While recent scholarship in the Latinx nineteenth century has emphasized the print culture processes informing Spanish-language textual production, the field has also been energized by a focus on prominent authors. This article traces the tension between emphasizing a representative subject (author) versus the way print culture provides insight into lived experiences in sociopolitical contexts. The piece turns to debates over the novel Jicotencal and the attraction of Maria Amparo Ruiz de Burton and José Marti as representative figures to trace scholarly developments over the last two decades. Looking toward future directions, the chapter envisions ongoing attention to archival holdings and intersections with critical projects such as queer and Indigenous studies. The last section emphasizes the importance of translation for research in the Latinx nineteenth century.

The transnational turn in American literary studies has forged new epistemologies and approaches for thinking about postnational cultural forms while centering empire and imperialism in the development of US culture. This chapter reviews these critical conversations and takes up the recent concept of the Black Pacific to examine how the redefinition of the United States as an empire-state rather than as a nation-state has transformed the study of race and comparative racialization in the long nineteenth century. In so doing, the essay considers some lesser-studied Black American writings on and responses to the Philippine–American War as part of an emerging Black American discourse on the Pacific, as Asia became more geopolitically significant to the United States. The essay pays particular attention to publications from the era’s most influential Black literary magazine, the Boston-based Colored American Magazine. Specifically, it examines the complex Black American reception history of José Rizal’s landmark novel of Filipino nationalism, Noli Me Tangere (1887), which was translated from Spanish into English and published in the United States as two dramatically different abridged novels in 1900.

Francisco Javier Vingut was a nineteenth-century Latino educator who dedicated his life to teaching Spanish while living in the United States. Vingut also produced Spanish-language textbooks, compiled a bilingual literary anthology, and published the complete works of such important figures of his day as José Antonio Saco, José María Heredia, and the poet Plácido (Gabriel de la Concepción). This chapter demonstrates how his textbooks and compilations are an integral component of US American literary history. Influencing such US intellectuals as George Folsom and Herman Melville, Vingut’s works also established a series of Latina/o legacies that extend beyond his lifetime. They include Vingut’s impact on the Latina/o educator Luis Felipe Mantilla and his translation of Peter Parley’s Universal History, a translation distributed throughout the Americas. Vingut’s wife, Gertrude Fairfield, has a Latina/o legacy of her own: her novel Naomi Torrente: History of a Woman (1864) is a thematic precursor of the Latinx novels of the 1990s with their focus on the challenges faced by second-generation Latina/o/xs. This chapter contends that Spanish-language textbooks continue to be literary and political in nature. In light of the current book banning across the country and the concurrent attacks on educators, this study is particularly urgent.

One trend in recent nineteenth-century American studies has been the rising critical status of poetry, which has gone from being widely neglected by C19 scholars to being a vibrant and diverse field of scholarship. Yet, while this scholarship has recovered major authors and recuperated long-derided aspects of nineteenth-century poetics, it has also maintained an old narrative about C19 poetry, namely that the status of poetry declined during the postbellum period. The career of William Cullen Bryant is emblematic of these trends: while there has been some fascinating recent work on his poetry, it has been informed exclusively by his early poetry of the 1810s and 1820s. This essay argues that Bryant’s career looks different when viewed from the end, rather than the beginning. In so doing, it revises recent critical accounts of Bryant, and C19 American poetry more broadly, by examining his translation of the Iliad, which he published in 1870. Bryant’s Iliad was one of the most celebrated poems of the postbellum era and was considered his masterpiece by contemporary readers. This essay examines the translation and discuss some of the ways in which it engages the politics and poetics of the Reconstruction period

The chapter explores how Hume’s Essays were received in Germany during the eighteenth century, highlighting the cultural exchange and intellectual shifts of that time. Hume’s influence is analysed in the context of the growing interest in English books and culture in Germany during the eighteenth century, a trend known as ‘Anglophilia’. Hume’s political and economic writings were translated into German shortly after their original publication. His name was held in high regard and his writings were considered to be instructive. But the specifics of cameralism prevented his economic and political essays from having a major impact on German discourse. Nonetheless, new translations continued to appear. In the German reform debate of the late eighteenth century, Hume’s Essays were used to both support the status quo and to advocate for political change. In the early nineteenth century, an academic translation of Hume’s essay was published, acknowledging his contribution to the formation of political economy as a science. By exploring the reception of Hume’s Essays in eighteenth-century Germany, the chapter shows how translations not only played a big role in sharing knowledge during the Enlightenment but also reflected cultural differences.

Chapter 6 reads Horace’s Odes as thoroughly place-based lyric poetry. The chapter begins by differentiating its approach from landscape and symbolic readings of place. It organizes an account of the Odes around the concepts of place and place attachment, familiar from the Eclogues. Horace represents dynamic experiences of specific localities, constituted by human and nonhuman beings. He anchors his poetry to particular locations, while also making those locations real-and-textual sites of Horatian poetry. In addition, Horace represents place as helping to produce and shape his poetry through tropes of lyric ecology and poetic reciprocity. The second half of the chapter complicates this place-based reading of Horace by attending to the pervasive theme of mobility in the Odes. It argues that Horace models a translocal poetics, in which locality is continually fashioned and refashioned through forms of translation and transport. Whereas forced movement in the Eclogues means the end of local dwelling and local song alike, for Horace mobility helps create both his local place attachments and a form of lyric that is place-based but not place-bound.

