MLA Texts and Translations
There are 82 products in MLA Texts and Translations
Bekenntnisse einer Giftmischerin, von ihr selbst geschrieben
In Berlin, 1803, readers rushed to their bookstores and libraries to learn more about Countess Charlotte Ursinus, who had murdered several people with poison and was now in prison. To their surprise, Confessions of a Poisoner, Written by Herself turned out to be not an account by this serial killer but a novel, its author anonymous and its pages filled with promiscuous sex, sharp social criticism, and dark humor.
In their introduction to the translation, Raleigh Whitinger and Diana Spokiene show how Confessions was written in response to a literary tradition (Richardson, Rousseau, Goethe) and how, in its questioning of the submissive images and roles of women, it anticipates feminist fiction of a century later. Whitinger and Spokiene also review the critical arguments about whether the author was a man or a woman.
Descent
Descent, a novella published in 1920, is set against the background of Jewish life in Russia and Ukraine during the turbulent period leading up to the October Revolution of 1917, a period characterized by the rise of secularism, the rejection of old traditions, the alienation of intellectuals, and the attempt of different generations to find a place for themselves inside and out of the shtetl.
The novella centers on the mystery of the suicide of a young pharmacist in Rakitne, a provincial town. Did his death have anything to do with the two women who loved him? Was it the result of despair or an act of protest? And if protest, against what? His old friend seeks answers but finds none. The prose is immaculately crafted, the narrative indirect, and the mood poignant, dark, and disquieting.
Opgang
Opgang, a novella published in 1920, is set against the background of Jewish life in Russia and Ukraine during the turbulent period leading up to the October Revolution of 1917, a period characterized by the rise of secularism, the rejection of old traditions, the alienation of intellectuals, and the attempt of different generations to find a place for themselves inside and out of the shtetl.
The novella centers on the mystery of the suicide of a young pharmacist in Rakitne, a provincial town. Did his death have anything to do with the two women who loved him? Was it the result of despair or an act of protest? And if protest, against what? His old friend seeks answers but finds none. The prose is immaculately crafted, the narrative indirect, and the mood poignant, dark, and disquieting.
Life and Deeds of the Famous Gentleman Don Catrín de la Fachenda
Don Catrín de la Fachenda, here translated into English for the first time, is a picaresque novel by the Mexican writer José Joaquín Fernández de Lizardi (1776–1827), best known as the author of El Periquillo Sarniento (The Itching Parrot), often called the first Latin American novel. Don Catrín is three things at once: a rakish pícaro in the tradition of the picaresque; a catrín, a dandy or fop; and a criollo, a person born in the New World and belonging to the same dominant class as their Spanish-born parents but relegated to a secondary status. The novel interrogates then current ideas about the supposed innateness of race and caste and plays with other aspects of the self considered more extrinsic, such as appearance and social disguise. While not directly mentioning the Mexican wars of independence, Don Catrín offers a vivid representation of the political and social frictions that burst into violence around 1810 and gave birth to the independent countries of Latin America.
Vida y hechos del famoso caballero don Catrín de la Fachenda
Don Catrín de la Fachenda is a picaresque novel by the Mexican writer José Joaquín Fernández de Lizardi (1776–1827), best known as the author of El Periquillo Sarniento (The Itching Parrot), often called the first Latin American novel. Don Catrín is three things at once: a rakish pícaro in the tradition of the picaresque; a catrín, a dandy or fop; and a criollo, a person born in the New World and belonging to the same dominant class as their Spanish-born parents but relegated to a secondary status. The novel interrogates then current ideas about the supposed innateness of race and caste and plays with other aspects of the self considered more extrinsic, such as appearance and social disguise. While not directly mentioning the Mexican wars of independence, Don Catrín offers a vivid representation of the political and social frictions that burst into violence around 1810 and gave birth to the independent countries of Latin America.
Don Quixote: A Dramatic Adaptation
When Soviet censors approved Mikhail Bulgakov’s stage adaptation of Don Quixote, they were unaware that they were sanctioning a subtle but powerful criticism of Stalinist rule. The author, whose novel The Master and Margarita would eventually bring him world renown, achieved this sleight of hand through a deft interpretation of Cervantes’s knight. Bulgakov’s Don Quixote fits comfortably into the nineteenth-century Russian tradition of idealistic, troubled intellectuals, but Quixote’s quest becomes an allegory of the artist under the strictures of Stalin’s regime. Bulgakov did not live to see the play performed: it went into production in 1940, only months after his death.
The volume’s introduction provides background for Bulgakov’s adaptation and compares Bulgakov with Cervantes and the twentieth-century Russian work with the seventeenth-century Spanish work.
Дон Кихот [Don Kikhot]: A Dramatic Adaptation
When Soviet censors approved Mikhail Bulgakov’s Дон Кихот, a stage adaptation of Don Quixote, they were unaware that they were sanctioning a subtle but powerful criticism of Stalinist rule. The author, whose novel Мастер и Маргарита would eventually bring him world renown, achieved this sleight of hand through a deft interpretation of Cervantes’s knight. Bulgakov’s Don Quixote fits comfortably into the nineteenth-century Russian tradition of idealistic, troubled intellectuals, but Quixote’s quest becomes an allegory of the artist under the strictures of Stalin’s regime. Bulgakov did not live to see the play performed: it went into production in 1940, only months after his death.
The volume’s introduction provides background for Bulgakov’s adaptation and compares Bulgakov with Cervantes and the twentieth-century Russian work with the seventeenth-century Spanish work.
Essential Encounters
Published in 1969, Essential Encounters is the first novel by a woman of sub-Saharan francophone Africa. Thérèse Kuoh-Moukoury, of Cameroon, wrote it “to inspire other women to write.” Its story of love, infertility, a failed marriage, and adultery looks at both interpersonal connections and national politics from a feminist perspective.
In the introduction the volume editor, Cheryl Toman, provides valuable background with a discussion of African matriarchy, past and present; ethnic groups in Cameroon; interracial relationships; and polygamy as it affects women’s roles in the family and their interaction with one another.
Rencontres essentielles
Published in 1969, Rencontres essentielles is the first novel by a woman of sub-Saharan francophone Africa. Thérèse Kuoh-Moukoury, of Cameroon, wrote it “to inspire other women to write.” Its story of love, infertility, a failed marriage, and adultery looks at both interpersonal connections and national politics from a feminist perspective.
In the introduction the volume editor, Cheryl Toman, provides valuable background with a discussion of African matriarchy, past and present; ethnic groups in Cameroon; interracial relationships; and polygamy as it affects women’s roles in the family and their interaction with one another.
Gabriel: An English Translation
“An admirable ruse, indeed! To inspire in me the horror of females, only to throw it in my face and say: but this is what you are.”
The handsome, heroic heir to a vast estate, raised as a man to follow a man’s pursuits and to despise women, is devastated to learn at the age of seventeen that he is in fact a she. Gabriel courageously refuses to give up her male privileges, and her tragic struggle to work and fight and love in all the ways she knows how offers a window into the obstacles faced by George Sand, the prolific intellectual woman whom the popular press portrayed as a promiscuous, cigar-smoking oddity in trousers. “Strange that the most virile talent of our time should be a woman’s!” exclaimed a reviewer in 1838.
Kathleen Robin Hart’s introduction contextualizes the drama, discussing its relation to the theater of Sand’s day, the sentimental tradition, the subversive workings of carnival and masquerade, and the vein of literary androgyny in Romantic works.