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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]

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]

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]

Section IV, “Poemas del Lago Eden Mills,” of Federico García Lorca'sPoeta en Nueva Yorkcontains just two poems: “Poema doble del Lago Eden” and “Cielo vivo.” This article offers a close reading of the second poem, which is often neglected in commentaries on the collection. The speaker contemplates his mortality, contrasting the mutability of the natural world with a kind of ideal—though ultimately unattainable—afterlife of which the contours are informed by the original plenitude associated with the Garden of Eden and the womb. Thematically, then, “Cielo vivo” can be seen as complementing “Poema doble”: It looks to the future, while in the other poem, the speaker is principally concerned with his existential dilemmas as they affect him in the present. [ABSTRACT FROM PUBLISHER]

T. S. Eliot wrote, “We can only say that it appears likely that poets in our civilization, as it exists at present, must be difficult” (“The Metaphysical Poets” 248). But what of poets outside “our” civilization? This article considers the translation of the famously—or infamously—difficult poet Li Shangyin (c. 813–858) in light of the history of poetry translation from Chinese into English, which, from Coleridge to Prynne, coincides with and even helped create the history of poetic difficulty in English. My argument here concerns the elements of Li Shangyin that can be crystallized and made relevant for the present through translation into English. [ABSTRACT FROM PUBLISHER]

Charles Baudelaire's predication of his aesthetic on the wellknown "deux postulations simultanées" toward God and Satan (and, implicitly, other polar dualisms locked in a violent struggle for ascendancy in the poet's soul) makes his work particularly apt for the deployment of irony. In one of his most notorious poems, "À celle qui est trop gaie," which was censored from Les Fleurs du mal during the infamous trial of 1857, the poetlover's simultaneous experience of conflicting, although not mutually exclusive, feelings of love and hate, in response to a woman's excessive beauty and gaiety, creates an oxymoronic ironic tension so intense and intolerable that it precipitates a mad, dizzying plunge into violence. Another ironic tension exists between the poem's virtual sadistic phantasm and the actual person, Madame Sabatier, who inspired it, providing an extraordinary instance of text and context that are reciprocally elucidating. [ABSTRACT FROM AUTHOR]

Focuses on reference, history, and memory in Russian conceptualist poetry. Significance of conceptualist school among postmodern developments in Russian literature; Conceptualism as a designation; Realignment of poetic discourse and reality.

The interpretations of several twentieth-century lyrical poems are at the core of this essay. Poems are viewed from the mnemonic perspective of the reader with particular attention to their inner structures, the dynamic patterns that are the building blocks of meaning. The cognitive approach employed here leads to the conclusion that poetry represents knowledge about areas of reality not explored by science. [ABSTRACT FROM AUTHOR]

Examines the representation of time and space in the poem "Soledades," by Luis de Góngora. Relationship of the poem to baroque cosmology; Discussion on the poem's approach to time; Analysis of the expression of the concept of apocalypse in the poem by Góngora.

Analyzes the writings of Gaston Bachelard on poetic imagery and his focus on images of ambivalence in the poems written by Charles Baudelaire. Literary criticism launched by the writings of Bachelard; Style of writing that Baudelaire strives to create; Quotations of Baudelaire used by Bachelard to refine superficial aesthetics dualism and extend poetry into the realm of ethics.

Analyzes the examples of the translated versions of Baudelaire's poem "Les Fleurs du mal," in which Symbolist dreams induce Decadent nightmares. Popularity of the poetry with illustrators and publishers; Creation of a unity based on the balance of romantic and Symbolist imagery; Representation of the poet embracing evil and death by Beltran-Masses; Idealization of Baudelaire's central duality; Juxtaposition of the figure of a woman with that of a skeleton by Armand Rassenfosse.

Examines the role of tango in Argentine culture. Denouncement of tango as a degrading form of lower-class immorality; Use of tango as a basis for essays concerning Argentine temperament and values; Relationship of tango and contemporaneous vanguard poetry; Distinction between the lyrics and high-culture poetry of the Argentine tango.

Presents a psychoanalytic interpretation of the works by poet Gustavo Adolfo Bécquer. Manifestation by the poetry "Rima LII" of the process of a loss of conscoiusness; Projection by Bécquer of a quality of blankness; Explanation by Bécquer of his creative process.