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With its new subtitle, Romance Literatures of the World, the book series mimesis presents an innovative and integral understanding of the Romance world and Romance Studies from the perspective of literary studies and cultural theory. It takes account of the fact that the fascinating development of Romance literatures and cultures both in Europe and beyond has set in motion worldwide dynamics which continue the great traditions of the Romance world and open up new horizons for them. mimesis works from a transareal understanding of Romance Studies which integrates Romance literatures and cultures both within and outside Europe and which transcends the national and disciplinary boundaries which often conceal the interactions between different traditions and developments in Europe and the Americas, in Africa and Asia. In the archipelago of Romance Studies, mimesis reveals how the representation of reality in the Romance literatures of the world opens the door to a multilingual cosmos of diverse logics.

Academics, researchers and postgraduate students in Contemporary English Literature; Gothic Literature; Children's Literature; Youth and Childhood Studies; Contemporary Popular Culture; Critical Theory.

Uncommon Alliances: Cultural Narratives of Migration in the New Europe takes a critical stance toward both assimilationist and multicultural imaginings of community in the European Union that occlude neocolonial relations of dependence and exclusion.

Print – and by extension, visuality – has historically dominated the literary, artistic, and academic spheres in Canada; however, scholars and artists have become increasingly attuned to the creative and scholarly opportunities offered by paying attention to sound. Resistant Practices in Communities of Sound turns to a particular opportunity, interrogating the ways that sonic practices act as forms of aesthetic and political dissent. Chapters explore, on the one hand, critical methods of engaging with sound – particularly bodies of literary and artistic work in their specific materiality as read, recited, performed, mediated, archived, and remixed objects; on the other hand, they also engage with creative practices that mobilize sound as a political aesthetic, taking on questions of identity, racialization, ability, mobility, and surveillance. Divided into nine pairings that bring together works originating in oral/aural forms with works originating in writing, the book explores the creative and critical output of leading sonic practitioners. It showcases diverse approaches to the equally complex formations of sound, resistance, and community, bridging the too-often separate worlds of the practical and the academic in generative, resonant dialogue. Combining the oral and the written, the creative and the critical, and the mediated and the live, Resistant Practices in Communities of Sound asks us to attune ourselves as listeners as well as readers.

James Joyce's astonishing final text, Finnegans Wake (1939), is universally acknowledged to be entirely untranslatable. And yet, no fewer than fifteen complete renderings of the 628-page text exist to date, in twelve different languages altogether – and at least ten further complete renderings have been announced as underway for publication in the early 2020s, in nine different languages. Finnegans Wakes delineates, for the first time in any language, the international history of these renderings and discusses the multiple issues faced by translators. The book also comments on partial and fragmentary renderings from some thirty languages altogether, including such perhaps unexpected languages as Galician, Guarani, Chinese, Korean, Turkish, and Irish, not to mention Latin and Ancient Egyptian. Excerpts from individual renderings are analysed in detail, together with brief biographical notes on numerous individual translators. Chronicling renderings spanning multiple decades, Finnegans Wakes illustrates the capacity of Joyce's final text to generate an inexhaustible multiplicity of possible meanings among the ever-increasing number of its impossible translations.

A powerful reading of a mode of popular fiction made especially salient in an age of increasing financialization.Argues that contemporary realism has been shaped by the increasing abstraction by which neoliberal finance has come to rewrite what counts as real. Building on both established and emerging discussions of literature and finance,Finance Fictionstakes the measure of the tension between psychosis and realism in the contemporary finance novel. Revisiting such twentieth-century classics of the genre as Tom Wolfe'sBonfire of the Vanitiesand Bret Easton Ellis'sAmerican Psycho, this book considers that the twenty-first century is witnessing the birth of a new kind of finance novel that in the face of an ongoing economic crisis, ever more frequent market crashes, and the politics of austerity, pursues a more realist approach to the actual workings of the economy. But what kind of realism would be attuned to today's economic reality of high-frequency trading, dominated by complex financial instruments like collateralized debt obligations and credit default swaps, and digital algorithms operating at speeds faster than what human beings or computers can record? If Tom Wolfe in 1989 could still urge novelists to work harder to \"tame the billion-footed beast of reality\", it seems today's economic reality confronts us with a difference that is qualitative rather than quantitative: a new financial ontology requiring new modes of thinking and writing. Mobilizing the philosophical thought of Quentin Meillassoux in the close-reading of finance novels by Robert Harris, Michel Houellebecq, Ben Lerner and less well-known works of conceptual writing such as Mathew Timmons' Credit, Finance Fictions argues that realism is in for a speculative update if it wants to take on the contemporary economy-an \"if\" whose implications turn out to be deeply political. Part literary study and part philosophical inquiry,Finance Fictionsseeks to contribute to a new mindset for creative and critical work on finance in the twenty-first century. Features readings of popular novels, such as Tom Wolfe's \"Bonfire of the Vanities\" and Bret Easton Ellis' \"American Psycho,\" as well as more recent works by Robert Harris, Michel Houellebecq, and others.

The first full-length work to use prominent accounts of globalization to examine contemporary poetry written in English.Offers accessible readings of poetic form and of the contemporary political economy and sociology of globalization.Restores attention to poetic subgenres such as the ode and the prospect poem by offering a new, globalized interpretation of their ethical and political relevance.What happens when we think of poetry as a global literary form, while also thinking the global in poetic terms?F orms of a Worldshows how the innovations of contemporary poetics have been forged against a backdrop of globalization. Creatively intervening against the changes wrought by neoliberalism before they are made fully present, contemporary poets have remade the formal repertoire. In experimental reinventions of the ballad, the prospect poem, and the ode, Hunter excavates a new, globalized interpretation of the ethical and political relevance of forms.Shows how poetry exhorts us to imagine forms of social life and political intervention.

Companion to Victor Pelevin, a collaborative undertaking by a group of emerging Russianist scholars, focuses on the work of one of the most important and hotly debated post-Soviet writers. The contributors offer new readings of Pelevin texts that cover a broad time span and pay due attention to the philosophical and aesthetic complexities of Pelevin's oeuvre in its development from the early post-Soviet years to the second decade of the present millennium.

Vladimir Sorokin is the most controversial contemporary Russianwriter. He became famous when the Putin youth organization burned his books andhe picked up neo-imperialist discourses in his dystopian novels, making him oneof the fiercest critics of Russia's \"new middle ages,\" while remainingsteadfast in his dismantling of foreign discourses.