Literary Translation and the Making of Originals engages such issues as the politics and ethics of translation; how aesthetic categories and market forces contribute to the establishment and promotion of particular "originals"; and the role translation plays in the formation, re-formation, and deformation of national and international literary canons. By challenging the assumption that stable originals even exist, Karen Emmerich also calls into question the tropes of ideal equivalence and unavoidable loss that contribute to the low status of translation, translations, and translators in the current literary and academic marketplaces.

This volume focuses on the representation of the recent past in classical Athenian oratory and investigates the ability of the orators to interpret it according to their interests; the inability of the Athenians to make an objective assessment of it; and the unwillingness of the citizens to hear the truth, make self-criticism and take responsibility for bad results. Twenty-eight scholars have written chapters to this end, dealing with a wide range of themes, in terms both of contents and of chronology, from the fifth to the fourth century B.C. Each contributor has written a chapter that analyzes one or more historical events mentioned or alluded in the corpus of the Attic orators and covers the three species of Attic oratory. Chapters that treat other issues collectively are also included. The common feature of each contribution is an outline of the recent events that took place and influenced the citizens and/or the city of Athens and its juxtaposition with their rhetorical treatment by the orators either by comparing the rhetorical texts with the historical sources and/or by examining the rhetorical means through which the speakers model the recent past. This book aims at advanced students and professional scholars. This volume focuses on the representation of the recent past in classical Athenian oratory and investigates: the ability of the orators to interpret it according to their interests; the inability of the Athenians to make an objective assessment of persons and events of the recent past and their unwillingness to hear the truth, make self-criticism and take responsibility for bad results.

The German Romantics were fascinated by the Orient and its potential to inspire poetic creation. E.T.A. Hoffmann was no exception: across the wide range of his work as an author, composer, and music critic, the Orient is a persistent topic. In particular, Hoffmann creatively absorbed the influence of the imagined Orient - its popular European reception - on German literature, music, and scholarship. Joanna Neilly's study considers for the first time the breadth and nuance of Hoffmann's particular brand of orientalism, examining the significance of his oriental characters and themes for a new understanding of nineteenth-century cultural production. A self-reflexive writer who kept a keen eye on contemporary trends, Hoffmann is at the forefront of discussions about cultural transfer and its implications for the modern artist. The German Romantics were fascinated by the Orient and its potential to inspire poetic creation. E.T.A. Hoffmann was no exception: across the wide range of his work as an author, composer, and music critic, the Orient is a persistent topic. In particular, Hoffmann creatively absorbed the influence of the imagined Orient - its popular European reception - on German literature, music, and scholarship. Joanna Neilly's study considers for the first time the breadth and nuance of Hoffmann's particular brand of orientalism, examining the significance of his oriental characters and themes for a new understanding of nineteenth-century cultural production. A self-reflexive writer who kept a keen eye on contemporary trends, Hoffmann is at the forefront of discussions about cultural transfer and its implications for the modern artist.

As a writer and forward-thinking social critic, Lillian Smith (1897-1966) was an astute chronicler of the twentieth-century American South and an early proponent of the civil rights movement. From her home on Old Screamer Mountain overlooking Clayton, Georgia, Smith wrote and spoke openly against racism, segregation, and Jim Crow laws long before the civil rights era. Bringing together short stories, lectures, essays, op-ed pieces, interviews, and excerpts from her longer fiction and non fiction, A Lillian Smith Reader offers the first comprehensive collection of her work and a compelling introduction to one of the South's most important writers. A conservatory-trained music teacher who left the profession to assume charge of her family's girls' camp in Rabun County, Georgia, Smith began her literary career writing for a journal that she coedited with her lifelong companion, Paula Snelling, successively titled Pseudopodia (1936), the North Georgia Review (1937-41), and South Today (1942-45). Known today for her controversial, best-selling novel, Strange Fruit (1944); her collection of autobiographical essays, Killers of the Dream (1949); and her lyrical documentary, Now Is the Time (1955), Smith was acclaimed and derided in equal measures as a southern white liberal who critiqued her culture's economic, political, and religious institutions as dehumanising for all: white and black, male and female, rich and poor. She was also a frequent and eloquent contributor to periodicals such as the Saturday Review, LIFE, the New Republic, the Nation, and the New York Times. The influence of Smith's oeuvre extends far beyond these publications. Her legacy rests on her sense of social justice, her articulation of racial and social inequities, and her challenges to the status quo. In their totality, her works propose a vision of justice and human understanding that we have yet to achieve.

This volume investigates the form of love letters and erotic letters in Greek and Latin up to the 7th Century CE, encompassing both literary and documentary letters (the latter inscribed and on papyrus), and prose and poetry. The potential for, and utility of treating this large and diverse corpus as a 'genre' is examined. To this end, approaches from ancient literary criticism and modern theory of genre are made; mutual influences between the documentary and the literary form are sought; and origins in proto-epistolary poetic texts are examined. In order to examine the boundaries of a form, limit cases, which might have less claim to the label 'love letter', are compared with more clear-cut examples. A series of case studies focuses on individual letters and letter-collections. Some case studies situate their subjects within the history and literary evolution of the love letter, using both intertextuality and comparative approaches; others placing them in their cultural and historical contexts, particularly uncovering the contribution of epistolarity to erotic discourse, and to the history of sexuality and gender in diverse eras and locations within Classical to Late Antiquity.

