MLA Texts and Translations – serie

When the rich and well-connected Raoule de Vénérande becomes enamoured of Jacques Silvert, a poor young man who makes artificial flowers for a living, she turns him into her mistress and eventually into her wife. Raoule’s suitor, a cigar-smoking former hussar officer, becomes an accomplice in the complications that ensue.A writer and cultural arbiter of a salon in France from the early 1880s until 1930, Rachilde (Marguerite Eymery) won celebrity with this scandalously decadent novel. An inversion of the Pygmalion story, the book was judged to be pornographic, and a Belgian court sentenced its author (in absentia) to two years in prison. Verlaine congratulated Rachilde on the invention of a new vice.

First published in Switzerland in 1892, finally printed in Russia in 1906, and never before translated into English, Nihilist Girl is the coming-of-age story of Vera Barantsova, a young aristocrat who longs to devote her life to a cause. Her privileged world is radically changed by Alexander I's emancipation of the serfs. Vera first hopes to follow in the footsteps of Christian martyrs, but a neighboring landowner—a liberal professor fired from his position at Saint Petersburg University and exiled to his estate—opens her eyes to the injustice in Russia.A blend of social commentary and psychological observation, Nihilist Girl depicts the clash between a generation of youth who find their lives caught up by political action and a society unwilling to abandon its patriarchal traditions.

Considered by many scholars to be among the most brilliant novels written in French during the eighteenth century, Lettres de Mistriss Henley publiées par son amie was composed as a response to Samuel de Constant's misogynist novel, The Sentimental Husband (1783). Charrière presents six letters penned by a Mistriss Henley, who has chosen a decent and affectionate man as her life's companion only to discover that she cannot bear sharing his life. An immediate success on its publication in 1784, Mistriss Henley was greeted with acclaim and controversy: one reader called the book "literarily excellent" but "morally dangerous in various ways." Remarkable for its empathy for both spouses, Mistriss Henley is not only a moving work of fiction but also one of the most modern novels of its day.

One of the most popular works of the eighteenth century, Lettres d'une Péruvienne appeared in more than 130 editions, reprints, and translations during the hundred years following its publi cation in 1747. In the novel the Inca princess Zilia is kidnapped by Spanish conquerors, captured by the French after a battle at sea, and taken to Europe. Graffigny's brilliant novel offered a bold critique of French society, delivered one of the most vehement feminist protests in eighteenth-century literature, and announced—fourteen years before Rousseau's Julie, or the New Eloise—the Romantic tradition in French literature.

One of the most popular works of the eighteenth century, Lettres d'une Péruvienne appeared in more than 130 editions, reprints, and translations during the hundred years following its publi cation in 1747. In the novel the Inca princess Zilia is kidnapped by Spanish conquerors, captured by the French after a battle at sea, and taken to Europe. Graffigny's brilliant novel offered a bold critique of French society, delivered one of the most vehement feminist protests in eighteenth-century literature, and announced—fourteen years before Rousseau's Julie, or the New Eloise—the Romantic tradition in French literature.

John Fowles presents a remarkable translation of a nineteenth-century work that provided the seed for his acclaimed novel The French Lieutenant's Woman and that will astonish and haunt modern readers.Based on a true story, Claire de Duras's Ourika relates the experiences of a Senegalese girl who is rescued from slavery and raised by an aristocratic French family during the time of the French Revolution. Brought up in a household of learning and privilege, she is unaware of her difference until she overhears a conversation that suddenly makes her conscious of her race—and of the prejudice it arouses. From this point on, Ourika lives her life not as a French woman but as a black woman who feels "cut off from the entire human race." As the Reign of Terror threatens her and her adoptive family, Ourika struggles with her unusual position as an educated African woman in eighteenth-century Europe.A best-seller in the 1820s, Ourika captured the attention of Duras's peers, including Stendhal, and became the subject of four contemporary plays. The work represents a number of firsts: the first novel set in Europe to have a black heroine; the first French literary work narrated by a black female protagonist; and, as Fowles points out in the foreword to his translation, "the first serious attempt by a white novelist to enter a black mind."

