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Argentine playwright and director Pablo Messiez's Los ojos (2011) adapts to the theatre the classic nineteenth-century Spanish novel Marianela (1878) by Benito Pérez Galdós. In doing so Messiez gives the narrative a political twist, questioning the extent to which the domain of sight, or that which is superficially evident, is an accurate representation of reality. In equal parts disturbing and provocative, the play received critical acclaim following its theatrical premiere in Madrid's Teatro Fernán Gómez in 2011. Touching in particular on issues of immigration and disability, and incorporating contemporary dramaturgical techniques, the text offers a prime example of the latest developments in Argentine and Spanish theatre.This new translation introduces English-speaking readers to this remarkable transnational and transtemporal work for the first time. The introduction includes a description of Messiez's theatrical career, a discussion of the dynamics of new Argentine and Spanish theatre, and a critical analysis of the play, taking intoaccount its relationship with Pérez-Galdós's novel. Also included is an interview with the playwright conducted specially for this edition.María Bastianes is a Research Lecturer at the Complutense University of Madrid (Theatre Institute of Madrid, ITEM).Alma Prelec is a postdoctoral researcher at the Royal Central School of Speech and Drama (University of London).Pablo Messiez is a recipient of the Max Award for the Performing Arts for Best Director (2016) and Best Show (2016, 2023).

Giovanni Battista Guarini's Il pastor fido was a major text of the late European Renaissance, both in itself and as a manifesto of its author's ideas on pastoral tragicomedy. This edition presents the text of the first English translation of the play, probably by Tailboys Dymock, first published in 1602.While Richard Fanshawe's royalist version of 1647 is better-known, the process by which Fanshawe's version was canonized and Dymock's forgotten was based on false premises, as the introduction to this edition demonstrates. Not only is Dymock's version the freer of the two, shortening and simplifying Guarini's text, it also appears to be an attempt to make the play more fitting for the contemporary London stage. Those responsible for the 1602 version decided to work on a play with poetic pedigree, but they made a book that looked like the English playtexts of the time - a compromise which reflects the fluctuating aesthetic values at the beginning of the seventeenth century.The text is presented with modern spelling and punctuation, accompanied by extensive explanatory notes and an introduction discussing both the history of this translation and of Guarini's original, situating them both in their wider literary historical context, and demonstrating the historical value of the first English Pastor fido in the context of late Elizabethan translation practice, theatrical discourse and theatrical publishing.Massimiliano Morini teaches English Linguistics and Translation at the University of Urbino Carlo Bo.

The Modern Language Review is the official quarterly journal of the Modern Humanities Research Association. Published in January, April, July, and October each year, MLR contains articles and book reviews on modern and medieval European (including English and Latin American) languages, literatures, and cultures (including medieval and neo-Latin, and cinema).

The MHRA Style Guide has been widely used by scholarly authors writing about the Humanities since its first edition in 1971. It offers practical guidance on how to cite sources from medieval manuscripts to software and social media. Rules are provided to help working authors deal consistently with issues from quoting weights and measures ('5kg', or '5 kg'?) to the spelling of European city names ('Lyons', or 'Lyon'?). There is detailed advice on indexing and on the compilation of bibliographies, including thorny issues around how to alphabetize names. While MHRA style is used by many journals and book series, it is also standard in many British universities as the style to follow for essays, dissertations, and doctoral theses. A Quick Guide allows new users to get started without fuss. Scholarly practice evolves over time, and this 2024 revision is the result of close scrutiny by a joint panel of scholarly authors and editors. The aim was to clarify, to simplify, and to modernize, reflecting today's ubiquitous use of online resources.The Guide is itself freely available online, and is fully Open Access, published under a Creative Commons licence. This print edition, which has now cumulatively sold over 50,000 copies, is made available as cheaply as is practicable.

This issue of Austrian Studies assembles articles that represent the great variety of travel writing by authors from Austria and the Habsburg lands. Contributions investigate examples of 'heroic' exploratory travel of the 19th century and its colonialist implications, journalistic and impressionistic narratives from the fin-de-siècle to the 1940s, and private and 'official' notation by prominent and lesser known authors. Writings of classical modernism demonstrate how optimistic, horizon-expanding travel endured, but also how changing political circumstances and cultural norms undermined the confident optimism of traditional travel narratives. Diversifying perspectives, including those of female travellers, as well as new means of expression and aesthetic innovation progressively challenged old certainties. The range of the genre of travel writing is illustrated by contributions on Bohemian spas, the medium of the Lied cycle and notations by emigrants in transit, while the legacy of the COVID-19 pandemic and the future of travel in a climate-changed world are to the fore in analyses of travel writing today.Volume 31 of Austrian Studies is edited by Florian Krobb and Caitríona Leahy.

The second issue of Portuguese Studies for 2023. Portuguese Studies is a peer-reviewed biannual multi-disciplinary journal devoted to research on the cultures, literatures, history and societies of the Lusophone world.

The Modern Language Review is the official quarterly journal of the Modern Humanities Research Association. Published in January, April, July, and October each year, MLR contains articles and book reviews on modern and medieval European (including English and Latin American) languages, literatures, and cultures (including medieval and neo-Latin, and cinema).

