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The Anthology in Portugal

Literature, Translation and the Margins

Patricia Anne Odber de Baubeta, Margarida Vale de Gato and Maria de Sampaio

Following on from Patricia Anne Odber de Baubeta’s The Anthology in Portugal: A New Approach to the History of Portuguese Literature (2007), these new essays explore further the issues of reception, translation and canonicity. The three authors have produced complementary studies that focus on the role of anthologies in promoting international literary exchange, evaluate the relationship between the literary canon and literature at the margins, and flag up the importance of cover art in conditioning reader expectations.
The first part of the book examines both collections of translated short stories considered suitable for children, even if originally written for an adult readership, and, in contrast, high-quality anthologies for older readers, produced in the context of a transnational publishing franchise. The second section offers a thorough analysis of Edgar Allan Poe’s reception in Portugal, including where, how and by whom he was disseminated. The history of Poe in Portuguese also sheds valuable light on the broader history of translation and translation anthologies in Portugal. The final part of the volume charts mystery and detective stories selected and translated for Portuguese anthologies and magazines by the leading cultural mediators of the 1940s and 1950s, with an assessment of their contribution to literature in Portugal.


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Maria de Lurdes Rodrigues Morgado Sampaio Part 3 Mystery/Detective Fiction Anthologies in Portugal


Maria de Lurdes Rodrigues Morgado Sampaio Part 3 Mystery / Detective Fiction Anthologies in Portugal (Late 1940s–1950s) Preamble For reasons well known to researchers engaged in translation and transcul- tural studies, there is no study of this kind in any history of Portuguese literature. Some of the reasons are obvious: firstly, detective fiction has always been considered a minor genre, with little or no literary value; sec- ondly, it has always been viewed and indicted as a foreign genre or a non- Portuguese literary species, belonging to the huge corpus of second-rate ‘literatura traduzida’; thirdly, the actual reader of detective fiction (and even less the addicted type of reader) does not have the slightest inter- est in writing critical studies about the genre (and it is likely that he/she does not even realize that many short detective stories were published in anthologies from the late 1940s onwards). But the main reason (from which the ones listed above derive) is not confined to the Portuguese literary system: histories of literature in the twentieth century were written almost in the same vein as those of the nine- teenth: centred on the Author and on a single author’s works, disparaging collectively authored works. In fact, neither Roland Barthes’ declaration of the death of the author in 1968 nor the reader-response criticism move- ments from the 1970s onwards have led to the overthrow of the Author and authorship or to the History of Literature dreamt of by Paul Valéry, in 1937, a...

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