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What was the perception of Greece in Europe during the later nineteenth century, when the attraction of romantic philhellenism had waned? This volume focuses on the reception of medieval and modern Greece in the European press, rigorously analysing journals and newspapers published in England, France, Germany, Italy, and The Netherlands. The essays here suggest that reactions to the Greek state's progress and irredentist desires were followed among the European intelligentsia. Concurrently, new scholarship on the historical development of the Greek language and vernacular literature enhanced the image of medieval and modern Greece. This volume's contributors consider the press's role in this Europe-wide exchange of ideas, explore the links between romantic and late philhellenism and highlight the scholarly nature of the latter. Moreover, they highlight the human aspects of cultural transfers by focusing on networks of mediators, publishers and scholarly collaborators. This context enhances our understanding of both the creation of Hellenic studies and the complex formation of the modern Greek identity.

Residing in Germany since 1978, Andrea Pagni, Argentine researcher and expert on literary translation studies, discusses her current research in this field and offers a review of her approach to translation studies. In an interview at the University of Erlangen-Nürnberg (FAU), where she has been Professor of Latin American Literature and Culture since 2005, she reflects on the status of translation in cultural journals, the confluence between translation and genre, post-monolingualism, and its role as a “writing laboratory” in the shaping of cultural systems.

Abstract A few years after Morocco's much longed-for achievement of independence (1956), a new generation of intellectuals too young to have participated in what is widely called the nationalist movement burst onto the cultural and political scenes, and shifted the focus of debate from the \"glorious\" past towards social and international realities. The 1960s witnessed the appearance of a diverse group of political, scientific and especially cultural and literary journals that changed the course of intellectual life in Morocco. The creation of these new channels of expression out of the emerging institutions of independent Morocco meant a rupture with the prevailing patterns dominated by nationalist and salafī ideals. This article intends to highlight the role and spirit of these generally overlooked journals within their contextual and historical framework.

Respecto de la transitada polémica entre Boedo y Florida desarrollada en revistas culturales argentinas al promediar la década del veinte, la crítica literaria sostiene que se produjo una distribución de los tonos serios y humorísticos, que se correspondería con la clásica división entre forma y contenido: mientras el \"arte social\" de Boedo se habría concentrado en la denuncia de tono serio, el \"arte por el arte\" que defendió Florida habría encontrado en el humor una de las posibilidades para que la literatura reflexione sobre sí misma. No obstante, una relectura de Los Pensadores, revista en torno de la cual se constituyó el grupo de Boedo, permite advertir que el tono humorístico fue una de sus estrategias centrales para la crítica de la literatura y de la sociedad de su época, en consonancia con su proyecto literario, cultural y político. Palabras clave: revistas culturales, humor, izquierda, arte social, Boedo, polémicas, vanguardias, Florida Regarding the thoroughly discussed polemics between the Boedo and the Florida groups that took place in cultural magazines in the mid 20s, literary critique supports the idea that its display involved a certain distribution of serious and humoristic tones within argentine literary language, which would correspond, in turn, to the classical division between form and content. Whereas the \"social art\" by Boedo would have focused in seriously toned denunciation, grounded in the seriousness of the problems it addressed, the \"art for art's sake\" defended by Florida, would have found In humour a way for literature to reflect about Itself and to produce Its criticism and self-criticism. However, a re-reading of Los Pensadores, the journal around which the Boedo group organized itself, suggests that a humoristic tone was one of its fundamental strategies for the criticism of the literature and the society of its time, in synch with its literary, cultural and political project. Keywords: cultural journals, humor, left, social art, Boedo, polemics, avant-garde, Florida Sobre a conhecida polêmica entre Boedo e Florida desenvolvida nas revistas culturais argentinas em meados dos anos 20, a crítica literária sustenta que houve uma distribuição de tons sérios e humorísticos, que corresponderia à divisão clássica entre forma e conteúdo: enquanto a \"arte social\" de Boedo teria se concentrado em denunciar um tom sério, a \"arte pela arte\" defendida por Florida teria encontrado no humor uma das possibilidades da literatura refletir sobre si mesma. Apesar dessas afirmações, uma releitura de Los Pensadores, revista em torno da qual se formou o grupo de Boedo, permite perceber que o tom humorístico foi uma de suas estratégias centrais para criticar a literatura e a sociedade de seu tempo, em consonância com seu projeto cultural e político. Palavras-chave: revistas culturais, humor, esquerda, arte social, Boedo, polêmica, vanguarda, Flórida

