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While perpetrator fiction, which centralizes the perpetrator's experience, perspective, and mind, is commonly studied through the peril of readers' possible identification with the executioner, this paper considers the challenges that writers face in creating these characters. First, the question of narrative authority—who is authorized to imagine the Holocaust?—arises anew: do nonsurvivors hold the public and moral legitimacy to imagine perpetrators? Second, there is the risk of writers' identification with the humanized executioner to the point of losing their moral judgment and critical perspective. Utilizing Holocaust historiography (Yitzhak Arad, Christopher Browning) and recent theoretical work on perpetrator fiction (especially by Erin McGlothlin), this paper identifies some of the textual mechanisms that contemporary authors employ in response to these challenges: metapoetic discourse, the fantastic mode, creative uses of historical facts, first-person and unreliable narration, and alternating textual forms. Following an introductory presentation of the theoretical problem, the paper closely explores mechanisms of defense and narrative authority in the "Wasserman" part of David Grossman's See Under: Love ('Ayen 'erekh: Ahavah), before turning to a briefer consideration of Martin Amis's Time's Arrow, Bernhard Schlink's The Reader, and other second-generation Holocaust narratives. A more extensive analysis of Jonathan Littell's The Kindly Ones concludes my discussion. [ABSTRACT FROM AUTHOR]

This paper reflects on the question of fictional authorship based on the case of the Libro de los grandes hechos, an apocalyptic text circulated in Spanish, Catalan, and Portuguese during the fifteenth century. All versions attribute its creation to a supposed visionary friar of the order of the "Sancti Spiritus" named Juan Unay (or similar). However, no other documents on this figure exist. To analyze this problem from both theoretical and practical perspectives, I will organize the paper in three sections. First, I will introduce two general approaches with which to address the study of authorship in the field of medieval apocalyptic literature. Secondly, I will explore the different hypotheses developed by specialists regarding the authorship of the Libro de los grandes hechos. Finally, I will propose my own interpretation of the identity of Juan Unay with the help of Umberto Eco's concept of the "model author." [ABSTRACT FROM AUTHOR]

This paper will discuss the possibility of attributing authorship to translations by carrying out a comparative stylometric analysis of an author's poems and their translations of other writers' works. The paper puts forward two hypotheses. Firstly, its aim is to test whether an author's poems and translations share stylistic patterns. Secondly, it will test whether these shared patterns can be used to attribute authorship of translations. The complete works of Antonio Colinas and Eloy Sánchez Rosillo, together with their respective translations of Giacomo Leopardi's Cantos, will be used. Based on these texts, we will build computational representations that correspond to the stylistic profiles of each author, using various style cues related to metrics, grammar, and lexicon. These representations will serve as input for the calculation of similarity. Its result will allow us to determine to what extent characteristics of an author's own verses remain in the translated poems and whether there is more closeness between the two translations or between each author's poetry and their translation. [ABSTRACT FROM AUTHOR]

The apostolic missionary Pedro Cubero (c. 1645-c. 1701) is well known for his journey around the globe by heading East. Cubero exploited this journey in a significant number of publications, including his Peregrinación del mundo (1682). Cubero also expanded his literary career with other subjects unrelated to his travels in books that combine historical and geographical content. However, these works are notable for their tendency toward literary theft. Cubero used the knowledge of several unpublished or barely-known texts to increase his written output with several counterfeit volumes. In this paper I intend to analyze one of these plagiarisms committed by Cubero in a specific work: Descripción general del mundo (1697). This text is an irregular mixture of topographical and chronological information due to the use and abuse of sources by the apostolic missionary. In short, I seek to trace Cubero's different strategies to appropriate other people's texts and, above all, to try to mask this practice. Finally, I will try to explain Cubero's plagiarism in relation to his cultural milieu. [ABSTRACT FROM AUTHOR]

Between the eighteenth and nineteenth centuries, an esthetic revolution awakened a new interest in traditional poetry, which was considered the depositary of the Volksgeist and the most faithful representation of the national character. This paper raises the possibility of using the concept of author function to prove the high coherence with which German Hispanism, and in particular Ferdinand Wolf, considered the people of Spain as the authorial subject of Spanish romances. To do so, I will review the increasing interest in folk poetry since the 1750s contextualizing it within the new processes of the creation of national identities and Europe's special attraction to the Spanish case. Secondly, I will connect this revival to both new esthetic sensibilities that revolutionized the concept of authorship, such as expressive theories, and the creation of a collective subject (das Volk) as the origin of romances. I will analyze this collective subject as a potential author function. Finally, I will compare this against Wolf's thesis on the Spanish Romancero. [ABSTRACT FROM AUTHOR]

