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What Is World Literature?
... Second, it shows an elliptical refraction of national literatures. The last, it should be a mode of reading (Damrosch, 2007(Damrosch, , 2009b(Damrosch, , 2009a(Damrosch, , 2014(Damrosch, , 2018. The literature review proposed that there is no previous literary work that analyzed both Minahasa folklores together and used the theory of world literature from Damrosch as the main theory. ...
... Damrosch stated that to be considered as world literature, a literary work should have its translation version. The urgency to be translated into another language other than its original language where the literary work published means that the literary work has been favored by another country, and considerably popular among the readers outside its original country of the author and publisher (Damrosch, 2018). Both Toar Lumimuut and Sigarlaki Limbat suit this particular characteristic. ...
... Damrosch stated that there is none literary work that stands alone originally. The literary works around the world are related and influenced each other apparently (Damrosch, 2018). He then added that this type of refraction should show that a literary work is considered as national treasure (the literary work influenced the existence of other literary works in another country), or it is influenced by another literary work around the world. ...
This study focused on analyzing Minahasa famous folklores called Toar Lumimuut and Sigarlaki Limbat. Despite just being folklores in the past, due to their popularity, they have been preserved officially in writings and have been considered as local treasure of Minahasa. In order to give them better spot in revitalization due to globalization that give more pressure to the local culture, it is necessary to take specific action to preserve and revitalize them. This study was conducted by gaining data through library research and interview, then analyzed by literary criticism called world literature by David Damrosch. There were five Minahasa local people who participated in the interview. Both of them are males while the other three are females. It is found that both folklores suit the three characteristics to be called world literature. They both are available in several translations, they are refracted in other literary worlds around the world, and they are popular and their scripts have been digitalized by official governments. The acts of comparing these two literary works through world literature perspectives are considered necessary in conveying to the Minahasa young generation and even globally that the local folklores can be classified as world literature as well and becomes the local and national treasure that should be appreciated, respected, and reserved.
... For a useful overview of how the first two points have tended to predominate in constructions of world literature, see Hoesel-Uhlig (2004); Damrosch (2003) gives a very good sense of the common criticisms levelled at world literature. Both critics are ultimately arguing for an essentially positive, processual understanding of the term. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... For a useful overview of how the first two points have tended to predominate in constructions of world literature, see Hoesel-Uhlig (2004); Damrosch (2003) gives a very good sense of the common criticisms levelled at world literature. Both critics are ultimately arguing for an essentially positive, processual understanding of the term. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... For a useful overview of how the first two points have tended to predominate in constructions of world literature, see Hoesel-Uhlig (2004); Damrosch (2003) gives a very good sense of the common criticisms levelled at world literature. Both critics are ultimately arguing for an essentially positive, processual understanding of the term. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... For a useful overview of how the first two points have tended to predominate in constructions of world literature, see Hoesel-Uhlig (2004); Damrosch (2003) gives a very good sense of the common criticisms levelled at world literature. Both critics are ultimately arguing for an essentially positive, processual understanding of the term. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... For a useful overview of how the first two points have tended to predominate in constructions of world literature, see Hoesel-Uhlig (2004); Damrosch (2003) gives a very good sense of the common criticisms levelled at world literature. Both critics are ultimately arguing for an essentially positive, processual understanding of the term. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... For a useful overview of how the first two points have tended to predominate in constructions of world literature, see Hoesel-Uhlig (2004); Damrosch (2003) gives a very good sense of the common criticisms levelled at world literature. Both critics are ultimately arguing for an essentially positive, processual understanding of the term. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... Quotation (1827) from Goethe's conversations with Johann Peter Eckermann, cited in Damrosch (2003) 12. 20 Damrosch (2003) 3. For further reflection on the idea of cross-cultural literary engagement as a dynamic network, see the consideration of Greene (2006) of world literature in terms of comparative literature programmes currently compiled and taught in the US. ...
