"Transatlantic Translations refigures Latin American narratives outside of the current paradigm of 'victimization' and 'resistance'. Julio Ortega is more concerned to examine how what was different is constructed in terms of what was already known, and to explore what he terms 'the radical principle of the new intermixing. Tracing Latin American representations from the early modern era to our own in the work of Shakespeare, Inca Garcilaso de la Vega, Guaman Poma de Ayala, Juan Rulfo and Gabriel Garcia Marquez, among others, Ortega reveals that language was not solely a way for colonizers to indoctrinate and 'civilize, but also a means that enabled Latin Americans to argue and negotiate their versions and appropriations, and eventually to tell their own history. The coordinated essays in Transatlantic Translations enable the Old World and the New to meet and debate together in a new language."--BOOK JACKET.

Transatlantic, Transcultural, and Transnational Dialogues on Identity, Culture, and Migration analyzes the diasporic experiences of migratory and postcolonial subjects through the lenses of cultural studies, critical race theory, narrative theory, and border studies. These narratives cover the United States, the U.S.-Mexico border, the Hispanophone Caribbean, and the Iberian Peninsula and illustrate a shared diasporic experience across the Atlantic. Through a transatlantic, transcultural, and transnational lens, this volume brings together essays on literature, film, and music from disparate geographic areas: Spain, Cuba and Jamaica, the U.S.-Mexico border, and Colombia. Throughout the volume, the contributors explore intertextual transatlantic dialogues, and migratory experiences of diasporic subjects and queer subjectivities. The chapters also examine the use of language to preserve Latinx culture, colonial and Spanish cultural exchanges, border identities, and race, gender, identity, and cultural production. In turn, these diasporic experiences result from transatlantic, transcultural, and transnational phenomena that converge in a globalized society and aid in questioning the artificial boundaries of nation states.

This book makes an important contribution to transatlantic literary studies and an emerging body of work on identity formation and print culture in the Atlantic world. The collection identifies the ways in which historically-situated but malleable subjectivities engage with popular and pressing debates about class, slavery, natural knowledge, democracy, and religion. In addition, the book also considers the ways in which material texts and genres, including, for example, the essay, the guidebook, the travel narrative, the periodical, the novel, and the poem, can be scrutinized in relation to historically-situated transatlantic transitions, transformations, and border crossings. The volume is underpinned by a thorough examination of historical and conceptual frameworks and prioritizes notions of circulation and exchange, as opposed to transfer and continuance, in its analysis of authors, texts, and ideas. The collection is concerned with the movement of people, texts, and ideas in the currents of transatlantic markets and politics, taking a fresh look at a range of canonical and popular writers of the period, including Austen, Poe, Crèvecoeur, Brockden Brown, Sedgwick, Hemans, Bulwer-Lytton, Dickens, and Melville. In different ways, the essays gathered together here are concerned with the potentially empowering realities of the transitive, circulatory, and contingent experiences of transatlantic literary and cultural production as they are manifest in the long nineteenth century.

Translation—from both a theoretical and a practical point of view—articulates differing but interconnected modes of circulation in the work of writers originally from different geographical areas of transatlantic encounter, such as Europe, Latin America, North America, and the Caribbean. After Translation examines from a transnational perspective the various ways in which translation facilitates the circulation of modern poetry and poetics across the Atlantic. It rethinks the theoretical paradigm of Anglo-American “modernism” based on the transnational, interlingual, and transhistorical features of the work of key modern poets writing on both sides of the Atlantic— namely, the Portuguese Fernando Pessoa; the Chilean Vicente Huidobro; the Spaniard Federico Garcia Lorca; the San Francisco–based poets Jack Spicer, Robert Duncan, and Robin Blaser; the Barbadian Kamau Brathwaite; and the Brazilian brothers Haroldo and Augusto de Campos.

The history of food is one of the fastest growing areas of historical investigation, incorporating methods and theories from cultural, social, and women’s history while forging a unique perspective on the past. The Routledge History of Food takes a global approach to this topic, focusing on the period from 1500 to the present day. Arranged chronologically, this title contains 17 originally commissioned chapters by experts in food history or related topics. Each chapter focuses on a particular theme, idea or issue in the history of food. The case studies discussed in these essays illuminate the more general trends of the period, providing the reader with insight into the large-scale and dramatic changes in food history through an understanding of how these developments sprang from a specific geographic and historical context. Examining the history of economic, technological, and cultural interactions between cultures and charting the corresponding developments in food history, The Routledge History of Food challenges readers' assumptions about what and how people have eaten, bringing fresh perspectives to well-known historical developments. It is the perfect guide for all students of social and cultural history.

In the last twenty years, transnational perspectives have gained momentum in the field of historical-educational research. Scholars have made substantial efforts to rethink nation-based historiographies by reconstructing and reinterpreting the cross-border encounters and intertwined processes that have turned the history of education into a transnational enterprise. A closer look at specific transnational spaces furthers a better understanding of these processes. Against this backdrop, the book offers case studies focusing on transatlantic encounters with special regard to the manifold entanglements between Germany and the United States of America that represent one of the most complex, dynamic, and vivid educational spaces between the eighteenth and twentieth century. Drawing on excellent source material, each contribution examines interaction processes as the genuine transformative moment within any cross-border transfer, and investigates exchanges of concepts, institutions, and materials. Under this premise, the book draws attention to shifting trajectories in the German-American history of education that can be identified by focusing on long-lasting transnational entanglements. By offering a wide range of research approaches, the publication furthermore contributes innovative methodological thoughts to transnational histories of education that go beyond the German-American context and will interest students, emerging researchers, and experts of history of education.

Translation for the theatre is often considered to hold a marginal status between literary translation and adaptation for the stage. As a result, this book argues that studies of this complex activity tend to take either a textual or performative approach. After exploring the history of translation theory through these lenses, Massimiliano Morini proposes a more totalizing view of 'theatre translation' as the sum of operations required to transform one theatre act into another, and analyses three complex Western case histories in light of this all-encompassing definition. Combining theory with practice, Morini investigates how traditional ideas on translation – from Plautus and Cicero to the early 20th century – have been applied in the theatrical domain. He then compares and contrasts the inherently textual viewpoint of post-humanistic translators with the more performative approaches of contemporary theatrical practitioners, and chronicles the rise of performative views in the third millennium. Positioning itself at the intersection of past and present, as well as translation studies and theatre semiotics, Theatre Translation provides a full diachronic survey of an age-old activity and a burgeoning academic field.