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The Experiences of International and Domestic Students Studying in an Australian University
Volume Editor:
Eight international and four domestic doctoral students share the story of completing their doctoral journey at an Australian university, as well as their experiences of being part of a large collaborative research group that served as a source of support and motivation on their doctoral journey. They share their dreams, hopes, and frustrations of searching, applying, being rejected and finally accepted as a doctoral candidate. International students share their impressions and experiences of being in a new land with a new language and immersing themselves and their families in a distinctly different culture and society. These are the stories of the challenges they encountered and their struggles and successes.
Contributors are: Elizabeth Allotta, Laura Emily Clark, Maria Ejlertsen, Daeul Jeong, Solange Lima, Huifang Liu, Mohammad Tareque Rahman, Umme Salma, Margaret Schuls, Sara Haghighi Siahgorabi, Lauren Thomasse and Tran Le Nghi Tran.
Contributors are: Elizabeth Allotta, Laura Emily Clark, Maria Ejlertsen, Daeul Jeong, Solange Lima, Huifang Liu, Mohammad Tareque Rahman, Umme Salma, Margaret Schuls, Sara Haghighi Siahgorabi, Lauren Thomasse and Tran Le Nghi Tran.
The Experiences of International and Domestic Students Studying in an Australian University
Volume Editor:
Eight international and four domestic doctoral students share the story of completing their doctoral journey at an Australian university, as well as their experiences of being part of a large collaborative research group that served as a source of support and motivation on their doctoral journey. They share their dreams, hopes, and frustrations of searching, applying, being rejected and finally accepted as a doctoral candidate. International students share their impressions and experiences of being in a new land with a new language and immersing themselves and their families in a distinctly different culture and society. These are the stories of the challenges they encountered and their struggles and successes.
Contributors are: Elizabeth Allotta, Laura Emily Clark, Maria Ejlertsen, Daeul Jeong, Solange Lima, Huifang Liu, Mohammad Tareque Rahman, Umme Salma, Margaret Schuls, Sara Haghighi Siahgorabi, Lauren Thomasse and Tran Le Nghi Tran.
Contributors are: Elizabeth Allotta, Laura Emily Clark, Maria Ejlertsen, Daeul Jeong, Solange Lima, Huifang Liu, Mohammad Tareque Rahman, Umme Salma, Margaret Schuls, Sara Haghighi Siahgorabi, Lauren Thomasse and Tran Le Nghi Tran.
Selected Poems, 1776-1836
Editor / Translator:
Chŏng Yagyong (1762-1836), or simply Tasan, is a prolific poet and one of the most brilliant minds in Korean history but remains unknown as a person.This book introduces his life through his own auto-biographical poems translated into English for the first time.
Here we find him struggling between love of learning and exam hell, between aristocratic pride and economic hardship, between Catholic sympathies and Confucian heritage, and finally between two women.
Astonishingly open about himself for his time and class, this vivid portrait of his is a triumph of self-expression the likes of which we have not seen in premodern Korean literature.
Here we find him struggling between love of learning and exam hell, between aristocratic pride and economic hardship, between Catholic sympathies and Confucian heritage, and finally between two women.
Astonishingly open about himself for his time and class, this vivid portrait of his is a triumph of self-expression the likes of which we have not seen in premodern Korean literature.
Selected Poems, 1776-1836
Chŏng Yagyong (1762-1836), or simply Tasan, is a prolific poet and one of the most brilliant minds in Korean history but remains unknown as a person.This book introduces his life through his own auto-biographical poems translated into English for the first time.
Here we find him struggling between love of learning and exam hell, between aristocratic pride and economic hardship, between Catholic sympathies and Confucian heritage, and finally between two women.
Astonishingly open about himself for his time and class, this vivid portrait of his is a triumph of self-expression the likes of which we have not seen in premodern Korean literature.
Here we find him struggling between love of learning and exam hell, between aristocratic pride and economic hardship, between Catholic sympathies and Confucian heritage, and finally between two women.
Astonishingly open about himself for his time and class, this vivid portrait of his is a triumph of self-expression the likes of which we have not seen in premodern Korean literature.
Proceedings of the 22nd Congress of the International Comparative Literature Association
The 2019 congress of the International Comparative Literature Association attracted many hundreds of scholars from all around the world to Macau. This volume contains a modest selection of papers to discuss the four hottest fields of the discipline: the future of comparison, the position of national and diaspora literature in the context of globalization, the importance of translation, and the concepts of world literature. The contributions cover huge geographical and cultural areas, but pay special attention to the connections between Western (both American and European) and Asian (especially Indian and East-Asian) literatures. The literatures of the world might be different but they are also connected.
Proceedings of the 22nd Congress of the International Comparative Literature Association
The 2019 congress of the International Comparative Literature Association attracted many hundreds of scholars from all around the world to Macau. This volume contains a modest selection of papers to discuss the four hottest fields of the discipline: the future of comparison, the position of national and diaspora literature in the context of globalization, the importance of translation, and the concepts of world literature. The contributions cover huge geographical and cultural areas, but pay special attention to the connections between Western (both American and European) and Asian (especially Indian and East-Asian) literatures. The literatures of the world might be different but they are also connected.