Although Europe deserves condemnation for the ethnocentric and racist notions and attitudes that flourished within it both before and during the era of imperialism, these were preceded, accompanied, and countered by a singular interest in and openness to other peoples and cultures. The marks of this openness were an exceptional interest in travel and writings about it, in learning non-European languages and translating and circulating texts written in them, in correcting their own forbears’ calumnies and defamations of others by exposing myths and legends for what they were, and by acknowledging the historical and cultural achievements of other peoples. The notion that Asian governments were despotic spread chiefly because those who adopted it feared the spread of autocracy in their own countries, and it drew forth harsh criticism. Images of other countries or regions, especially China and the Near East, became mirrors in which Europeans contemplated the limitations and narrow prejudices of their own way of life.

This chapter highlights the utility of cultural imagination, the ability to see human behaviors not just as the result of their dispositions or immediate situations but also as the result of larger cultural contexts. Our cultural imagination, as researchers, evolves as we are increasingly exposed to ideas from different parts of the world, either through collaboration with other researchers or interacting with individuals outside our immediate cultural context. While cross-cultural research has become simpler with the rise of the Internet, there still remain many challenges. This current chapter delineates concrete steps one can take to conduct an informative cross-cultural study, increasing the diversity of databases for generalizable theories of personality and social behaviors.

Translated Byzantine lives of saints occupied considerable space in the hagiographic corpus of Rus and medieval Russia. But original (non-translated) vitae differ significantly from their Greek models in several respects: the very causes of their subjects’ sanctity (the Rus corpus emphasises saintly princes and founders of monasteries); their extremes of self-mortification (as in the case of Varlaam of Keret); and the extravagance of their feats (such as those of Andrew of Crete, or Petr and Fevroniia). Compared to Byzantine hagiography, the Lives of holy fools are overrepresented in the repertoire of medieval Rus, while female saints are underrepresented in it. In the modern era, Russian literature has drawn heavily on the medieval vitae. This tradition became pronounced in the mid-nineteenth century, but communist writers of the twentieth century also fashioned their heroes in the hagiographic mould.

Chapter 5 focuses on the history of language policy and the treatment of Indigenous languages. In addition to refocusing Christianisation on to everyday practice, the reformers of the early seventeenth century laid to rest a long-running dispute among missionaries and administrators concerning the role that Indigenous languages should play in religious instruction. This dispute arose from efforts by the Spanish crown in the sixteenth century to impose a universal solution to the challenges of linguistic heterogeneity: First by suppressing Indigenous languages and teaching Castilian, and later by focusing on the ‘general language’ of each region. Both imperial policies not only failed to overcome the issue of linguistic heterogeneity in the New Kingdom, but were in fact radically transformed and appropriated by local authorities for their own purposes through the use of legal fictions and the selective conveyance of information across the Atlantic. The chapter examines these debates, manoeuvres, and the controversies they produced, before exploring how the seventeenth-century reformers were able to negotiate these divisions and establish a consensus around Indigenous language instruction.

The conclusion turns to the implications of this study today, both in terms of our own view of liberal democratic society and the place of women in it. Grouchy shows us, firstly, how significant ideas can persist through an era of upheaval like the French Revolution: through constant negotiation, continual re-interrogation, and a determination to hold on to core concepts while adapting and discarding others. It argues, furthermore, that Grouchy’s politics and philosophy provide further evidence that women in history have thought and acted politically, but not always in the ways we commonly understand as ‘thinking’ or ‘acting’. It expresses the hope that the example of Grouchy will provide inspiration for other historians who wish to reconstruct the ideas of those in the past – in particular women and other marginalised groups – who did not do all, or any, of their thinking over the course of long texts. The reconstruction of this rich history will, in turn, help combat the problem of authority still encountered by women today in political and intellectual spheres. Finally, it ends with the suggestion that Grouchy’s thought may be of use for those twenty-first century theorists who argue that emotions are essential to successful liberal democracies.

Chapter 5 explores the context and reason for the publication of the Letters on Sympathy in 1798 as an accompaniment to her translation of Smith’s Theory of Moral Sentiments. For Grouchy, the Terror and the fall of Robespierre were personally traumatic and led to her decision to divorce Condorcet shortly before his death. However, these events did not introduce any major changes to her philosophy. Deprived of her key intellectual partner, she attempted (more or less unsuccessfully) to recreate the partnership she had shared with Condorcet with her lover, Maillia Garat, and her brother, Emmanuel de Grouchy. Moreover, the publication of the Letters was intended to be a reminder of the ideals of the early revolution, in the face of the increasingly elitist politics of the Directory regime and her allies in the republican centre. Nevertheless, the uncertain political atmosphere of 1795–8, in which a fear of left-wing plots combined with an increasing suspicion of female political outspokenness, led her to package her message together with the less controversial Theory of Moral Sentiments. This allowed her ideas to be dismissed by some, at least publically, as purely dealing with moral, as opposed to political matters.

