This article focuses on the effects of censorship on the translations of two of Roth's novels into Spanish: Portnoy's Complaint (1969) and The Professor of Desire (1977). These two novels, published in Spanish for the first time in 1977 and 1978 respectively - a period when Spain had barely left behind General Francisco Franco's dictatorship (1939-1975) - suffered various forms of censorship. The article shows how the four criteria (Abellán 1980) used by the censors of the period - sexual morality, linguistic decorum, politics and respect for religion as an institution - were applied in the case of these two Roth novels.

Robert Lowell coined the famous distinction between cooked and raw poetry, but beginning with Joel Barlow's epic treat The Hasty Pudding there is a long tradition of American poetics sustained by copious and artful use of tropes of hunger, food, and eating. Allen Ginsberg's Howl and Other Poems and Lowell's Life Studies would be emaciated beyond recognition without them. Also taking other poems into account, the essay argues that Lowell and Ginsberg did more to enrich the American alimentary poetic tradition than anyone else since T. S. Eliot and Wallace Stevens. 

This essay reconsiders Virginia Woolf's much-debated claim that "on or about December 1910, human character changed," reassessing its import not as the provocation to her contemporaries that seems to have been intended, or as a statement of originality, but in a historical envelope that encompasses Woolf's own fictional oeuvre within a tradition of representing women in fiction. This tradition is essentially rhetorical and literary rather than essentialist; it engages with representations and associations rather than directly with psychological or philosophical questions about personality or identity. As such, "character" should be understood as involving a series of recognizable codes or tropes played through new contexts, with Shakespeare's representations of women as a constant touchstone or reference point. A pioneer of "stream of consciousness" prose and Modernist fiction, Woolf is normally read for her innovations in representing selfhood; this experimentalism, I suggest, is built on a bedrock of familiar imagery that reveals her involvement in a continuing literary tradition of character representation. Her interest in late nineteenth-century and contemporary developments in depth psychology notwithstanding, Woolf's revolutionary prose style shows evidence of her careful reading of previous literary evocations of character, particularly the characters of women. What is at issue, then, is not primarily existential questions about whether character "is" innate, self-fashioned, or merely linguistic, but rather critical or representational issues of how literary character has been evoked so as to create certain responses in readers. In the process, however, the larger existential questions are implicitly invoked, and shown to be not novel concerns of modernist psychology but continuing issues in literary understandings of the concept of "character" itself, at least as far back as the seventeenth century. In addition to a range of Woolf's own critical and creative writing, the essay considers works by Daniel Defoe, Alexander Pope, Robert Burns, Jane Austen, Elizabeth Oakes Smith, Walter Pater, Henry James and Oscar Wilde.

This article addresses the problems of the Italian translation of Philip Roth's American Pastoral by Vincenzo Mantovani. The theoretical backdrop against which the assessment is set concerns the novel's intentional system as David Herman interprets it in his "Narrative Theory and the Intentional Stance." Accordingly, the notion of "intentional equivalence" is proposed as a tool for comparing the original text and its translation. Well aware that the creation of effects starts at the lexical level, word choices at crucial textual junctures are examined, starting with the incipit and proceeding with pivotal moments in the first 90 pages of the book. These pages revolve around a very tight intentional construction depending on Zuckerman's immersion in the Swede's mystique and the consequent need for the narrator to write his story. The article demonstrates that because of inexplicable translation choices the Italian reader is inevitably led into a storyworld different from the original as far as focalizing perspective, ironic distance, and empathetic involvement are concerned. 

June 2013: Pia Masiero is assistant professor of North-American Literature at the University of Venice, Ca’ Foscari. Her research and teaching focus on twentieth-century prose, the American Renaissance, as well as narratology and contemporary American fiction. Her recent publications include, Philip Roth and the Zuckerman Books: the Making of a Storyworld (Cambria Press 2011) “‘Nothing is impersonally perceived’: Dreams, Realistic Chronicles and Perspectival Effects in American Pastoral” (Presses Universitaires du Mirail, 2011) and Names across the Color Line: William Faulkner’s Short Fiction 1931-1942 LT2 Studio 2012).

