New Releases by Caroline Egan

Examines the role of the body in Indigenous-language religious texts from colonial Latin America Words Made Flesh examines the role played by corporeality in a series of missionary linguistic and poetic projects from Brazil, Peru, and Mexico in early colonial Latin America. Caroline Egan analyzes how works produced in Indigenous languages for the purpose of evangelization were shaped by and, in turn, transformed native understandings of embodiment. Egan follows the trajectories of specific understudied words in the colonial corpus, tracing their usage through grammars, dictionaries, doctrinal translations, and hymns in Tupi, Quechua, and Nahuatl. These words, however, might not be the first to come to mind when thinking about missionary projects in the colonial world—such as God and trinity, heaven and hell, angel and demon. Instead, the book examines words like the Tupi îuká (to kill) and manõ (to die); the Quechua sunqu (now often translated as “heart”); and the Nahuatl chōca (to weep), cuīca (to sing), and ihuinti (to get drunk). With complementary emphases on regional specificity and comparative ramifications, Words Made Flesh argues that the changing fortunes of these words speak to significant areas of dialogue and debate between Indigenous communities and missionary writers in the late sixteenth century.

Congratulations! You have picked up the winning book! Your prize awaits inside, in the form of a series of witty observations, humorous stories and pithy takes on human life. It is an ideal accompaniment to your bathroom magazine rack, since the perusal and reading of the stories has been carefully designed to coincide with the time it takes the average human to take a poop.The Devil''s Doorbell is the second book by authour Caroline Egan. Caroline has now perfected her techniques for harvesting ''menz tearz'' (TM) and is back for another hilarious look at modern life. Whilst it cannot be guaranteed that this book will dramatically enhance your life, it is a near certainty that you will perhaps laugh at least once.**Terms and conditions apply.

How did colonial linguistic exchanges between Amerindians and Europeans shape early modern conceptualizations of language itself--its locus and limits, its ideological plasticity or inflexibility? While oral traditions are persistent objects of scholarly attention, the concept of orality in itself has often been taken for granted, receiving less theoretical examination in comparison to the extensive scholarly corpus devoted to interrogating categories such as writing, literacy, text, and media. My research addresses the pending question of the complexities of orality in the New World by arguing that colonial encounters produced multiple oralities: a series of semiotic, aesthetic, and material phenomena that often emerge through the gestures of suckling and singing, in the regimes of grammar and taste, and in the performance of combat and proselytization. This study addresses early modern linguistic and cultural encounters in the Americas, focusing on the role of Amerindian languages in the development of what I call a New World poetics. I adopt an inter-American and transatlantic framework in order to compare how multilingual actors narrated and reinvented indigenous languages in historical, linguistic, lyric, and missionary works. The corpus under consideration includes the Nahuatl-language poetry collected in the Cantares Mexicanos manuscript, the Tupi grammar authored by Jesuit José de Anchieta, linguistic and missionary tracts and translations by Roger Williams and John Eliot, and the treatise on Incan history and customs by El Inca Garcilaso de la Vega. I demonstrate that these texts, written in and concerning languages such as Nahuatl, Narragansett, Quechua, Tupi, and Wampanoag, all evince sustained attention to the complexities of orality, conceived through the somatic and material qualities of speech, song, and alphabetic writing. Addressing these distinct forms of orality in colonial American literatures provides a vocabulary and framework for thinking about the oral in plural terms, related but not restricted to its relationship with written and spoken expression. In navigating the intersections of major Amerindian and European languages and traditions within a unified theoretical framework, my project integrates both comparative American and transatlantic encounters as the coordinates within which to critically revise traditional notions of orality used to interrogate the early colonial world.

Une collection de courtes fictions inspirées des plus célèbres personnages des longs métrages d''animation de Disney et destinées à l''apprentissage de la lecture.