Este artículo analiza algunas de las revistas culturales más importantes del campo cultural cubano contemporáneo atendiendo a cómo el carácter del material que publican expresa y alimenta la existencia de un campo cultural cubano transnacional, que sería una de las partes constitutivas de una sociedad que no se articula exclusivamente sobre el eje del Estado nación. Nuestro análisis relacional y descriptivo demuestra cómo estas publicaciones, surgidas después del colapso soviético, interpelan a una comunidad cubana localizada en múltiples lugares y conectada por lazos de diversa índole (económicos, culturales, étnicos, etc.), estableciendo una identidad colectiva que no se define como “exiliada”, sino como “diaspórica”. Estas publicaciones seriadas abren así un campo cultural más inclusivo y extensivo que escapa a la dicotomía nación/exilio que había dominado en la producción cultural cubana de la segunda mitad del siglo XX.   Abstract   This paper focuses on some of the most important contemporary Cuban cultural journals in order to consider how they have shaped a transnational cultural field, which would be part of a new society not exclusively organized around the nation state. These publications emerged after the collapse of the Soviet Union, speaking to the disperse Cuban community, which remains connected by multiple ties (economic, cultural, ethnic, etc.). The dialogue these journals establish with the community develops a collective diasporic identity, outlining a more inclusive and extensive cultural field, where the opposition nation/exile that had characterized the Cuban cultural production during the second half of the XXth century, is no longer effective.

Residing in Germany since 1978, Andrea Pagni, Argentine researcher and expert on literary translation studies, discusses her current research in this field and offers a review of her approach to translation studies. In an interview at the University of Erlangen-Nürnberg (FAU), where she has been Professor of Latin American Literature and Culture since 2005, she reflects on the status of translation in cultural journals, the confluence between translation and genre, post-monolingualism, and its role as a \"writing laboratory\" in the shaping of cultural systems.

Este artículo se enfoca en el estudio del debate teórico sobre el latinoamericanismo crítico transnacionalizado a finales del siglo XX en su intersección con el ensayismo crítico del Cono Sur, en particular, en la forma en que éste se transforma en un dispositivo discursivo para establecer una diferencia respecto de los usos y la razón crítica de los discursos académicos sobre la literatura latinoamericana en la primera fase de la globalización. Especial énfasis se hace en el ensayismo de las revistas Punto de Vista (Argentina) y Revista de Crítica Cultural (Chile), y de sus dos directoras, Beatriz Sarlo y Nelly Richard, respectivamente.