... The shifting interpretation of Kafka, however, came this time from textual scholars such as Malcolm Pasley, who produced a new German Kafka and who criticized the Muirs' English translations for not doing justice to Brod's standardized first editions. 36 It is not until the new retranslation of Kafka's The Castle, done by Mark Harman, that another new, different edition of Kafka in English has been available. This version breaks with the many insertions of new elements into the original source and "reflects the new and genuinely more accurate understanding of the novel's situation." ...
Theory of world literature used to stand extensively on the premisesof translatability and readability through which works of literaturebecome recognized as world literature. However, one alternativeavenue of theoretical investigation for the ways literatures achieveglobal avowal is through the other chances offered by “misread-ing,” “mistranslation” and “untranslatability.” Untranslatability isa relatively new means of inspection in literary studies and criticism,which revisits the act of translation by re-considering the momentsof failure, resistance, and impossibility of translation. If translatabil-ity has been regarded as the only and secure road to synthesizeglobally recognized literature, yet untranslatability might alsoenhance the possibility of supplementing literary worldliness. Thearticle tests and investigates the chances of universalizing andcanonizing literature through the spectrum of misreading and mis-translation by applying such notions in the cases of Borges andKafka.
... • The term "world literature" itself becomes problematic under multiculturalism, often reflecting Western biases and homogenizing diverse literatures [4,5]. ...
and Tesfaye Dagnew. Bathed in the vibrant hues of multiculturalism, "world literature" explodes beyond its Eurocentric past. Comparative literature, once a quest for universality, now stumbles at the crossroads. Aristotle's mimesis, a grand mirror reflecting Western echoes, still whispers, yet a kaleidoscope of diverse voices clamor for attention. Can comparative literature fashion a lens that captures not just familiar notes but the symphony of every tongue? This essay wrestles with this dissonance, seeking a harmony where each cultural narrative finds its rightful place. It delves into the challenges of embracing difference, daring to imagine a chorus where every voice sings not in unison, but in vibrant counterpoint, composing a richer, truer melody of human experience. Abstract
... The idea of Europe in literature thus calls for its own transcendence in the more universalist vision of the poet as citizen of the world. As David Damrosh reminds us, 38 Goethe's conception of World Literature is not without ambiguity. On the one hand, in his interview with Eckermann on January 29, 1827, he held ancient Greek poetry to be a universal reference. ...
This article examines the origin of the idea of Europe and its identity in relation to literature. It attempts to show that, before being a cultural, economic or political reality, Europe was a literary concept, whose origins are closely linked to the literary theories of the Romantics, particularly the German Romantics. The links between the idea of Europe and literature also associate Europe with the birth of comparative literature. But at the same time, the notion of World Literature, even if it has a Eurocentric background in Goethe and his successors, calls for the poet to transcend Europe and become a citizen of the world.
... On the other hand, however, this part of the history of Leopardi's reception I think can also teach something about Leopardi's position in the history of Italian poetry. In the Italian canon Leopardi certainly assumes, to use David Damrosch's terminology, the role of a "hypercanonical author" (Damrosch, 2003). It is a position that does not benefit him, and one that causes Leopardi to be simply considered a poet of his time, brother of Alfieri, Foscolo, Manzoni. ...
... The idea of world literature takes us back to Goethe`s concept of Weltliteratur -commonly a harbinger of modernity -and which has gained unparalleled authority in the academia and further benefited from the landmark definitions amply set forth in the books authored by David Damrosch, who summed up: "I take world literature to encompass all literary works that circulate beyond their culture of origin, either in translation or in their original language." 2 The book authored by the two renown academics, Stefan Helgesson -professor at Stockholm University -and Mads Rosendahl Thomsen -professor at Aarhus University -is highly topical and relevant in the current context of the growing demand for reliable, pioneering and scholarly-grounded contributions in the field of comparative literature and world literature studies. Both authors boast a prestigious list of publications in the area of world literature and have come to be regarded as experts in the areas of world literature, digital humanities and translation theory. ...
