«Dándole a la pluma»: la recepción de Winesburg, Ohio (Sherwood Anderson, 1919) en España a través de sus traducciones

La recepción de un autor literario a través de sus traducciones está marcada por la sociología del fenómeno traslativo. La preponderancia de un determinado canon estético y la evolución de los hábitos lectores son fiel reflejo de los paradigmas culturales vigentes en la cultura meta a lo largo del tiempo, aspecto que condiciona la naturaleza de las traducciones publicadas y, asimismo, la necesidad de nuevas traducciones. Influyen en dicho proceso otros aspectos intrínsecos a la realidad traslativa, como las necesidades del mercado. El objetivo de este artículo es analizar la recepción de Winesburg Ohio (1919), de Sherwood Anderson, en España desde las perspectivas teóricas arriba indicadas. El estudio presta especial atención a la historia editorial de sus traducciones, así como a las particularidades lingüísticas de la primera traducción publicada (1932) frente a la última versión del libro (2016).

Modernist salon culture: the contributions of the Stettheimer sisters in 1920s New York

During the 1920s, the Stettheimer sisters Ettie, Florine and Carrie opened the doors of their home in tlie Alwyn Court on West 58th Street, New York, to numerous guests, celebrities, poets and artists including Marcel Duchamp, Francis Picabia, Gaston Lachaise, Elie Nadelm~; and Paul Thevenaz, dancer Adolph Bolm, playwright Avery Hopwood, writer Sherwood Anderson, as well as critics Carl Van Vechten, Henry McBride and Paul Rosenfeld. Rivaling the era's famous salons of Gertrude Stein and Nathalie Barney in Paris, collectively the sisters created a literary and artistic salon in which art making flourished. The distinctly feminine decor served as a backdrop for Florine's paintings on display in the salon; Ettie would describe the vibrant salon culture in her autobiographical and fictional writings; and Carrie's role as sartorial experimenter would be inscribed in the sisters' paintings and writings.

Modernist salon culture: the contributions of the Stettheimer sisters in 1920s New York

During the 1920s, the Stettheimer sisters Ettie, Florine and Carrie opened the doors of their home in tlie Alwyn Court on West 58th Street, New York, to numerous guests, celebrities, poets and artists including Marcel Duchamp, Francis Picabia, Gaston Lachaise, Elie Nadelm~; and Paul Thevenaz, dancer Adolph Bolm, playwright Avery Hopwood, writer Sherwood Anderson, as well as critics Carl Van Vechten, Henry McBride and Paul Rosenfeld. Rivaling the era's famous salons of Gertrude Stein and Nathalie Barney in Paris, collectively the sisters created a literary and artistic salon in which art making flourished. The distinctly feminine decor served as a backdrop for Florine's paintings on display in the salon; Ettie would describe the vibrant salon culture in her autobiographical and fictional writings; and Carrie's role as sartorial experimenter would be inscribed in the sisters' paintings and writings.

Sociosemiotic Approach to Structure and Composition of a Fragmentary Novel

В статье фрагментарный роман рассматривается с позиции социосемиотического подхода, позволяющего интерпретировать все компоненты художественного текста как знак, имеющий форму выражения и содержание. Автор статьи останавливается на голосе автора, представляющего собой лингвориторический феномен, и показывает особенности его формирования в двух фрагментарных романах — Шер-вуда Андерсона «Уайнсбург, штат Огайо» и Эрнеста Хемингуэя «В наше время», а именно в какой зависимости находится голос автора от цели и коммуникативного намерения писателя и каким образом он влияет не только на выбор лексики и синтаксических структур, но и на композиционную организацию повествования, определяя единство эффекта каждого отдельного рассказа-фрагмента в канве целого романа. The article focuses on a fragmentary novel from the perspective of the sociosemiotic approach, which emphasizes that everything about a text is meaningful and, thus, can be interpreted as a sign having form and content. Among all the features of prose fiction the author’s voice is chosen and analyzed as a lingua-rhetoric phenomenon in two fragmentary novels: “Winesburg, Ohio” by Sherwood Anderson and “In Our Time” by Ernest Hemingway. The author’s voice is determined by the author’s purpose and communicative intention, and influences the choice of vocabulary and syntax as well as the composition of the narrative. Moreover, the article proves that the author’s voice viewed in terms of the sociosemiotic approach is responsible for the holistic effect of all the successive episodes in a fragmentary novel.

Members of the National Committee for the Defense of Political Prisoners (Dreiser Committee)

In 1931, the National Committee for the Defense of Political Prisoners, comprised of well-known writers Theodore Dreiser, John Dos Passos, Sherwood Anderson, and others, sponsored hearings in the Kentucky coalfields. The committee (known as the Dreiser Committee) also had a presence in Harlan to promote the Communist-oriented National Miners Union....

What’s the Matter with Ohio? Liberal Democracy and the Challenge of Irrationality

This essay mines 100 years of fiction about the irrationalities of small-town Ohio to ask whether liberal democracy can accommodate irrationality or is required, because of its double commitment to equality and liberty, to exclude it. Reading novels from Sherwood Anderson, William Gass, and Stephen Markley, I trace a trajectory from the late nineteenth century of Anderson’s Winesburg, Ohio (1919), when irrationality partially grounded liberal community, to the twenty-first century of Markley’s Ohio (2018), when the irrationalities of violence, addiction, racism, and abuse constitute what I call “piteous solidarity,” a form of solidarity grounded on our shared inhumanity. I conclude by speculating that such piteous solidarity might represent “the mobilization of common affects in defense of equality and social justice” that Chantal Mouffe has recently argued is necessary for constituting the “we” of a left populism.