Explore the vast range of titles available.

\"This an anthology of short stories from the thirty-nine best Latin American authors under forty is being published in conjunction with the Hay Festival. With authors from fifteen different countries, this really is a diverse collection of stories that will transport readers to a whole host of new worlds and showcase the best writing coming out of Latin America today. The chosen authors include Valeria Luiselli, Samanta Schweblin and Laia Jufresa. Their stories have been translated into English by a group of the finest translators around, including familiar names such as Daniel Hahn and Christina MacSweeney as well as many new and exciting talents. The anthology was launched at the Hay Festival in 2018 with events bringing many of the authors and translators together to celebrate these fantastic authors and their stories.\" -- Provided by publisher.

El artículo examina la traducción al italiano de la novela La Templanza / Un sorriso tra due silenzi (2015) de María Dueñas que fue la más vendida de ese año y llevada, simultáneamente en Italia y España, a la pequeña pantalla por Amazon Prime en marzo de 2021. Para comprobar la calidad de una traducción literaria entran en juego la crítica, la evaluación y la revisión, fundamentales en el proceso de traducción cuya diferencia fundamental está en el texto provisional (revisión) o definitivo (crítica y evaluación) y, en ocasiones, olvidadas por los traductólogos y ausentes también en los programas de formación. Sí se suelen considerar las estrategias traductoras utilizadas, que son aquellas que permiten hallar la equivalencia en los contextos de traducción y que constituyen el objetivo principal del artículo, donde la Pragmática cobra importancia porque ofrece los recursos necesarios para revisar los textos y aclara la interrelación entre enunciado-contexto-interlocutores, factores extralingüísticos que determinan nuestro uso del lenguaje y que no son contemplados por la gramática tradicional.

Introducción: El accidente cerebro vascular es una de las principales causas de discapacidad que afecta a los sobrevivientes y cuidadores. Evaluar la preparación del cuidador para la transición al hogar mediante un instrumento validado permitirá responder a las necesidades de cuidado de manera óptima. Objetivo: Traducir, adaptar y validar las propiedades psicométricas del instrumento de evaluación de la preparación para la transición al hogar en México. Metodología: Estudio metodológico de siete etapas: traducción, adaptación semántica, validación por jueces, corrección de estilo, prueba piloto, propiedades psicométricas y análisis factorial. Resultados:  Índice de Validez por Ítem: 0.37; Criterio de Validez: 24% de error; Índice de Validez de Contenido: 10. Los coeficientes de W Kendall: coherencia [141.848/p= 0.000], claridad [143.312/p= 0.000], relevancia [159.631/p= 0.000], suficiencia [59.885/p= 0.000]. Versión final, validez de criterio mediante el análisis de Kaiser-Meyer-Olkin es de 0.832. Esfericidad de Bartlett [X2 =2158.306, gl = 300, p = <0.000].  El análisis factorial exploratorio identificó siete factores, explicando el 63.38% de la varianza total. El análisis factorial confirmatorio mostró un ajuste adecuado del modelo: (X2 = 779.423, gl = 269, p = <0.000; CFI = 0.741; TLI = 0.687; NFI= 0.660; AIC= 941.423; PNFI= 0.547; RMSEA = 0.087 IC [.080/.094]). La consistencia interna final es de 0.86 por alfa de Cronbach.   Conclusiones: El instrumento en México mantiene los 25 ítems distribuidos en siete dominios, válido y confiable para esta población.

By the time the midwife arrived the baby was already out, his umbilical cord cut with a reed and then buried by his father in the backyard so he would have a sense of belonging to his family, his home, his land, and he would always know where to return. Benito That day at the beach you said you were capable of doing anything for me while your unbuttoned pants exposed your white butt while the crabs watched... and the heat of your chest squeezed my heart. Central Cinema Oaxaca, Mexico I speak for those of us who gave ass to dozens of the federal police officers during their occupation of Oaxaca, in 2006, in that porn theater in the corner of the Zócalo. Ciudad Juárez \"It all happened so fast\" \"We're scared\" \"We wish we could go back to three years ago\" \"Everyone is leaving\" \"Empty houses\" \"So much uncertainty\" \"There's so much pain\" \"Abandonment-vulnerability\" \"Despair\" \"I was born in a place that has all the conditions for me to get screwed up the ass,\" \"culture of death\" \"They became numb\", \"innocence lost\" \"Normalization of violence\" \"In Juárez, everybody is trying to survive\" \"You're surviving\" \"Who do I protect myself from: from the narcos, from the police, from the soldiers?\" \"We have the will to resist violence\".