... [3] Interviul acordat de către David Damrosch în 2022 reia, nuanțează și amplifică noțiunea de literatură mondială lansată în amplul studiu din 2003 intitulat What is World Literature? "I take world literature to encompass all literary works that circulate in their culture of origin, wither in translation or in their original language … a work only has effective life as an effective life as world literature whenever it is actively present within a literary system beyond that of its original culture." [4] Afirmația lui Damrosch dobândește și mai multă forță de convingere dacă ne raportăm la cuvintele pline de autoritate ale lui Mircea Cărtărescu din eseul Europa are forma creierului meu "Nu mă simt în concurență doar cu autorii români sau doar bu bulgarii, rușii, sîrbii, cehii sau polonezii din preajmă, ci cu scriitorii de pretutindeni pe care-i admir și îi iubesc. Sigur, subiectele mele pot fi, prin forța lucrurilor, românești, recuzita românească, limbajul cu inflexiuni ale spațiului meu psiho -lingvistic, dar temele mele nu pot fi altele decât marile teme ale tradiției europene." ...
... Although exploration of such a scale would exceed the conventional limits of an article, this essay opens an interpretative line for future conversations within the literary criticism about indigenismos vis-à-vis the methodological and conceptual register that defines the field of world literature. This explains the strategic selection of two such canonical indigenista works (La raza and Huasipungo) that fit into a strict sense within world literature, as defined by David Damrosch (2003), being works that circulated beyond their cultures of origin. Thus, the globalization that Favre warned of as the end of indigenismo might, conversely, end up fostering the enlargement of debates about the global scope of indigenista discourses. ...
... Per contestualizzare i due dibattiti adotteremo due metodi diversi. Per la World Literature ci focalizzeremo su What is World Literature? di David Damrosch (2003) e Mapping World Literature di Mads Rosendahl Thomsen (2008), mettendo in luce i punti di contatto con Rushdie. Attraverso questa lettura approfondiremo i rischi di una World Literature in English, utilizzando le riflessioni presenti nei recenti volumi Multilingual Literature as World Literature (2021) e Postcolonialism After World Literature (2019). ...
Il presente articolo intende indagare e comparare le modalità attraverso le quali Édouard Glissant e Salman Rushdie pensano e rappresentano la mondialità nelle proprie opere. In un primo momento verranno analizzati i percorsi intellettuali dei due autori, caratterizzati dalla ricerca di un “terzo-spazio” (oltre la dicotomia centro-periferia) all’interno del campo transnazionale della letteratura. In seguito, si inseriranno le loro riflessioni teoriche nel più ampio dibattito su World Literature e Littérature-monde. Infine, compareremo le loro concezioni del realismo, caratterizzate da uno stretto legame tra il locale transculturale (India e Antille) e il tout-monde creolizzato.
... Esse ponto de observação não se limita a (embora integre) o uso de uma língua em comum: em português não é apenas em língua portuguesa, estritamente falando. É uma forma de observar que concorre para aquele 'modo especial de leitura' que David Damrosch (2003) considera caracterizar a world literature: não tanto uma soma de textos cuja canonização dependesse de critérios nacionais; não tanto uma forma de pré-definição de um centro e das suas periferias; mas sobretudo uma forma de ler que aceita o caráter supranacional de certos fenómenos estéticos e literários, e que lhes reconhece capacidade trans-histórica (e por isso mesmo não a-histórica). " (Buescu, 2013, pp. ...
The present article, after a preliminary critical analysis of the presence of Africa in studies around World Literature, proposes to think about the inclusion of African authors and works in the debate on the issue from Achille Mbembe’s mobility paradigm. In Out of the Dark Night: Essays on Decolonization (²⁰¹⁹MBEMBE, Achille. Sair da grande noite: ensaio sobre a África descolonizada. Petrópolis: Editora Vozes, 2019. ), Mbembe thinks about Africa and its cultural productions from an “Afropolitan” perspective, that is, not only through the binary opposition center/periphery but from the possibilities opened by the multiple alternative circulations that have proliferated in recent decades, placing the continent at the heart of a dense network of global exchanges. This is another “afrotopos”, as Felwine Sarr would say, an epistemological change that would force us to reconsider the way we think about literature and cultures on the African continent, highlighting precisely the dense global relations and circulations that shape them.