When the knight Adelbert leaves his beloved Adelheit for the Crusades, her father arranges for her to marry the rich and powerful Robert von Rastenberg, whom she does not love. Several years later, while strolling through the forest, Adelheit encounters her former lover, who has returned to persuade her to run off with him. Torn between her love for Adelbert and her honor and duty as wife, Adelheit chooses to remain with Robert, but her manipulative stepson, Franz, hungry for his father's love and his inheritance, conspires to trick Adelheit into fleeing—and precipitates a series of events that end in tragedy.Published in 1788 and purporting to chronicle historical events, Eleonore Thon's play reveals more about the changing roles of women at the dawn of the Industrial Age than it does about knightly conduct in the German Middle Ages. Adelheit von Rastenberg will be of interest to students of German literature, comparative literature, women's studies, and theater.

When the knight Adelbert leaves his beloved Adelheit for the Crusades, her father arranges for her to marry the rich and powerful Robert von Rastenberg, whom she does not love. Several years later, while strolling through the forest, Adelheit encounters her former lover, who has returned to persuade her to run off with him. Torn between her love for Adelbert and her honor and duty as wife, Adelheit chooses to remain with Robert, but her manipulative stepson, Franz, hungry for his father's love and his inheritance, conspires to trick Adelheit into fleeing—and precipitates a series of events that end in tragedy.Purporting to chronicle historical events, Eleonore Thon's play reveals more about the changing roles of women at the dawn of the Industrial Age than it does about knightly conduct in the German Middle Ages. Published in 1788 and translated here for the first time in English, Adelheit von Rastenberg will be of interest to students of German literature, comparative literature, women's studies, and theater.

Although written a century ago, the sixteen stories by Emilia Pardo Bazán collected in this volume are strikingly relevant to contemporary concerns. Noted for narrative complexity, stylistic variety, and feminist themes, Pardo Bazán's stories explore many aspects of the relationships between men and women.Readers of these stories will encounter memorable and affecting characters. A mysterious nun spends her days in a convent crying over something that happened to her many years ago, when she was a young woman. A young man tries to uncover the true reason a scheming woman married his uncle. An unwed pregnant woman finds unexpected help from a misogynist doctor. A bachelor wishing to marry develops a special test for prospective wives, only to see it backfire. And in the title story, a bride suddenly calls off her wedding at the last possible moment without an explanation.Both outspoken and witty, melancholy and humorous, these stories will interest general readers as well as students and scholars of Spanish literature.

Although written a century ago, the sixteen stories by Emilia Pardo Bazán collected in this volume are strikingly relevant to contemporary concerns. Noted for narrative complexity, stylistic variety, and feminist themes, Pardo Bazán's stories explore many aspects of the relationships between men and women.Readers of these stories, most of which are here translated into English for the first time, will encounter memorable and affecting characters. A mysterious nun spends her days in a convent crying over something that happened to her many years ago, when she was a young woman. A young man tries to uncover the true reason a scheming woman married his uncle. An unwed pregnant woman finds unexpected help from a misogynist doctor. A bachelor wishing to marry develops a special test for prospective wives, only to see it backfire. And in the title story, a bride suddenly calls off her wedding at the last possible moment without an explanation.Both outspoken and witty, melancholy and humorous, these stories will interest general readers as well as students and scholars of Spanish literature.

Set in prerevolutionary France, Histoire d'Ernestine tells of the love between an innocent young woman and an aristocrat. Ernestine, German-born and orphaned, is an apprentice painter putting the finishing touches on a portrait when the marquis de Clémengis, elegant and handsome, enters the studio. Recognizing him as the subject of the portrait, she gestures for him to be seated and goes on working, looking back and forth between him and his likeness. The world-weary aristocrat is smitten.In graceful, understated prose, Marie Riccoboni shows how her heroine learns to negotiate questions of honor and appearances and to find a precarious balance between economic security and the potentially compromising nature of male generosity. The story raises questions about sexual enlightenment and social prejudice and reexamines the links of money, reputation, and marriageability that preoccupied eighteenth-century writers.