This chapter examines H.D.’s and Pound’s early work with Greek lyric – in particular, the Greek Anthology and Sappho. It traces Pound’s skeptical, ambivalent, and often self-contradictory use of Greek in the 1910s as he tries to articulate his poetics of the image, tracking the differing prisms (Provençal lyric, Bengali poetics, Chinese ideograms, Primitivism, Vorticism) through which he interprets the value of Greek as his own artistic alliances shift between 1908 and 1918. It contrasts Pound’s varying approaches, whether outlined in his prose writings on prosody and the visual arts or actually followed in his early poems based on Greek lyric to H.D.’s already highly sophisticated and well-developed perspective, as seen in her translations also from the Greek Anthology and Sappho – translations which are the basis of some of her best-known poems. The author argues, moreover, that H.D.’s engagement with Greece even at this early stage is more deeply textual, self-conscious, and historically aware than has been recognized. Nonetheless, she show that despite striking differences in tone and some distinction in approach, Pound and H.D.’s poetics were subtly evolving in similar ways.

This chapter tracks Pound’s plunge into Greek studies – especially focused on Sophocles – during his incarceration at St. Elizabeths after the Second World War; it examines his unpublished correspondence during this period as well as his also unpublished translation of the Sophoclean Elektra (1949). An opening reading of the Pisan Cantos (wr. 1945) argues that Pound explicitly ties the fate of his epic poem, and of American poetry tout court, to a re-engagement with Greek, and especially tragic, poetics. The bilingualism of his Elektra – the play is half in English, half in transliterated Greek – encodes its antithetical ambitions, one poetic and the other political, as Pound uses the translation on the one hand to devise a new prosody for his writing after the war, returning to the prosodic experiments of his early years, and on the other, to continue the fascist ghost theater of the Pisan Cantos.

This chapter considers H.D.’s translation of Euripides’s Ion (1937). H.D.’s Ion crystallizes her approach to Greek, redefining the practice of translation in the process; allows her to propose an alternative theory of psychic development contra Freud; and, finally, in its specific (mis)reading of the Euripidean play, foreshadows Pound’s treatment of Sophocles in Women of Trachis by making a strong case for the poetic and cultural relevance of Greek tragedy in the twentieth century. Pushing beyond accounts of the play available to her in the 1930s, H.D.’s interpretation of Euripides’ poetic strategies aligns with more recent scholarly accounts of his plays. Deploying differently the elements of commentary and translation in her multigeneric work, H.D. dramatizes both her own desire to believe in a triumphant narrative that would bind ancient and modern culture and would make poetry the cure or compensation for trauma, and the contingency or constructedness of such a position. The analysis of Ion is bookended by examinations of “Murex” (1926), and Trilogy (1944–46) that show the germination and evolution of the questions, ideas, and techniques that went into the translation of the play.

This chapter traces the shadow that ancient Greek epic, and the Homeric poems most particularly, have cast over the modern nations of Greece and Turkey, using case studies with a specific focus on how the epics came to figure in the nation-building work of both countries. Greece presents a unique case for the reception of these poems for two related reasons: Homeric Greek can be integrated into modern Greek literature without transl(iter)ation, and a long-standing national discourse casts the Greek heroes of the Iliad and Odyssey as the ancestors of Greeks living today. On the other hand, Turkey, whose borders encompass the ancient site of Troy, made different use of the Homeric tradition. During the self-conscious process of Westernisation in the twenty-first century, the Homeric poems were among the first great works of ‘Western’ – not Greek – literature to be translated by translators working in the employ of the state. Hanink uses these contrasting studies of the national receptions of ancient epic in the ‘Homeric lands’ to point to the range of ways that Homeric poetry has been invoked in modern nation-building projects.

This chapter treats Pound’s collaboration with Eliot from 1917 into the late 1930s from the perspective of their engagement with Greek. It focuses on the interconnection between drama (whether Japanese Noh or Greek tragedy) and the ambition of the long poem; consistent with their turn to formal verse in 1917, the two poets view theater through a similarly formalist lens. The author traces Pound and Eliot’s joint obsession with Aeschylus’s Agamemnon through an examination of their essays – especially Pound’s multi-part “Hellenist Series” (1918–19) and his writings on Jean Cocteau – private correspondence, and select poetic work and translations (e.g., Pound’s unpublished “Opening for Agamemnon,” Eliot’s “Sweeney among the Nightingales”). Whereas Eliot “declines the gambit, shows fatigue” and chooses to treat Aeschylus from a distance, Pound is both more ambivalent about Aeschylus’s value and more in thrall to elements of his poetic technique and language. Though Pound and Eliot’s abortive Greek projects would lie dormant for some years, the chapter examines the attempted rekindling of their Greek collaboration in the mid-1930s, which provides the transition between the early texts discussed in this chapter and their mature work.