Sixteen years in advance of her widely approved translation of Jewel's Latin Apologia, Anne Cooke introduced a selection of sermons (Prediche) of the former Vicar General of the Capuchins, Bernardino Ochino, to an English readership. The 'Italian Luther', who had refused a summons to appear before Pope Paul III, and fled Italy to Geneva and then Augsburg, had landed in England at the invitation of Archbishop Cranmer in December 1547. Less than a year after his arrival, Sermons of Barnardine Ochine of Sena was printed without the name of the translator, and three years thereafter, Fouretene Sermons of Barnadine Ochyne, concernyng the predestinacion and eleccion of God. Translated out of Italian in to oure natyve tounge by A. C. appeared. Proving her aptitude for translation and eagerness to spread the word of the popular and prolific Italian evangelist, her work on the nineteen sermons forcefully articulates Evangelical and Spirituali tenets: the nature and excellence of antecedent election, lively and deep-seated faith that precedes works, rich citations of biblical texts to buttress claims, a heterodox endorsement of inner spirituality and practical activity, and freedom from obedience to Rome. Two distinct yet curiously similar temperaments blend in these translations. With limited contacts in English, the tormented sixty-year-old truth seeker had thrown off the Capuchin hood and devoted himself to writing. The capable, serious young noblewoman, who fervently espoused the Reform cause, experienced the need to prove and announce herself in a consciously homiletic mode.

The first issue of Portuguese Studies for 2023. Portuguese Studies is a peer-reviewed biannual multi-disciplinary journal devoted to research on the cultures, literatures, history and societies of the Lusophone world.

In May 1760 the Comédie-Française performed a play by Charles Palissot de Montenoy entitled Les Philosophes (The Philosophes), an attack on the group of writers known by that name. In the audience was Michel-Jean Sedaine, who, although not a member of the group himself, was sufficiently shocked by this attack on serious authors and thinkers to decide that he should write a reply to Palissot's work. At least in part because the use of the controversial subject of duelling on which the plot is centred caused problems with the censors, Le Philosophe sans le savoir did not reach the stage until 1765, but, when it was at last performed, it proved to be a great success. Although Sedaine usually wrote libretti for operas-comiques, for his new play he chose a genre pioneered by Diderot, one of the writers attacked in Les Philosophes, the drame. Sedaine's play has been generally recognized as the masterpiece of this short-lived genre. As well as looking at the play itself, the introduction to this translation examines its place in the literary controversy sparked by Palissot's play, and the origins and development of the drame.

Over the course of his prolific life, the playwright Louis-Sébastien Mercier (1740-1814) wrote several plays based on works by Shakespeare. This volume brings together two very different adaptations of Shakespearean tragedies, written within two years of each other. Le Vieillard et ses trois filles (1792), in line with eighteenth-century French aesthetic and political tastes, strips the masterpiece King Lear of all its regal trappings and complex subplots to produce a pared-down three-act bourgeois 'drame' about a father who foolishly surrenders his fortune to his mercenary daughters, before an unexpected (and un-Shakespearean) happy ending. Timon d'Athènes (1794), conversely, follows the plot of Timon of Athens rather more closely, tracing its protagonist's shift from profligate socialite to bitter, misanthropic outcast; Mercier, however, accentuates the political dimension of Timon's bankruptcy, exile, and eventual suicide as an implicit critique of the violence and abuses of the post-Revolutionary Reign of Terror. What both plays have in common is a narrative arc leading from generosity exploited, via disillusionment and despair, to a misanthropic attempt to escape from civilisation altogether. This edition offers explanatory footnotes comparing the texts with the Shakespearean originals, and an introduction outlining Mercier's complex contributions to eighteenth-century Shakespeare reception in France.

The 2022 volume of Austrian Studies examines the implications of the now well-established theoretical paradigm of the Anthropocene - the current geological epoch, in which humans are leaving an indelible trace on the fabric of the planet - for research on Austrian literature and culture.

The July 2022 issue of Modern Language ReviewContentsCoincidence in Edgar Allan Poe and Jakub ArbesEarthly and Eternal Cities in Tennyson's IdyllsThe Belgian Contribution to French Decadent AestheticsFictions of the Zola TrialPre-Petrarchan Vernacular Authors in Fifteenth-Century ItalyThe Gunpowder Plot in Early Modern German TextsBridal Mysticism in Early Modern UkraineBook reviews

The first issue of Portuguese Studies for 2022. Portuguese Studies is a peer-reviewed biannual multi-disciplinary journal devoted to research on the cultures, literatures, history and societies of the Lusophone world.

Chantal Akerman was one of the most significant directors of our times. A radical innovator of cinematic forms, she was at the forefront of feminist and women's filmmaking. In the 1990s, she developed an important installation practice and began to experiment with self-writing.Focusing on Akerman's works of the last two decades, a period during which she diversified her creative practice, this collection traces her artistic trajectory across different media. From her documentaries 'bordering on fiction' to her final installation, NOW, the volume elucidates the thematic and aesthetic concerns of the later works, placing particular emphasis on self-portraiture, the exploration of intimacy, and the treatment of trauma, memory and exile. It also attends to the aural and visual textures that underpin her art. Drawing on a wide range of theoretical approaches as well as engaging more creatively with Akerman's work, the essays provide a new optic for understanding this deeply personal, prescient oeuvre.Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Emma Wilson is Professor of French Literature and the Visual Arts at the University of Cambridge.