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I'm Going to Have a Little House
"Never before published in English, Carolina's second diary, written in 1960-61, describes her life in the first year after the sudden (and, as it turned out, temporary) fame of Quarto de despejo (see HLAS 25:4741). Translated faithfully into English, evokes the often awkward style adopted by Carolina. Excellent afterword and notes"--Handbook of Latin American Studies, v. 58.
Lourenço Benites
None
Primeiro amor
A narrativa inicia-se com o encontro de Tudinha e Eugênio no avião. Como os dois viajavam desacompanhados, a aeromoça colocou-os juntos. Ela, depois de uns dias na casa do pai, voltava para a casa da mãe. Ele, de outra cidade, passaria uns dias na casa do avô. Depois da viagem, separaram-se sem trocar endereço nem telefone, porém, logo em seguida, voltaram a se encontrar por acaso. Tudinha olhava pelo vidro de trás. No carro que seguia o deles viu Eugênio (...) Tudinha saltou para junto do vidro de trás e de lá fez sinal para Eugênio (...) E, por um período curto, os dois tiveram a oportunidade de conviver... Eugênio partiu pensando em Tudinha, querendo voltar logo para a casa do avô. Uma história que não trata apenas do encontro dos personagens Eugênio e Tudinha. A autora, através dos diálogos e das situações vividas também pelos outros personagens - pai, mãe, padrasto, avô -, cria bons momentos de reflexão sobre família, separação, amizade, amor e morte.
Translating Fictional Dialogue for Children and Young People
Literary and multimodal texts for children and young people play an important role in their acquisition of language and literacy, and they are a flourishing part of publishing and translating activities today. This book brings together twenty-one papers on the particular aspect of the translation of feigned orality. As the link between the literary and the multimodal text, fictional dialogue is the appropriate place for evoking orality, lending authenticity and credibility to the narrated plot and giving a voice to fictitious characters. This is illustrated with examples from narrative and dramatic texts as well as films, cartoons and television series, in their respective modes of mediation: translating, interpreting, dubbing and subtitling. The findings are of interest from the scholarly point of view of contrastive linguistics, for the professional practice of translating, interpreting, dubbing and subtitling and in the educational context.
A vaca submarina
Os conhecidos personagens de outras histórias criadas por Edy Lima - Lalau, tio Gumercindo, tia Maricotinha, tia Quiquinha e a vaca voadora - desta vez não poupam esforços para terem umas férias inesquecíveis. Em A Vaca Submarina compram um trailer bonito e grande, chegam a uma praia, porém a dinâmica família descobre que será monótono ficar tanto tempo sem fazer nada e no mesmo lugar. Não hesitam, levantam acampamento no mesmo dia. Compram um barco e, então, as férias passam a ser uma grande aventura. Estávamos a meio caminho entre a superfície e o fundo do oceano: podíamos ver lá embaixo a areia e lama do fundo. As situações que fogem à rotina abrem o apetite. E aquela novidade de naufrágio deu uma fome danada em todo mundo.
Flash and Crash Days
Flash and Crash Days: Brazilian Theater in the Post-Dictatorship Period deals with the theater produced in Brazil during the 1980s and 1990s, especially postmodernist directors, women playwrights, and theater companies. It attempts to answer the following questions: Did the thriving stage of the 1950s and 60s wither during the reign of terror in the early 1970s, unleashed in the wake of the 1968 state of siege declared by the generals? Did the return to civilian government fail to create conditions for a new theater? A cursory glance at what little U.S. commentary on Brazilian theater has appeared in recent years could well lead one to answer all of the above questions in the affirmative. Sc...
The Crisis
The Crisis, founded by W.E.B. Du Bois as the official publication of the NAACP, is a journal of civil rights, history, politics, and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color. For nearly 100 years, The Crisis has been the magazine of opinion and thought leaders, decision makers, peacemakers and justice seekers. It has chronicled, informed, educated, entertained and, in many instances, set the economic, political and social agenda for our nation and its multi-ethnic citizens.
The Modern Brazilian Stage
Reading a play and watching it performed onstage are quite different experiences. Likewise, studying a country's theatrical tradition with reference only to playtexts overlooks the vital impact of a play's performance on the audience and on the whole artistic community. In this performance-centered approach to Brazilian theatre since the 1940s, David George explores a total theatrical language—the plays, the companies that produced them, and the performances that set a standard for all future stagings. George structures the discussion around several important companies. He begins with Os Comediantes, whose revolutionary 1943 staging of Nelson Rodrigues' Vestido de Noiva (Bridal Gown) broke...
The Cambridge History of Latin American Literature
The Cambridge History of Latin American Literature is by far the most comprehensive work of its kind ever written. Its three volumes cover the whole sweep of Latin American literature (including Brazilian) from pre-Colombian times to the present, and contain chapters on Latin American writing in the USA. Volume 3 is devoted partly to the history of Brazilian literature, from the earliest writing through the colonial period and the Portuguese-language traditions of the nineteenth and twentieth centuries; and partly also to an extensive bibliographical section in which annotated reading lists relating to the chapters in all three volumes of The Cambridge History of Latin American Literature are presented. These bibliographies are a unique feature of the History, further enhancing its immense value as a reference work.