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

   

In 1561, a man named Paquiquineo was taken by Spanish mariners from a land he called Ajacán, in what is now the state of Virginia in the United States. After several years at the Spanish court, he was sent to New Spain and tasked with serving as translator for a military expedition to his homeland. His sudden illness and subsequent conversion to Christianity created delays and served to \"thwart or at least defer\" the invasion (Brickhouse 53), but eventually, under the new Christian name of don Luis de Velasco (Mexico's second viceroy was his godfather and namesake), he twice returned to Ajacan as a guide and interpreter. In 1566, an expedition of soldiers and Dominicans failed to achieve its goals (Paquiquineo may have sabotaged it); in 1570, an expedition of Jesuits with no military escort was destroyed by armed indigenous resistance. Eyewitness testimony claimed that Paquiquineo himself led the killing of the Jesuits (Brickhouse 47-75).Anna Brickhouse analyzes Paquiquineo as an \"Unfounding Father,\" an agent of \"motivated mistranslation\" (5) who enacts the \"unsettlement of America\" (2) and whose history is alternately examined and erased by later historians of the region, among them el Inca Garcilaso de la Vega, who closes his La Florida del Inca with Paquiquineo's story (349-50). Paquiquineo rubbed shoulders with indigenous people from across the Americas, and serves as the organizing figure in Brickhouse's account of how indigenous interpreters \"participated in a process of transatlantic discovery and exchange that was not simply Native-European but inter-indigenous, as the translators and would-be translators traveled from island to island, and from the Americas to the European contact zones created by their arrival in Spain\" (26).

El núcleo de este artículo es una lista de traducciones, reseñas y diferentes tipos de artículos sobre autores latinoamericanos y/o sus obras literarias vertidas al esloveno, publicados entre 1960 y 1970 en esloveno. Dicha lista ha sido compuesta a partir de la base de datos conservada en el Departamento de Literatura de la Academia de Ciencias de Eslovenia. Estos datos han sido cotejados, a su vez, con los que figuran en Cobiss, el sistema informático de las bibliotecas eslovenas, para los años 60, con el fin de establecer un cierto marco comparativo. La lista de textos relativos a la recepción de la literatura latinoamericana en Eslovenia es un documento que permite y exige muchos tipos diferentes de lecturas, y en este artículo se bocetan algunas. Una visión retrospectiva, apoyada en datos y estadísticas más recientes, nos ha permitido esbozar una respuesta a la cuestión del significado de los autores latinoamericanos y la importancia de sus obras en Eslovenia, tanto hace cincuenta años como en la actualidad.

Les murmures de Ch'askascha/ Ch'askaschaq chhururuychan/ Los murmullos de Ch 'askascha [The Little Chaska Muttering] by Eugenia Carlos Ríos, who writes under the name of Ch'aska Anka Ninawaman [morning star fire hawk eagle] was published in 2021, in a trilingual edition. Initially written in Quechua, it was translated into Spanish by Anka Ninawaman and French by Claire Lamorlette. Anka Ninawaman is a poet and fiction writer with a doctorate in Social and Cultural Anthropology who lives in France. The compound pseudonym Ch'aska Anka Ninawaman reflects the significance of the natural world in her writing. The author inspires her stories in a landscape between France and the territory of the K'ana Nation, corresponding to Ch'isikata in Espinar Province, Cuzco (Peru), where she is from.Los murmullos story collection connects the reader to the emotions, creative struggle, and imaginative force of a transnational writing craft. How does the Quechua worldview infuse Anka Ninawaman's writing strategies? Studying Anka Ninawaman's self-translated version of Ch'askaschaq chhururuychan into Spanish and drawing on critical Indigenous studies, posthumanism, and postcolonial ecocritical perspectives, I argue that Los murmullos challenges stereotypes built upon static Indigenous attributes and disrupts uniformizing paths for collective belonging through what I term \"cosmopoetics of memory.\" This notion names the crossing between cosmovision and poetics when the acts of reciprocity of Quechua communal bonds, implied in the collective enunciation of the narrative, mirror the strong rapport between humans and non-humans in Quechua cosmovision. Overall, Los murmullos provides anticolonial presentations of the Quechua artistic expression, formulates a transnational Quechua cultural horizon beyond the violence of coloniality, and affirms the value of cohesiveness that emerges from the interconnection between humans and other-than-human beings. The notion of cosmopoetics of memory explores the dissemination of the Quechua worldview and heritage through written and oral art, including storytelling and poetry.! I propose to understand this concept in conversation with Critical Indigenous studies, as they operationalize: \"Indigenous knowledges to develop theories, build academic infrastructure, and inform our cultural and ethical practices\" (Moreton-Robinson 10). In the following study, I discuss first how Anka Ninawaman's Los murmullos contributes to Indigenous knowledge dissemination, materializing the convergence of its poetics and Quechua cosmovision; second, the analysis explores how Anka Ninawaman's cosmopoetics of memory develops at a contact zone related to the Quechua notion of chaupi, in-between or third indefinite element (Mancosu 14), in connection with the multilingual and transnational presentation of her work; third, the study examines how Los murmullos\" cosmopoetics of memory underscores the importance of cooperation between humans and other-than-human beings in anticolonial cultural practices.