Set in prerevolutionary France, The Story of Ernestine tells of the love between an innocent young woman and an aristocrat. Ernestine, German-born and orphaned, is an apprentice painter putting the finishing touches on a portrait when the marquis de Clémengis, elegant and handsome, enters the studio. Recognizing him as the subject of the portrait, she gestures for him to be seated and goes on working, looking back and forth between him and his likeness. The world-weary aristocrat is smitten.In graceful, understated prose, Marie Riccoboni shows how her heroine learns to negotiate questions of honor and appearances and to find a precarious balance between economic security and the potentially compromising nature of male generosity. The story raises questions about sexual enlightenment and social prejudice and reexamines the links of money, reputation, and marriageability that preoccupied eighteenth-century writers.

Bergelson’s 1920 novella describes thecomplex Jewish life of Russia and Ukrainethrough the turbulent period leading up to theOctober Revolution of 1917.

Greatly influenced by writers ranging from Dickens and Proust to Woolf and Colette, Anna Banti was a prominent figure on the Italian literary scene from the 1940s until her death in 1985. The five tales in "The Signorina" and Other Stories display her talent across many genres—fiction, science fiction, historical fiction, mystery.Banti's stories portray the ageless conflict between the expectations of society and the aspirations of the individual. In "Uncertain Vocations," the young Ofelia becomes a pianist after her marriage prospects fail, but self-doubt turns her success into miserable mediocrity. In the futuristic "The Women Are Dying," men acquire a new evolutionary ability; women, lacking that ability, are consigned to the status of an inferior race. "Joveta of Betania," set in the time of the Crusades, follows the daughter of King Baldwin II of Jerusalem as she escapes to a life of seclusion as an abbess—a life that becomes for her a source of proud freedom and deep bitterness. In "The Sailing Ships," a young boy creates an imaginary world from an uncertain childhood memory. "The Signorina" tells of a young woman who eventually finds herself, as a writer.

Currently spoken by almost 250 million people in Pakistan and India and the second most widely spoken language in Britain, Urdu has one of the richest literatures of all south Asian languages. The modern Urdu poets presented in this book offer a fascinating range of forms and styles that grew out of that tradition, as well as a complex commentary on the experience—personal, religious, cultural, political—of the issues and dilemmas of the twentieth century. In his introduction, M. A. R. Habib outlines the history of Urdu literature, identifies the major poets associated with the classical tradition, discusses some Western influences, and describes the formal genres of the poetry (the qasida, the masnavi, and the marisiya forms of the longer poems; the qit'a, the rubai, and the ghazal forms of the shorter poems). Together, the commentary and the poems in this volume provide an informed introduction to major modern trends in Urdu poetry.

Adolphe Belot was the envy of his contemporaries Émile Zola and Gustave Flaubert: his books, unlike theirs, were best-sellers. He specialized in popular fiction that provided readers with just the right mix of salaciousness and propriety. (Under the initials A. B. he dispensed entirely with propriety.)The sensational Mademoiselle Giraud, ma femme (published in 1870 with a preface by Zola) tells of the suffering of a naive young man whose new bride will not agree to consummate the marriage. Eventually he learns from an acquaintance, to his amazement, that their wives are lovers. In the pitched battle between husband and wife, the sexes are evenly matched—until the end.Christopher Rivers argues in his introduction that the protagonist's homophobic attitude toward lesbianism is ironically linked to his intimate homosocial bonds with men. This example of commercial fiction, Rivers argues, reveals tensions in nineteenth-century French society not apparent in canonical works of high culture.

Adolphe Belot was the envy of his contemporaries Émile Zola and Gustave Flaubert: his books, unlike theirs, were best-sellers. He specialized in popular fiction that provided readers with just the right mix of salaciousness and propriety. (Under the initials A. B. he dispensed entirely with propriety.)The sensational Mademoiselle Giraud, my Wife (published in 1870 with a preface by Zola) tells of the suffering of a naive young man whose new bride will not agree to consummate the marriage. Eventually he learns from an acquaintance, to his amazement, that their wives are lovers. In the pitched battle between husband and wife, the sexes are evenly matched—until the end.Christopher Rivers argues in his introduction that the protagonist's homophobic attitude toward lesbianism is ironically linked to his intimate homosocial bonds with men. This example of commercial fiction, Rivers argues, reveals tensions in nineteenth-century French society not apparent in canonical works of high culture.

