a new epilogue by the author featuring further remembrances of his mother and examples of her poetry.
Mi madre, mi maestra
Separated from his family in the aftermath of the failed decolonization process in Western Sahara, Bahia Mahmud Awah was sustained by recollections of his mother. In this memoir, he describes her sacrifices, her optimism, and her deep love. His family's experiences exemplify the larger story of loss and displacement in the region even as his story shows how shared memories can nourish community and culture across generations, even in exile. Incorporating poetry in Hassaniya, the traditional Saharawi language, the work highlights the role of language in shaping identity and resisting colonialism.
First published in 2011 as La maestra que me enseñó en una tabla de madera (The Woman Who Taught Me on a Wooden Slate), this edition includes a new epilogue by the author featuring further remembrances of his mother and examples of her poetry.
Nihilist Girl
First published in Switzerland in 1892, finally printed in Russia in 1906, and never before translated into English, Nihilist Girl is the coming-of-age story of Vera Barantsova, a young aristocrat who longs to devote her life to a cause. Her privileged world is radically changed by Alexander I’s emancipation of the serfs. Vera first hopes to follow in the footsteps of Christian martyrs, but a neighboring landowner—a liberal professor fired from his position at Saint Petersburg University and exiled to his estate—opens her eyes to the injustice in Russia.
A blend of social commentary and psychological observation, Nihilist Girl depicts the clash between a generation of youth who find their lives caught up by political action and a society unwilling to abandon its patriarchal traditions.
Nigilistka
First published in Switzerland in 1892, finally printed in Russia in 1906, and never before translated into English, Nigilistka is the coming-of-age story of Vera Barantsova, a young aristocrat who longs to devote her life to a cause. Her privileged world is radically changed by Alexander I’s emancipation of the serfs. Vera first hopes to follow in the footsteps of Christian martyrs, but a neighboring landowner—a liberal professor fired from his position at Saint Petersburg University and exiled to his estate—opens her eyes to the injustice in Russia.
A blend of social commentary and psychological observation, Nigilistka depicts the clash between a generation of youth who find their lives caught up by political action and a society unwilling to abandon its patriarchal traditions.
An Anthology of Nineteenth-Century Women’s Poetry from France
Women poets in nineteenth-century France made important contributions to major stylistic innovations—from the birth of elegiac Romanticism to the inauguration of free verse—and many were prominent in their lifetime, yet only a few are known today, and nearly all have been unavailable in English translation. Of the fourteen poets of this anthology some were wealthy, others struggled in poverty; some were socially conventional, others were cynical or defiant. Their poems range widely in style and idea, from Romantic to Parnassian to symbolist.
Gretchen Schultz, author of The Gendered Lyric: Subjectivity and Difference in Nineteenth-Century French Poetry, provides literary history and biographical notes to show the crucial role women played in nineteenth-century French poetry and to explain why they were criticized and—in the creation of the canon—often eclipsed.
The translators are Anne Atik, Michael Bishop, Mary Ann Caws, Melanie Hawthorne, J. S. A. Lowe, Rosemary Lloyd, Laurence Porter, Christopher Rivers, Gretchen Schultz, Patricia Terry, and Rosanna Warren.
An Anthology of Nineteenth-Century Women’s Poetry from Spain
“The woman poet . . . must sing, just as birds fly and rivers flow,” wrote Carolina Coronado in 1846. In Spain of that time, a group of women had begun to publish poetry. Their verse—Romantic, predominantly lyric, and often linked to liberal reform—was novel and controversial, because few women had ventured into print. The poets collected in this anthology asserted in different ways their imagination and literary voice.
Susan Kirkpatrick provides an overview of the period, and Anna-Marie Aldaz adds a discussion of Spanish versification as well as biographical sketches of the twenty-one poets whose works bring alive the first decades of women’s emergence as a force in the Spanish literary world.
Ourika: An English Translation
John Fowles presents a remarkable translation of a nineteenth-century work that provided the seed for his acclaimed novel The French Lieutenant’s Woman and that will astonish and haunt modern readers.
Based on a true story, Claire de Duras’s Ourika relates the experiences of a Senegalese girl who is rescued from slavery and raised by an aristocratic French family during the time of the French Revolution. Brought up in a household of learning and privilege, she is unaware of her difference until she overhears a conversation that suddenly makes her conscious of her race—and of the prejudice it arouses. From this point on, Ourika lives her life not as a French woman but as a black woman who feels “cut off from the entire human race.” As the Reign of Terror threatens her and her adoptive family, Ourika struggles with her unusual position as an educated African woman in eighteenth-century Europe.
A best-seller in the 1820s, Ourika captured the attention of Duras’s peers, including Stendhal, and became the subject of four contemporary plays. The work represents a number of firsts: the first novel set in Europe to have a black heroine; the first French literary work narrated by a black female protagonist; and, as Fowles points out in the foreword to his translation, “the first serious attempt by a white novelist to enter a black mind.”
Ourika: The Original French Text
Based on a true story, Claire de Duras’s Ourika relates the experiences of a Senegalese girl who is rescued from slavery and raised by an aristocratic French family during the time of the French Revolution. Brought up in a household of learning and privilege, she is unaware of her difference until she overhears a conversation that suddenly makes her conscious of her race—and of the prejudice it arouses. From this point on, Ourika lives her life not as a French woman but as a black woman who feels “cut off from the entire human race.” As the Reign of Terror threatens her and her adoptive family, Ourika struggles with her unusual position as an educated African woman in eighteenth-century Europe.
A best-seller in the 1820s, Ourika captured the attention of Duras’s peers, including Stendhal, and became the subject of four contemporary plays. The work represents a number of firsts: the first novel set in Europe to have a black heroine; the first French literary work narrated by a black female protagonist; and, as John Fowles points out, “the first serious attempt by a white novelist to enter a black mind.”