Keywords:
World Literature; Comparative Literature; Africans Literatures; Eurocentrism; Circulation
This article brings together The Trickster of Liberty by Gerald Vizenor and Woman of the Aeroplanes by B. Kojo Laing. These two novels, both published in 1988, engage in strikingly similar projects of imaginative resistance to the disenchantment of modernity, despite having originated in vastly different cultural, historical, and geopolitical contexts. Drawing on Max Weber’s account of rationalization and its attendant bureaucratic temporal and spatial logics, the article explores how both novels deploy absurdist humour, linguistic play, and narrative disjunction to re-enchant literary form and social possibility. Through communities that exist at a deliberate remove from the nation-state and characters who resist temporal linearity and spatial fixity, Laing and Vizenor articulate an “alt-modern” aesthetic: one that neither nostalgically idealizes tradition nor capitulates to modernization’s deterministic teleologies. Instead, each novelist crafts a speculative and playful futurism that destabilizes Eurocentric categories of progress and offers new possibilities for cultural survivance. By attending to the resonances between these authors without flattening their cultural particularities, this article contributes to decolonial comparative methodologies and to broader conversations about Indigenous and postcolonial literary futures.
La hispanista Mathilde Pomès es considerada una de las traductoras francesas más notables e influyentes del siglo XX. Muestra de ello son las numerosas cartas conservadas por Pomès y custodiadas desde 2016 en la Biblioteca Nacional de España (BNE) gracias a la donación de Elisa Ruiz García. En ellas se observa el papel indiscutible de Pomès como mediadora intercultural, la cual decidió visibilizar a autores hispanohablantes desconocidos por el público meta francés gracias a su condición de consagrante (Casanova, 2002) y por pertenecer al grupo dominante dentro del polisistema literario mundial (Even-Zohar, 1990). Por lo tanto, el objetivo de este artículo es presentar los intercambios epistolares entre Pomès y algunos escritores de lengua española para así conocer más de cerca su labor traductora y la valoración que tenían de ella estos intelectuales de la época.
This article reflects on the intellectual aspirations and current challenges faced by the discipline of Comparative Literature. The challenge identified comes from the global margins and the necessity of integrating the plurality of non-colonial lega-cies in the syncretic vision of global literary studies. The case study presented in the article, the literature of Guinea-Bissau, is considered not in the usual inter-literary context of Lusophone universe, but in its regional, West African cultural history, rich in tribal legacies and Islamic influences. The regional focus permits to emphasize the plurality of local languages, legacies of oral literature associated with them, as well as non-European literacy. The focus proposed permits us to see the literature of Guinea-Bissau not as an emergent phenomenon, but as a conclu-sion of long-lasting cultural processes reaching, with the postcolonial writing, their stage of exhaustion rather than auroral moments.
This article reads Liu Cixin's award-winning Chinese science fiction novel The Three-Body Problem (2007, in English 2014) as a work of climate fiction. By analyzing the novel's portrayal of ecological crisis, dystopian outlook, and inexplicable dream sequences, this article identifies an overarching environmental theme complexly entangled in politics and idealism. While signaling a definite shift away from anthropocentrism, the narrative nonetheless reasserts humanist and anthropocentric assumptions. As such, the novel speaks to the inseverable connections between humans and nonhumans while simultaneously contemplating the reality of human extinction events. Riddled with such contradictions, The Three-Body Problem thus represents the experience of hope and cynicism in the face of radically transforming human/nonhuman relationships—a sentiment likely shared by many readers in our age of eco-crisis.
This special issue is an attempt to illuminate the multifaceted
ways in which Conrad’s work continues to challenge, redefine, and enrich the discourse of world literature. By engaging with Conrad’s texts through diverse methodological lenses – ranging from deconstructive analysis to comparative studies and philosophical inquiry – these essays collectively underscore the enduring relevance of his oeuvre in navigating the complexities
of global literary traditions.
