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Soon to be a major US motion picture starring Anne Hathaway and
Jessica Chastain, Mothers’ Instinct is a dark, twisty domestic
thriller in which the bond between two couples—best friends and
next-door neighbors—mutates in dangerous and deadly ways in the
wake of a tragic accident. David and Laetitia Brunelle and Sylvain
and Tiphaine Geniot are inseparable friends and next-door neighbors
in a pretty, tranquil suburb. Their sons Milo and Maxime, born in
the same year, grow up together as close as brothers. But when
Maxime is killed in an accident, their idyllic world shatters.
Maxime's parents, Sylvain and Tiphaine, are consumed by grief and
bitterness, while David and Laetitia are wracked with guilt for
their role in the tragedy. Soon the couples are barely speaking,
although they maintain a polite façade. Then a mysterious series
of “accidents” begins to happen to Milo, raising Laetitia’s
suspicions. Are their former best friends trying to punish them by
threatening their son? As an increasingly paranoid Laetitia
frantically tries to protect Milo from harm, the little civility
left between the two families curdles into outward hostility. Is
Laetitia just imagining things? Or are Sylvain and Tiphaine
secretly conspiring to exact their revenge . . . and if so, who
will pay? In her American debut, blockbuster Belgian author Barbara
Abel plunges into the deepest, darkest corners of her characters’
hearts and minds to explore the limits of friendship, the
overwhelming power of maternal love, and how far hate, fear, and
vengeance can drive us. Tense and blood-chilling, with a surprising
final twist, Mothers' Instinct will keep you on edge until the
final page. Translated from the French by Susan Pickford
This book examines how non-fictional travel accounts were
rewritten, reshaped, and reoriented in translation between 1750 and
1850, a period that saw a sudden surge in the genre's popularity.
It explores how these translations played a vital role in the
transmission and circulation of knowledge about foreign peoples,
lands, and customs in the Enlightenment and Romantic periods. The
collection makes an important contribution to travel writing
studies by looking beyond metaphors of mobility and cultural
transfer to focus specifically on what happens to travelogues in
translation. Chapters range from discussing essential differences
between the original and translated text to relations between
authors and translators, from intra-European narratives of Grand
Tour travel to scientific voyages round the world, and from
established male travellers and translators to their historically
less visible female counterparts. Drawing on European travel
writing in English, French, German, Spanish, and Portuguese, the
book charts how travelogues were selected for translation; how they
were reworked to acquire new aesthetic, political, or gendered
identities; and how they sometimes acquired a radically different
character and content to meet the needs and expectations of an
emergent international readership. The contributors address
aesthetic, political, and gendered aspects of travel writing in
translation, drawing productively on other disciplines and research
areas that encompass aesthetics, the history of science, literary
geography, and the history of the book.
This book examines how non-fictional travel accounts were
rewritten, reshaped, and reoriented in translation between 1750 and
1850, a period that saw a sudden surge in the genre's popularity.
It explores how these translations played a vital role in the
transmission and circulation of knowledge about foreign peoples,
lands, and customs in the Enlightenment and Romantic periods. The
collection makes an important contribution to travel writing
studies by looking beyond metaphors of mobility and cultural
transfer to focus specifically on what happens to travelogues in
translation. Chapters range from discussing essential differences
between the original and translated text to relations between
authors and translators, from intra-European narratives of Grand
Tour travel to scientific voyages round the world, and from
established male travellers and translators to their historically
less visible female counterparts. Drawing on European travel
writing in English, French, German, Spanish, and Portuguese, the
book charts how travelogues were selected for translation; how they
were reworked to acquire new aesthetic, political, or gendered
identities; and how they sometimes acquired a radically different
character and content to meet the needs and expectations of an
emergent international readership. The contributors address
aesthetic, political, and gendered aspects of travel writing in
translation, drawing productively on other disciplines and research
areas that encompass aesthetics, the history of science, literary
geography, and the history of the book.
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Trumpspeak (Paperback)
Berengere Viennot; Translated by Susan Pickford
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R396
R319
Discovery Miles 3 190
Save R77 (19%)
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Ships in 10 - 15 working days
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Antebellum slave narratives have taken pride of place in the
American literary canon. Once ignored, disparaged, or simply
forgotten, the autobiographical narratives of Frederick Douglass,
Harriet Jacobs, and other formerly enslaved men and women are now
widely read and studied. One key aspect of the genre, however, has
been left unexamined: its materiality. What did original editions
of slave narratives look like? How were these books circulated? Who
read them? In Fugitive Texts, MichaEl Roy offers the first
book-length study of the slave narrative as a material artifact.
Drawing on a wide range of sources, he reconstructs the publication
histories of a number of famous and lesser-known narratives,
placing them against the changing backdrop of antebellum print
culture. Slave narratives, he shows, were produced through a
variety of print networks. Remarkably few were published under the
full control of white-led antislavery societies; most were
self-published and distributed by the authors, while some were
issued by commercial publishers who hoped to capitalize on the
success of Harriet Beecher Stowe's Uncle Tom's Cabin. The material
lives of these texts, Roy argues, did not end within the pages.
Antebellum slave narratives were "fugitive texts" apt to be
embodied in various written, oral, and visual forms. Published to
rave reviews in French, Fugitive Texts illuminates the
heterogeneous nature of a genre often described in monolithic terms
and ultimately paves the way for a redefinition of the literary
form we have come to recognize as "the slave narrative."
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