Over the last fifteen years, a new literary trend has emerged based on the zombified rewriting of great classics of universal literature as a consequence of the success of the publication of Pride and Prejudice and Zombie (Grahame-Smith); this trend includes several texts from the Hispanic literary tradition. In this paper we analyze this postmodern phenomenon through the comparative study of three zombie adaptations and their original Spanish classics. Our objective is to deepen our understanding of the (re)writing mechanisms used by the authors of these adaptations: LaZarillo. Matar zombis nunca fue pan comido (2010) by González Pérez de Tormes, Quijote Z (2010) by G., and La casa de Bernarda Alba zombi (2009) by García Lorca. [ABSTRACT FROM AUTHOR]

Part of Joaquín Dicenta's large literary production is currently overlooked in Spanish literary history, despite being one of the most unique figures of the late nineteenth to early twentieth century period. He is primarily remembered for his prolific journalistic work and for introducing social drama to Spain—a theatrical genre cultivated by European playwrights at the time. This paper aims to shed light on an aspect of Dicenta that has been relatively neglected by scholars: the genesis of his novel Encarnación (1913). In composing this book, the author appears to have merged stories from Spoliarium (1888) and certain passages from Idos y Muertos (1909), both inspired by biographical events. I focus on several aspects, including the textual transmission of Encarnación, the underlying process of rewriting, the biographical episodes that inspired the novel, and the similarities and differences with the other two works with which it has been linked. [ABSTRACT FROM AUTHOR]

The counterfeit works of Rafael Bolívar Coronado (1884–1924) represent a phenomenon with unusual repercussions on critical reception. This author managed to publish more than twelve volumes with false authorship and content, from "crónicas de Indias" to collections of poetry. This article presents a theoretical approach regarding literary falsification in general and highlights the concepts of lightness and multiplicity to propose an interpretation of the Bolívar Coronado case. This paper also deals with the artistic dimension of literary forgeries as creative works that use the same methods and strategies as fiction writing. The set of falsified works by this author can be interpreted as a conceptual proposal that questions the functioning of the literary field of his time. Likewise, his proposal can also be framed within the cultural criticism that the forgery tradition entails: it questions not only the difficult discernment between the concepts of truth and lies, but also the rigidity of some guardians of cultural institutions and the system of legitimation, awards, and literary reviews. [ABSTRACT FROM AUTHOR]

This paper delves into the intricate relationship between translation, authorship, and comparative literature, and analyzes how the postmodern concept of translation redefines the traditional boundaries of authorship. The case of Vibha Maurya's translation of Don Quixote to Hindi is used as a way to problematize these concepts in the context of postcolonialism, intercultural dialogue, and the theory of the "third space of enunciation," which is the specific socio-political locus of enunciation for Maurya's translation. Vibha Maurya's decision to translate Don Quixote directly from Spanish to Hindi posed a double challenge with literary and political consequences. Not only did she have to deal with a rigid, canonical, Indian academy that had been historically controlled by men, but also she made a point to discard all translations from English, which had traditionally been regarded as the "original" source of all renderings of Don Quixote, questioning the fidelity of previous versions and closing the gap with Spain's Golden Age. [ABSTRACT FROM AUTHOR]

The poetry of Mexican author Jaime Sabines (1926–1999) is situated within a period of change in Latin America (Cuban revolution, dictatorships, and stylistic changes in literature) that linked the author to colloquialism. According to Cesare Del Mastro, this is a form marked by the use of plain and popular language rather than academicism. Using this style as a platform, two central topics presented in the collection of poems Diario Semanario y poemas en prosa (1961) are addressed in this paper: the everyday and the mortuary. Both are shown as symptomatic expressions of an affront to modernity, with signs of oppression, and the tense relationships and poetic responses are analyzed as a response to deep historical transformations. [ABSTRACT FROM AUTHOR]