Resumo Com base em pesquisa realizada na Universidade de Barcelona, o texto trata da circulação e da possível e desejada inserção da literatura brasileira na Espanha, dando destaque para os três tipos de circulação observados: aquela que se dá plenamente na língua de chegada, estando disponível em redes de bibliotecas públicas, no ensino universitário e nas livrarias para o grande público, como é o caso de Clarice Lispector, plenamente inserida no sistema literário espanhol; aquela mais comercial, portanto, pontual e nem sempre alcançando inserção plena, sendo constatado, no artigo, o caso de Martha Batalha; e, por último, aquela que podemos chamar de circulação pela rede de afetos formada por tradutores e leitores específicos, que é a situação da poesia contemporânea, principalmente.
This research article delves into the realm of comparative literature through an interdisciplinary lens, exploring cultural variances and narrative dynamics in the cinematic landscape. Utilizing Champoux's Observational Model and Horton and McDougal's theoretical framework, the study conducts a comparative analysis of two films: Laapataa Ladies directed by Kiran Rao and Poor Things directed by Yorgos Lanthimos. Through this analysis, the article unveils intriguing insights into the evolving socio-cultural landscapes of contemporary India and Victorian England, shedding light on themes of identity, societal expectations, and the human condition depicted in these cinematic narratives. The comparative method helps in illuminating previously unknown aspects of one text, which can be better highlighted through comparison with another text.
Translation, in the globalized world, is a form of mediation that negotiates languages and cultures. The paper examines how a third language is developed in the process of translation. Further, the body of literature that we often call 'Comparative literature' or what Damrosch call 'World literature' is written in the third language. The theories of Walter Benjamin, Ezra Pound, Eugene Nida, Lefevere among others have been used in framing comparative literature.
Translating Russian Literature in the Global Context examines the translation and reception of Russian literature as a world-wide process. This volume aims to provoke new debate about the continued currency of Russian literature as symbolic capital for international readers, in particular for nations seeking to create or consolidate cultural and political leverage in the so-called ‘World Republic of Letters’. It also seeks to examine and contrast the mechanisms of the translation and uses of Russian literature across the globe.
This collection presents academic essays, grouped according to geographical location, by thirty-seven international scholars. Collectively, their expertise encompasses the global reception of Russian literature in Europe, the Former Soviet Republics, Africa, the Americas, and Asia. Their scholarship concentrates on two fundamental research areas: firstly, constructing a historical survey of the translation, publication, distribution and reception of Russian literature, or of one or more specific Russophone authors, in a given nation, language, or region; and secondly, outlining a socio-cultural microhistory of how a specific, highly influential local writer, genre, or literary group within the target culture has translated, transmitted, or adapted aspects of Russian literature in their own literary production. Each section is prefaced with a short essay by the co-editors, surveying the history of the reception of Russian literature in the given region.
Considered as a whole, these chapters offer a wholly new overview of the extent and intercultural penetration of Russian and Soviet literary soft power during the twentieth and twenty-first centuries. This volume will open up Slavonic Translation Studies for the general reader, the student of Comparative Literature, and the academic scholar alike.
Esta ponencia, titulada "Todo es canónico, nada es canónico", explora la relación entre el canon literario y el mercado. Se aborda la posmodernidad según Lyotard, destacando la disolución de fronteras en la literatura, incluyendo géneros y principios tradicionales. Se discute la influencia del mercado editorial en la canonización, señalando la tensión entre la calidad literaria y la demanda comercial. La difuminación de la frontera entre alta y baja literatura se presenta como una ventaja para ampliar el canon, pero también como un desafío práctico debido a la sobreproducción y sesgos del mercado. La ponencia plantea la pregunta sobre si la disolución de fronteras es positiva o negativa en la práctica.
This article is the authors’ response to the Transilvania journal special issue dedicated to Creolizing the Modern: Transylvania across Empires (Cornell University Press, 2022). The issue (no. 10, 2022) featured articles and review articles on inter-imperiality and decolonial thought, alongside several pieces on world literature and cultural representations of Romania. In response to the critiques formulated by the contributors, Anca Parvulescu and Manuela Boatcă clarify some aspects and offer further insight into their theories. Since its publication, the book has attracted much deserved attention, being awarded the 2023 René Wellek Prize for best monograph from the American Comparative Literature Association (ACLA) and the 2023 Barrington Moore Award from the Comparative and Historical Sociology Section of the American Sociological Association (ASA).