Both Claire and her husband, M. d'Albe, are virtuous and upstanding, and Frédéric, her husband's nineteen-year-old adopted son and factory assistant, is honest and noble-hearted. But in the beautiful and secluded Loire Valley, the friendship between Claire and Frédéric gradually develops into a forbidden passion.Claire d'Albe (1799) was audacious in its day for its representation of adulterous love as a positive act of self-fulfillment. As the volume editor, Margaret Cohen, indicates, Sophie Cottin's best-selling work of sentimentalism highlights the tension in Enlightenment liberalism between collective welfare and personal happiness. Although such later French authors as Stendhal and Balzac denigrated sentimentalism along with female novelists, Claire d'Albe influenced their realist aesthetics.

Both Claire and her husband, M. d'Albe, are virtuous and upstanding, and Frédéric, her husband's nineteen-year-old adopted son and factory assistant, is honest and noble-hearted. But in the beautiful and secluded Loire Valley, the friendship between Claire and Frédéric gradually develops into a forbidden passion.Claire d'Albe (1799) was audacious in its day for its representation of adulterous love as a positive act of self-fulfillment. As the volume editor, Margaret Cohen, indicates, Sophie Cottin's best-selling work of sentimentalism highlights the tension in Enlightenment liberalism between collective welfare and personal happiness. Although such later French authors as Stendhal and Balzac denigrated sentimentalism along with female novelists, Claire d'Albe influenced their realist aesthetics.

Elsa Bernstein lived at the center of Munich's cultural life from the 1890s into the next century. Her literary salon was frequented by such authors as Rainer Maria Rilke, Theodor Fontane, Henrik Ibsen, and Thomas Mann. Her plays, written under the pseudonym Ernst Rosmer, are noteworthy for their unconventional female figures, uninhibited language, taboo subjects, and realistic detail. Susanne Kord, the editor and translator of Twilight, discusses the reception of Bernstein's works—at first enthusiastic, then increasingly sexist—and the theme, in Twilight, of the culturally sanctioned oppression of women.In this naturalist drama, a woman eye surgeon treats the daughter of a man who is prejudiced against educated women. Her successful treatment wins the father's affection for her, and they fall in love. She is ready to give up medicine for wedded bliss—her wish is to become "very happily stupid—but finds misery instead.

In this key text from the French decadent movement, an aristocratic young woman becomes enamored of a young man who makes artificial flowers for a living.

The girl Hüsn and the boy Aşk are betrothed to each other as children. But Hüsn violates the custom of the tribe by falling in love with him, and Aşk must undergo the trials of a journey to the Diyar-i Kalp, Land of the Heart, to prove himself worthy—a journey to realization of both his and Hüsn's true nature.The Turkish verse romance Hüsn ü Aşk, written in 1783 by Şeyh Galip, head of an Istanbul center of Rumi's order of the Whirling Dervishes, is an innovative interpretation of the Islamic love tale as a story of the action of God's qualities in the world. With its stunning imagery, fast-moving plot, and nonchalant, erudite humor, it is widely known as the greatest work of Ottoman literature.In her introduction Victoria Rowe Holbrook discusses the heritage of Ibn Arabi and Rumi in Ottoman thought, the traditions of verse romance and allegory, Indian style imagery, and Galip's political loyalties.