The essay discusses the literary-critical concepts of Matvei Kagan (1889-1937) - a Russian philosopher of Jewish origin, a student and follower of Hermann Cohen, Paul Natorp, and Ernst Cassirer, and a close friend of Mikhail Bakhtin in his early, constitutive period of the Nevel Circle (1918-1920). The concepts of love and bewilderment, as defined in Kagan's works on Turgenev and Pushkin, are examined in the context of his philosophy of history, culture, and art. In the center of Kagan's historical theory of literature lies the idea of the Jewish community as a model for canonization of the cultural work. Kagan views literature as generating self-awareness and national-cultural identity, either through tragic bewilderment at the loss of freedom and love in history (in the case of Pushkin) or through a culture's self-defining dialogue with other cultures (as in the case of Turgenev). The central concept of this approach is that of svive-libe - "love of environment," interpreted as love for a community's cultural contribution in the context of its purposefulness in a universal human context.

The article explores Margaret Atwood's engagement with the ethics of hospitality as manifested in her novel The Blind Assassin (2000) and the short story "The Art of Cooking and Serving" (2006). It claims that these works point to an ethical vision which is best understood in light of the philosophical ideas of radical hospitality suggested by Emmanuel Levinas and Jacques Derrida but with an important feminist revision. Focusing on allusions to an inspiring cookbook, prominent in the two works by Atwood, the article analyzes the works' appropriation and reformulation of the feminine myth of gracious housewifery for signifying both the subject's obligation to the other and the ideal of generous giving and attentive care. It addresses the conflict that Atwood stages between a feminist critique of the duty of hospitality imposed on women and the ethical view of the subject's un-chosen and absolute responsibility to another. 

The essay examines the epistemological possibilities of artistic imaginary languages and their ontological effects in the avant-garde movement "lettrism." The movement employed imaginary language, which illustrates an anti-rational theory of language. The problematics of such quasi-language are manifested most radically in relation to quietistlinguistic philosophy (Sprachkritik): the identification of the limits of thinking and language in philosophy confronts the utopian belief in the possibility of "private" communication in the avant-garde. Lettrism subverts the normative order of systematic language by means of invented signs, which are not arbitrary but unorthodox. These signs supposedly express that which philosophy designates as epistemic privacy - what can be known to one person only. The paradoxical claim that an imaginary language can express the epistemically private gives rise to what I term the mysticism of immanence. Neither distinctively religious nor atheistic, the mysticism of immanence is based on the idealistic assertion that one is able to express not only the existence but also the contents of epistemic privacy. Moreover, the renunciation of conventional language suggests that immanence is in this case alinguistic. In brief, for lettrists, thinking did not necessitate language. Lettrist imaginary language points out the necessity for convention as a stabilizing framework for meaning production. By advocating the idea of an "immediate message," which remains between mediation and immediacy, imaginary language exceeds the limits of immanence. Since an imaginary language cannot be shared or self-contained, it is an opening of immanence towards other than immanence. This other is not represented as any absolute transcendence, any version of the beyond, but rather as a collapse of the limits of immanence, limits that are subject to negotiation because the immediate message gives rise to a new and expanded sense of the immanent.

Through a reading of J. M. Coetzee's novel Disgrace this paper discusses the contemporary genre of reading literature in terms of an "ethics of perception." In the fourteen years since its publication the novel has elicited a rich body of commentary and criticism with an ethical edge, often focusing on the unfolding vision or stunted but developing perceptiveness of its uneasy protagonist David Lurie. This path of criticism is paradigmatic of a broader interest in studying literary works as paths to moral philosophical illumination. I discuss how the novel yields to this kind of reading, but also how this path of reading is complicated by its various other features, above all, a plurality of values that may be hard to reconcile and a Christian perspective of grace which is played against the novels secular, intellectual perspective on perceptiveness. I argue that reading Disgrace in terms of any pre-given ethical formula, however compelling, may be problematic considering the nature of Coetzee's authorship.