In Toboso Yana’s anime Black Butler, she pairs the figures of the child detective with Jack the Ripper to arrive at a complex array of meanings. The Ripper figure continues to have one of the most popular afterlives following its original context of Victorian Britain, with numerous contemporary iterations and adaptations of the 1888 murders visible across contemporary popular culture. This article examines the characteristics that Black Butler’s child detective Ciel Phantomhive has in common with the Ripper (tragic histories, violent behavior, and the strategic use of knowledge). I begin by contextualizing Black Butler in regards to Japanese literature, a world literature framework, and the neo-Victorian genre alike. I then turn to analyzing how Ciel deploys the knowledge he gains from the Ripper case to legitimize himself; he both unravels the mystery of this figure and allows it to persist. In essence, the Ripper phenomenon garners such interest precisely because it is a mystery, and Ciel capitalizes on the same uncertainties and (lack of) knowledge as a form of power.
During the 1990s Jon Fosse went from being a prose writer with a limited Norwegian audience to becoming a playwright with an ever-expanding global distribution. His current international standing is closely connected to the fact that he began to write dramatic texts. With a point of departure in the recently acquired Jon Fosse Archive, the National Library of Norway has established a dataset of information about all documented stage productions of Fosse’s works worldwide in collaboration with the Sceneweb Archive. This paper conducts an analysis of this dataset from three angles: geography, social structure, and organizational factors. It is no denying that Fosse has become a world dramatist, but the study shows that his distribution has a strong European bias, where three nations stand out, Norway, France, and Germany. Using social network analysis, the study identifies the major hubs in the global network of stage artists involved in producing Fosse and reveals that most of them are Norwegian or Swedish. However, these artists have engaged in transnational, artistic collaborations that over time have created a form of distributed ownership to his works. Additionally, Fosse has fared well in the system of international festivals which has further strengthened his global standing.
The study adopts textual analysis as its method. This is done within the theoretical framework of post-colonialism as proposed by scholars. This study is interested in the discussion of the novel The Lonely Londoners as a significant example of world literature written in English. The Lonely Londoners exists as a genre belonging to the literary period of postmodernism. It focuses on the ideas of migration, integration, and post colonialism. Also, it unveils the realities of immigrants in the postwar immigrant communities of the British capital. The Eurocentric nature of world literature in the post-colonial era has made The Lonely Londoners a good example of world literature as it is originally written in English. It is recognized as a text whose reception extends its local readership. This is so because immigrants from around the world relate to the problems encountered while trying to be upwardly mobile in the British center as highlighted in the novel. The author has written many books in which he mostly explores the experience of immigrants from different parts of the world. The novel is considered a world literature because it has been translated into major languages of the world and transcends the culture and civilization of its country of origin to showcase the events and practices in a different society.
This article examines the presence of Poe’s fiction in Spain, focusing on the reception of his anthologized short stories in the second half of the nineteenth century and the early twentieth century, and taking this as a case of literary hospitality that helped to develop the fantasy genre in the country. In the early decades of publication, collections of Poe’s short stories were generally introduced into Spain as translations of anthologies of Baudelaire’s French versions. These anthologies appealed to a broad readership and sold well, being published by both large, professional houses and smaller, family-run presses. Poe came to form part of the literary canon that was being shaped in the final decades of the nineteenth century in Spain, and was thus published alongside major literary figures, which attests to the kind of literary hospitality he enjoyed in Spain’s cultural world in the decades following his introduction into the country.