The girl Beauty and the boy Love are betrothed to each other as children. But Beauty violates the custom of the tribe by falling in love with him, and Love must undergo the trials of a journey to the Land of the Heart to prove himself worthy—a journey to realization of both his and Beauty's true nature.The Turkish verse romance Beauty and Love, written in 1783 by ?eyh Galip, head of an Istanbul center of Rumi's order of the Whirling Dervishes, is an innovative interpretation of the Islamic love tale as a story of the action of God's qualities in the world. With its stunning imagery, fast-moving plot, and nonchalant, erudite humor, it is widely known as the greatest work of Ottoman literature.In her introduction Victoria Rowe Holbrook discusses the heritage of Ibn Arabi and Rumi in Ottoman thought, the traditions of verse romance and allegory, Indian style imagery, and Galip's political loyalties.

Through literary works and public appearances, Edith Bruck, born 1932 in Hungary, has devoted her life to bearing witness to what she experienced in the Nazi concentration camps. In 1954 she settled in Rome and is today the most prolific writer of Holocaust narrative in Italian. The book is composed in two parts. "Lettera alla madre"—an imaginary dialogue between Bruck and her mother, who died in Auschwitz—probes the question of self-identity, the pain of loss and displacement, the power of language to help recover the past, and the ultimate impossibility of that recovery. "Tracce," a story of a journey without return, completes the diptych. Bruck's experimental fusion of memoir and fiction portrays the Holocaust from a female perspective and highlights the role of gender in the creation of memory.

Through literary works and public appearances, Edith Bruck, born 1932 in Hungary, has devoted her life to bearing witness to what she experienced in the Nazi concentration camps. In 1954 she settled in Rome and is today the most prolific writer of Holocaust narrative in Italian. The book is composed in two parts. "Letter to My Mother"—an imaginary dialogue between Bruck and her mother, who died in Auschwitz—probes the question of self-identity, the pain of loss and displacement, the power of language to help recover the past, and the ultimate impossibility of that recovery. "Traces," a story of a journey without return, completes the diptych. Bruck's experimental fusion of memoir and fiction portrays the Holocaust from a female perspective and highlights the role of gender in the creation of memory.

The stories of Juan José Millás, who began writing in the 1970s, depart from both the socially engaged, traditional realism and the linguistic experimentation of post-Francoist Spain. They are populated by strange characters: a man who discovers a passage that connects all the armoires on earth, a woman who finds her obsessions to be better company than her cats, a vacationer who prefers his pancreas to the Bahamas as a destination. Influenced by both Gabriel García Marquéz and Franz Kafka and resonant with Freudian concepts, Millás's fiction—ironic, humorous, dreamlike—raises questions about identity, society, and what is normal.In her introduction, Pepa Anastasio places Millás in the context of modern Spain and provides commentary on the style and themes of a contemporary writer little of whose work has yet appeared in English translation.

In the aftermath of the French Revolution, three women who have fled France—the straitlaced aristocrat Emilie, her lighthearted maid Joséphine, and the worldly Constance—try to make new lives for themselves in Altendorf, Germany. Their experiences, difficulties, and choices address the philosophical question, Are moral theories adequate guides to good conduct?In her introduction to this late-eighteenth-century novel by Charrière, Emma Rooksby discusses the sentimental tradition, Enlightenment ideas, epistolary fiction, Charrière's career, and the difficult situation of women and women writers in postrevolutionary France.

A dugout canoe comes ashore on the island of Saint-Barthélemy in the Antilles; in it are a black man, Arsène, and a sleeping white child, Sarah. Seeking refuge, they are taken in by a good man, but the overseer of his plantation threatens both Arsène and Sarah with the loss of their freedom.Deborah Jenson and Doris Kadish introduce Sarah, an 1821 novella by Desbordes-Valmore, explaining its autobiographical background, political context (the revolt of blacks against Napoléon's soldiers), and literary genre (sentimentalism). The novella was a precursor to anticolonial and antislavery texts by Claire de Duras, Victor Hugo, George Sand, and Alphonse de Lamartine.

Women poets in nineteenth-century France made important contributions to major stylistic innovations and many were prominent in their lifetime, yet only a few are known today, and nearly all have been unavailable in English translation. Of the fourteen poets in this anthology some were wealthy, others struggled in poverty; some were socially conventional, others were cynical or defiant. Their poems range widely in style and idea, from Romantic to Parnassian to symbolist.