Author:
Abstract
The purpose of this article is to trace how the Western literary genre of aphorism was introduced into modern Japanese literature at the beginning of the 20th century, and to show how its introduction has shaped Japanese literary critics’ use of the term up to today.
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Abstract
Digital humanities point to the digital tool as the instrument of such a deep transformation in culture as that brought about by the invention of the printing press in the era of humanism. They transform comparative literature by allowing the analysis of very large corpora. Franco Moretti uses the image of waves, as opposed to that of trees, to contrast the approach of comparative literature, based on large corpora, to that of national literatures. But Ana Paula Coutinho objects that the digital tool should not lose the pleasure of reading and the detailed analysis allowed by “close reading”: she thus speaks of “bifocal glasses” to characterize the ideal of comparative approach. If Carlos Fuentes condemns the idea of a unique type of reading, the digital humanities also transform the very idea of literature by allowing hyperfiction, demonstrating that literature is not limited to its textual dimension. Digital humanities thus make it possible to rethink comparative literature, reading, but also the very notion of literature.
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The economic rise, first of Japan and Korea, then, even stronger, China, and in its wake perhaps soon much of South and South-East Asia, has brought about a major geopolitical recalibration from the Atlantic to the Pacific. In his 1998 book Re-Orient, André Gunder Frank argued that this in fact merely marks a return to the pre-1800 situation, when China likewise was at the centre of the world economy. Consequently, he asks Western scholars to look at the world with different eyes than their customarily Eurocentric ones. I consider what the implications of such a shift might be for the discipline of Comparative Literature.
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The cosmopolitan is conventionally understood as hospitality to difference and cultural pluralization. Yet the issue of hospitality is complex and fraught. In its most generous statement, in the work of Immanuel Kant, absolute hospitality is an expression of the natural right of all people to occupation of the entire planet. Yet, as Kant himself knew, the existence of states made such hyperbolic open-ness impossible. Hospitality must always be enacted according to specific and limiting protocols and laws. This paper investigates how Jacques Derrida discusses the cosmopolitan by negotiating the clash between absolute and conditional hospitality, and their relation to subjectivity, ethics and sovereignty.
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The mainstream narrative mode of the War of Resistance against Japanese Aggression in Chinese novels used to feature the heroic deeds of the Eighth Route, New Fourth Army, militia guerrillas, and Kuomintang’s National Revolutionary Army. In Red Sorghum, Mo Yan blazed a new trail, spotlighting women and bandits who had barely been considered as protagonists in such literary genre. These new types of heroes and patriots are full of vitality and savageness, fighting the Japanese invaders to their last breath. Based on the historic events of the war, the novel absorbs both the folk tradition originating from Shi Nai’an’s Water Margin and the magical realism exemplified in Gabriel Garcia Marquez’s One Hundred Years of Solitude. This article seeks to explore Mo Yan’s innovations in characterization, thematic concerns, and stylistic features as represented in food and drink in Red Sorghum. The three alimentary items—fistcakes, sorghum wine and dog meat—offer an apt angle to examine Mo Yan’s artistic treatment of literary traditions, local customs, and historical events.
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Amy Tan’s third novel The Hundred Secret Senses is an intriguing story that seeks answers to the question about the Chinese Americans’ collective cultural identity. The two “half-blood” sisters in the novel, who come from different cultural backgrounds but live under the same roof, have profuse opportunities to negotiate their cultural identity through the form of gazing. In the Sartrean sense, the act of gazing involves the exposure of the subject’s consciousness and access to the subjectivity of the Other. However, on the other hand, there might be numerous difficulties involved before significant revelation drops in, according to the ethical meditations on gaze by Levinas. The gazing works for both the gazer and the object of gaze, as is shown in the changes that a hybrid cultural background can bring to the two sisters’ growth in the novel. When firm sisterhood gradually establishes despite the two sisters’ distinctive cultural standings, the vague cultural identity thus created defies easy categorization. The image of the older sister especially embodies a strange cultural phenomenon—a Chimera that exists realistically for the Chinese Americans’ bicultural experience: it is neither purely American nor Chinese, but a new identity unlike any of its source cultures. The monstrous chimera, as monstro with its original implication in Latin, is an unusual being through which divine forces deliver important message. The chimera image in the text is thus regarded as an embodiment of a being that signifies a transitory stage of cultural co-existence and tolerance.
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It should be obvious that literary texts are written primarily for being read and experienced by an unspecified audience of interested readers, not primarily for being made the object of critical analysis or interpretation by professional critics. However, it is a common idea that literary critics are doing the same things as lay readers do, just doing it better. (Toril Moi, Aleida Assmann, and Peter Lamarque) I argue that this common way of thinking distorts our understanding of both the ordinary reading of literature and literary criticism. The ordinary reading of literature for the literary experience—what I call “experience-oriented reading”—is being cast as something simplistic and second-rate, while it is arguably the kind of reading that literature is intended for. At the same time, it must be wrong to portray the literary critic as essentially a reader. The specific role of the literary critic is not to read literature but to have interesting things to say about literature—a secondary activity, compared with experience-oriented reading, but naturally an important pursuit in its own right. Critics will of course have read the works on which they comment, but just reading does not make anybody a critic. Also, to describe critics as extra good readers is to give a far too simple image of the array of highly diverse activities and projects conventionally viewed as literary criticism.