The World Literature debate has spawned a set of discussions on the role of postcolonial literature, which prompts a redesigning of the current understanding, circulation, and teaching of certain cultural fields. In this context, Latin American literature has a particularly problematic position, mainly due to is (post)colonial condition, which this article explores through the analysis of the polemics and cultural politics of two emblematic intellectuals: the Peruvian writer and anthropologist José María Arguedas and the Argentine writer Julio Cortázar. By examining the impasse held by these two public intellectuals, as well as their formulations on the need to universalize/globalize Latin American literature, this paper explores how these authors anticipate some key terms about current discussions in the sphere of World Literature as applied to Latin American literature. Through analyzing their public writings such as letters, journalistic articles, interviews, and speeches, concepts such as universality, worldliness, and cosmopolitism are explored in their ideological dimensions within an analytical framework that embraces decolonial critique and world-system theory. In this way, this work contrasts the universalizing and cosmopolitizing construct that runs through the arguments formulated by these two well-known authors whose most productive periods occurred in parallel with the beginning of the asymmetrical process of cultural globalization in Latin America.
This chapter engages with the formation of nationalist canons as a site for normativity. I examine how discourses of canon—national, literary, cultural—overwrite the contra-normative acts within texts. I read Rabindranath Tagore as an artefact of South Asian public culture and a pan-Asian hero and examine moments and examples from his poetry, essays, and novels that reveal the way in which normativity functions to produce an authentic and sanctioned (if not sanctified) version of the poet. This chapter makes the crucial point that a pre-requisite for the establishment of any normativity is the instruction on how to read (texts, culture, and history), how it is embedded in discursive and material strategies, and effects myriad cultural contexts including in India, the UK, Bangladesh, and China.
Comparative literature is an academic field dealing with the literature of two or more linguistic and cultural groups. It is an interdisciplinary field whose practitioners study literature across national borders, across time periods, across languages, across genres, across boundaries between literature and the other arts (music, painting, dance, film, etc.). Mawlana Jalaluddin and Walt Whitman can be considered among the greatest and most influential poets in the world. John Joseph Nicholson (born April 22, 1937), American actor and filmmaker, introduces Mawlana as the greatest mystic poet of all times, and the United Nations named the year 2007 after Mawlana. Walt Whitman also had mystical tendencies and has been called the father of new American poetry. Along with Emerson and Thoreau, he forms the movement of ‘Transcendentalism’. Considering Whitman’s Leaves of Grass and Mawlana’s Mathnavi, they both claim that nature, man, and the entire universe are images of God or signs of God's divine unity. Since Mawlana lived before Walt Whitman, efforts have been made in this study to find out how Whitman was mystically influenced by Mawlana.
Key Words: Mysticism, Comparative Literature, Leaves of Grass, Spiritual Mathnavi, Transcendentalism, World Literature
L’idée d’une fonction de l’art comme fabrique de mondes est aujourd’hui très largement répandue, notamment en raison de la forte influence de la théorie de la fiction inspirée de la notion leibnizienne de « monde possible » et des approches postmodernes d’orientation ontologique. Celle d’un texte-monde est appliquée quasi exclusivement au genre romanesque. Les sciences du langage, de leur côté, se désintéressent majoritairement de ces problématiques venues du champ littéraire, occupées qu’elles sont à se développer au croisement de la cognition, des mathématiques et de l’informatique. Cependant dans le cadre d’une anthropologie sémiotique renouvelée, il est possible de penser un décloisonnement fécond des savoirs entre sciences et Humanités à partir de la question des conditions d’accès au sens, question qui se pose de manière cruciale si l’on reconçoit la question de la créativité langagière comme problème linguistique et sémiotique central. Interpréter/décrire la façon dont les écrivains disent le monde ou créent un monde revient alors à inscrire le travail critique dans une conscience du hors-champ et des transferts culturels, en soulignant l’enjeu éminemment politique de toute épreuve du dehors, y compris au sein d’une seule langue.Si le monde humain est fait d’institutions, de pratiques et d’objets supposant à la fois le couplage complexe à son entour et son façonnement plastique en retour, si l’on restitue au langage sa dimension écologique, c’est-à-dire si on le définit non comme un simple instrument, mais comme un milieu traversé de normes et de valeurs, alors travailler la langue, c’est travailler le monde, réinventer sans relâche le monde humain et son rapport à la Terre et aux autres espèces, entrer dans des dynamiques cosmomorphes inédites. C’est pourquoi « poésie » désigne ici un processus d’individuation d’une langue dans la langue par un sujet inscrit dans l’histoire et dans le rythme de son corps – rapport particulier au langage que le genre poétique maximalise sans doute, mais sans exclusive. La poésie n’est pas ici conçue comme une sortie du langage, mais au contraire comme un approfondissement de ses possibles, où le blanc, le papier, la matière sonore, les rapports aux sciences, aux mythes, à la technique, à l’environnement, à la politique, ont toute leur place – et qui met au défi les linguistes, au moins autant en tant que spécialistes du langage qu’en tant que lecteurs et citoyens du monde. L’approche micrologique par la poésie contemporaine et ses mondes flottants, en émergence, hybrides, et l’approche macrologique par une anthropologie sémiotique peuvent ainsi, de manière imprévue, se rendre de mutuels services en soulignant la nécessité d’un point de vue multifocal et pluralisé, sensible aux différenciations critiques.