Objetivo. Se caracterizó, desde el punto de vista formal y bibliométrico, a Vitrales, suplemento cultural del periódico Escambray, durante el período 1992-2012.Diseño/Metodología/Enfoque. La bibliometría descriptiva, así como el análisis documental y de contenido se le aplicaron a 528 artículos publicados por Vitrales, mediante el uso de indicadores formales y bibliométricos.Resultados/Discusión. La revista ha estado dirigida por prestigiosos intelectuales de la provincia de Sancti Spíritus, Cuba. La frecuencia de publicación ha sido irregular, destacándose mayor estabilidad entre los años 2002-2012. La literatura, la cultura y la plástica son las temáticas más tratadas, así como la poesía y la narrativa como géneros literarios. Hay un predominio de la autoría individual y se destacan como muy productivos los autores que forman parte del comité editorial. También hay una alta representatividad de autores masculinos, procedentes mayormente de Cuba. En general, tres hitos históricos se perciben: (1) un período de crisis a mediados de los 90, (2) una apertura temática a principios del 2000, y (3) una estabilización editorial a partir del 2007 en lo adelante.Conclusiones. La bibliometría, generalmente aplicada a publicaciones científicas, permitió la descripción de una revista cultural, donde relevantes patrones de productividad fueron identificados.Originalidad/Valor. Esta investigación comprende la caracterización formal y bibliométrica más exhaustiva, en cuanto a cobertura temporal e indicadores, efectuada a la publicación seriada Vitrales. Objective. Vitrales, suplemento cultural del periódico Escambray was characterized from a formal and bibliometric perspective, for the period 1992-2012.Design/Methodology/Approach. Descriptive bibliometrics, such as documentary and content analysis, were applied to 528 articles published by Vitrales, using formal and bibliometric indicators.Results/Discussion. The journal has been directed by relevant intellectuals from the Sancti Spíritus province, Cuba. The publication frequency has been irregular, highlighting a great stability over the 2003-2012 years. The literature, the culture, and the plastic have been topics boarded the most, such as poetry and narrative as literary styles. There is a predominance of individual authorship, highlighting those who are members of the editorial committee. A great representativeness of Cuban male authors is also noted. In general, three historical milestones are perceived: (3) a crisis period in the mid-90s, (2) a thematic opening in the early 2000 and (3) an editorial stabilization from 2007 ongoing.Conclusions. Bibliometrics, generally applied to scientific publications, enabled the description of a cultural journal, where relevant productivity patterns were identified.Originality/Value. This research encompasses the most exhaustive formal and bibliometrical research, according to temporary coverage and indicators performed on the serial publication Vitrales.

This article analyses the ways in which the crisis of American journalism is constructed in the journalistic discourses on the digital revolution and the economic collapse of newspaper through the particular case of The TimesPicayune. Journalists assume a set of cultural codes which locates the facts within symbolical boundaries of what is professionally understood as good journalism or, on the contrary, outside these boundaries. These cultural assumptions might account for the professional conflict between the traditional journalism and the new challenges posed by the Internet; a crisis greatly motivated by the kind of values towards which the professionalization of American journalism has tended.

We blame translators, and particularly those who translate romances, for suppressing the names of authors. What is the wisdom of doing so? If these translators claim these works to be their own, we could then say that they want to ascribe these works to themselves. But when they admit that they have only translated these works, would it not be better if they affixed the name of the author, who has consumed his brain and spent nights in research and exposed himself to bitter criticism and reproach to write a romance? … Should not his right in writing his work be preserved as we preserve our right of publishing these works?Editor of al-Hilāl.In his momentous dictionary Muḥaīṭ al-muaīṭ: qāmūs muṭawwal li-l-lugha al-ʿarabiyya (1870) [The All-encompassing Comprehensive: An Extended Dictionary of the Arabic Language], under the entry rawā (to narrate or tell a story), Buṭrus al-Bustānī surprisingly includes no reference to the neologism riwāya (novel) and its novel generic connotations, but adheres to the word's older references (basing his dictionary on Majd al-Dīn al-Fayrūzʾābādī's al-Qāmūs al-Muḥaīṭ). This seems surprising given al-Bustānī and his son Salīm's direct role in introducing and propagating the novel and story forms in Lebanon. Al-Bustānī translated The Pilgrim's Progress (1678; Arabic 1844) and Robinson Crusoe (1719; Arabic 1861), while Salīm took over the cultural journal al-Jinān (Gardens/Paradise) in Beirut, which published translations and original fiction, such as his al-Hiyām fī futūḥ al-shām (1870) (Love during the Conquest of Syria), considered a pioneering Arabic novel. Yet, under the entry rawā in al-Bustānī senior's Muḥaīṭ, we find: ‘rawā al- ḥadīth yarwīhi riwāyatan … ḥamaluhu wa naqaluhu … al-rāwī … ʿind al-muḥaddithīn nāqil al-ḥadīth bi-l-isnād … wa alladhī yarwī al-ḥadīth aw al-shiʿr yuqāl huwa riwāyat fulān’ (to narrate a story by telling it … carry it and copy/ transmit it … for the tradition transmitters the narrator is the one who copies/transmits the story through reference … and the narrative produced is the account of the one who told the story or poetry). In line with the tradition of ‘transferring’ stories in Arabic literature, al-Bustānī retains the original act of naql – to copy and transmit – significantly another name for translation.