The Greek commentary tradition devoted to explicating Aristotle's Nicomachean Ethics (NE) was extensive. It began in antiquity with Aspasius and reached a point of immense sophistication in the twelfth century with the commentaries of Eustratius of Nicaea and Michael of Ephesus, which primarily served educational purposes. The use of Aristotle's ethics in the classroom continued into the late Byzantine period, but until recently scholastic use of the NE was known mostly through George Pachymeres' epitome of the NE (Book 11 of his Philosophia). This volume radically changes the landscape by providing the editio princeps of the last surviving exegetical commentary on the NE stricto sensu, also penned by Pachymeres. This represents a new witness to the importance of Aristotelian studies in the cultural revival of late Byzantium. The editio princeps is accompanied by an English translation and a thorough introduction, which offers an informed reading of the commentary's genre and layout, relationship to its sources, exegetical strategies, and philosophical originality. This book also includes the edition of diagrams and scholia accompanying Pachymeres' exegesis, whose paratextual function is key to a full understanding of the work.

In Literary/Liberal Entanglements, Corrinne Harol and Mark Simpson bring together ten essays by scholars from a wide range of fields in English studies in order to interrogate the complex, entangled relationship between the history of literature and the history of liberalism. The volume has three goals: to investigate important episodes in the entanglement of literary history and liberalism; to analyze the impact of this entanglement on the secular and democratic projects of modernity; and thereby to reassess the dynamics of our neoliberal present. The volume is organized into a series of paired essays, with each pair investigating a concept central to both literature and liberalism: acting, socializing, discriminating, recounting, and culturing. Collectively, the essays demonstrate the vivid capacity of literary study writ large to reckon with, imagine, and materialize durative accounts of history and politics. Literary/Liberal Entanglements models a method of literary history for the twenty-first century.

Hope and future are not the terms with which James Joyce has usually been read, but this book paints a picture of Joyce's fiction in which hope and future assume the primary colours. Rando explores how Joyce's texts, as early as Dubliners and A Portrait of the Artist as a Young Man, delineate a complex hope that is oriented toward the future with restlessness, dissatisfaction, and invention. He examines how Joyce envisions alternatives to the prevailing conventions of hope throughout his works and, in Ulysses and Finnegans Wake, develops formal techniques of spatializing hope to contemplate it from all sides. Casting fresh light on the ways in which hope animates key aspects of Joyce's approach to literary content and form, Rando moves beyond the limitations of negative critique and literary historicism to present a Joyce who thinks agilely about the future, politics, and possibility.

Edouard Glissant was a leading voice in debates centering on the postcolonial condition and on the present and future of globalisation. Prolific as both a theorist and a literary author, Glissant started his career as a contemporary of Frantz Fanon in the early days of francophone postcolonial thought. In the latter part of his career Glissant's vision pushed beyond the boundaries of postcolonialism to encompass the contemporary phenomenon of globalisation. Sam Coombes offers a detailed analysis of Glissant's thought, setting out the reasons why Glissant's vision for a world of intercultural interaction both reflects but also seeks to provide a correction to some of the leading tendencies commonly associated with contemporary theory today.

James Joyce and Catholicism is the first historicist study to explore the religious cultural contexts of Joyce's final masterpiece. Drawing on letters, authorial manuscripts and other archival materials, the book works its way through a number of crucial themes; heresy, anticlericalism, Mariology, and others. Along the way, the book considers Joyce's vexed relationship with the Catholic Church he was brought up in, and the unique forms of Catholicism that blossomed in Ireland at the turn of the last century, and during the first years of the Irish Free State.

In the richly interdisciplinary study, Challenging Addiction in Canadian Literature and Classrooms, Cara Fabre argues that popular culture in its many forms contributes to common assumptions about the causes, and personal and social implications, of addiction. Recent fictional depictions of addiction significantly refute the idea that addiction is caused by poor individual choices or solely by disease through the connections the authors draw between substance use and poverty, colonialism, and gender-based violence. With particular interest in the pervasive myth of the "Drunken Indian", Fabre asserts that these novels reimagine addiction as social suffering rather than individual pathology or moral failure. Fabre builds on the growing body of humanities research that brings literature into active engagement with other fields of study including biomedical and cognitive behavioural models of addiction, medical and health policies of harm reduction, and the practices of Alcoholics Anonymous. The book further engages with critical pedagogical strategies to teach critical awareness of stereotypes of addiction and to encourage the potential of literary analysis as a form of social activism.

The poetry of Horace was central to Victorian male elite education and the ancient poet himself, suitably refashioned, became a model for the English gentleman. Horace and the Victorians examines the English reception of Horace in Victorian culture, a period which saw the foundations of the discipline of modern classical scholarship in England and of many associated and lasting social values. It shows that the scholarly study, translation and literary imitation of Horace in this period were crucial elements in reinforcing the social prestige of Classics as a discipline and its function as an indicator of 'gentlemanly' status through its domination of the elite educational system and its prominence in literary production. The book ends with an epilogue suggesting that the framework of study and reception of a classical author such as Horace, so firmly established in the Victorian era, has been modernised and 'democratised' in recent years, matching the movement of Classics from a discipline which reinforces traditional and conservative social values to one which can be seen as both marginal and liberal.