Cultural globalisation, made possible by the enhancement of digital infrastructure, has led some scholars to reconsider the dynamics of core-periphery transfers, stressing the immediacy with which popular culture crosses national and linguistic borders. This is the case of Theory in the ‘Post’ Era: A Vocabulary for the 21st-Century Conceptual Commons, which in its preface proposes an epidemiological model of the transfer of cultural capital. In my paper, I want to relate “the contagion theory” to the import of Posthumanism in Eastern Europe and contemporary Romanian literature. The links between Posthumanism and contemporary literature have provoked sometimes productive, sometimes controversial local debates. The way in which this philosophy/theory is naturalised calls into question the instantaneity with which ideas circulate, since there are cases in which its core meanings are hijacked in Romanian culture. This cultural dysmorphia (along with other cultural products considered self-colonial) demonstrates how the unequal relations between centre and periphery are not completely dissolved by the digital turn but generate a new paradox of asymmetrical instantaneity. The aim of my article is to see how the theory of posthumanism travels from the centre of Anglo-American cultural studies to the semi-periphery of the Romanian literary field, where several mutations can be noticed: first of all, the shift from SF literature to poetry, which has a greater symbolic capital in Romania. I will analyse the contexts of the “regimes of relevance,” the transformations brought about by Romania’s accession to the European Union, and the mechanisms of diffusion of posthuman theory in the local space.
Literary characters do not receive the same attention from literary scholars as other components of literature (i.e. the narrative, theme, motif). In contrast to this lack of interest, various studies have shown that characters in particular play an important role for readers. We draw on this observation to explore a user-oriented notion of World Literature according to the collaborative encyclopedia Wikipedia. Based on its language-independent taxonomy Wikidata, we collect data from 321 Wikipedia editions on more than 7000 characters presented on more than 19000 independent character pages across the various language editions. We use this data to build a network that represents affiliations of characters to Wikipedia languages, which leads us to question some of the established presumptions towards key-concepts in World Literature studies such as the notion of major and minor, the center-periphery opposition or the canon.
Zamorano Llena offers an engaging analysis of how contemporary migration has revolutionised traditional ways of seeing and studying the world by challenging the national outlook. She provides an up-to-date critical review of specific terminology, including migration and migrant literature, in order to justify her use of “fiction of migration” as a more inclusive category to acknowledge the aesthetic and thematic influence of mobility on both migrant and non-migrant authors. By focusing on the interrelated cases of Britain and Ireland, and centring on the novel as a genre, Zamorano Llena situates this redefinition of national literatures and of collective and individual identities within the context of the development of postcolonialism under conditions of globalisation and the renewed academic interest in cosmopolitanism over the last three decades.KeywordsBritish fictionIrish fictionMigrationGlobalisationCosmopolitanism
Literature and Market Realism
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At Home in the World: Cosmopolitanism Now Chow, Rey. Writing Diaspora: Tactics of Intervention in Contemporary Cultural StudiesTravels with Rigoberta
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A Splintered Mirror: Chinese Poetry from the Democracy Movement
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What Is World Poetry?
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