How do we speak and write in a way that is concise and accessible to a wider audience and that can make an impact on social movements and on life in society?
Trans;form Response: Saqer Almarri’s “Identities of a Single Root: The Triad of the Khuntha, Mukhannath, and Khanith”
Mixed forms are crucial not only to the understanding of khuntha, mukhannath, and khanith communities, but also to the very scaffolding of Almarri’s paper.
Henning Mankell's detective is always uneasy around those alien characters (the typographical kind).
A note on the Oregon Shakespeare Festival's decision to "translate" Shakespeare's plays for a contemporary audience.
If we want to do sociology of literature, let’s get away from texts for a bit.
Adam Mickiewicz (1798-1855) is a towering figure in Central and East European literary history. You'll find monuments to him in three national capitals—Warsaw, Minsk, and Vilnius—as well as the Ukrainian city of Lviv. In Krakow, he's buried in the Wawel, alongside Polish kings. Haven't heard of him? Me neither, not till long after I finished my Ph.D.
I've recently returned from an American studies conference on "transnational poetics" at Ruhr-University Bochum. Many of the papers were first-rate, but there was a recurrent problem, namely, a lack of certainty regarding the meaning or value of the word "transnational." What differentiates a "transnational" approach to a literary topic from an "international" or "comparative" one?
To what extent should literary taste be thought of as a given, especially when applied to literature from elsewhere?
A comment by Lee Konstantinou to Natalia Cecire's amazing post about academic blogging, in which he writes that Arcade doesn't have the general reader as its main audience, got me thinking about relationships between readership and translation.