LITERARY CRITICISM

Entranced Earth looks at audiovisual, literary, performative, and testimonial sources to examine the impact of neocolonial extractivist industries on the natural environment in the Western Hemisphere.

This bold comparative study demonstrates the creative potential for translations that embrace reciprocity and resist assimilation. Isabel C. Gómez analyzes the creative translation practices of canonical Latin American writers such as Haroldo and Augusto de Campos, Clarice Lispector, and Octavio Paz.

Sex Work, Text Work explores how prostitutes depicted by Émile Zola, Joris-Karl Huysmans, Edmond de Goncourt, Adolphe Tabarant, and Charles-Louis Philippe confounded civil and literary efforts to contain them in space and in narrative.

Traces of the Unseen situates photography's role in documenting the destruction wrought by infrastructure development and extractive capitalist expansion in the Amazon and outside the Brazilian metropole at the turn of the twentieth century.

The Poem, the Garden, and the World traces the Renaissance-era relationship of place and movement from garden to poetry to a confluence of the two.

Challenging, revising, and expanding on Bakhtin's Problems of Dostoevsky's Poetics, Lynn Ellen Patyk demonstrates that provocation drives Dostoevsky's poetics of conflict, and she identifies the literary devices he uses to propel plot conflict and capture our attention.

Flames from the Earth is an autobiographical novel by Isaiah Spiegel, one of the most revered Yiddish authors to survive the Holocaust, depicting the complex web of relationships in and around the Łódź Ghetto.

This volume uses literary methods to interpret infrastructure, showing that its aesthetic and sensorial experience cannot be understood apart from its histories of production and political economies.

This book posits that Leo Tolstoy’s and Vladimir Nabokov’s seemingly antithetical aesthetics stem from the same fear—that one’s experience of the world might be entirely private and impossible to share through art.