List price
EUR €99.00USD $119.00
Browse results
Gender and Nation in Spain and Italy in the Long Nineteenth Century
Series:
Studia Imagologica, Volume: 32
In the long nineteenth century, dominant stereotypes presented people of the Mediterranean South as particularly passionate and unruly, therefore incapable of adapting to the moral and political duties imposed by European civilization and modernity. This book studies, for the first time in comparative perspective, the gender dimension of a process that legitimised internal hierarchies between North and South in the continent. It also analyses how this phenomenon was responded to from Spain and Italy, pointing to the similarities and differences between both countries. Drawing on travel narratives, satires, philosophical works, novels, plays, operas, and paintings, it shows how this transnational process affected, in changing historical contexts, the ways in which nation, gender, and modernity were imagined and mutually articulated.
Gender and Nation in Spain and Italy in the Long Nineteenth Century
Series:
Studia Imagologica, Volume: 32
In the long nineteenth century, dominant stereotypes presented people of the Mediterranean South as particularly passionate and unruly, therefore incapable of adapting to the moral and political duties imposed by European civilization and modernity. This book studies, for the first time in comparative perspective, the gender dimension of a process that legitimised internal hierarchies between North and South in the continent. It also analyses how this phenomenon was responded to from Spain and Italy, pointing to the similarities and differences between both countries. Drawing on travel narratives, satires, philosophical works, novels, plays, operas, and paintings, it shows how this transnational process affected, in changing historical contexts, the ways in which nation, gender, and modernity were imagined and mutually articulated.
Volter Kilpi in Orbit Beyond (Un)translatability
One of the hottest battles emerging out of the theoretical and methodological collisions between Comparative Literature and Translation Studies—especially on the battleground of World Literature—has to do with translatability and untranslatability. Is any translation of a great work of literature not only a lamentable betrayal but an impossibility? Or is translation an imperfect but invaluable tool for the transmission of works and ideas beyond language barriers?
Both views are defensible; indeed both are arguably commonsensical. What Douglas Robinson argues in Translating the Monster, however, is that both are gross oversimplifications of a complex situation that he calls on Jacques Derrida to characterize as “the monster.”
The Finnish novelist Robinson takes as his case study for that monstrous rethinking is Volter Kilpi (1874-1939), regarded by scholars of Finnish literature as Finland’s second world-class writer—the first being Aleksis Kivi (1834-1872). Kilpi’s modernist experiments of the 1930s, especially his so-called Archipelago series, beginning with his masterpiece, In the Alastalo Parlor (1933), were forgotten and neglected for a half century, due to the extreme difficulty of his narrative style: he reinvents the Finnish language, to the extent that many Finns say it is like reading a foreign language (and one contemporary critic called it the “Mesopotamian language … of a half-wit”). That novel has been translated exactly twice, into Swedish and German. Translating the Monster also gives the English-speaking reader an extended taste of the novel in English—en route to a series of reframings of the novel as allegories of translation and world literature.
Both views are defensible; indeed both are arguably commonsensical. What Douglas Robinson argues in Translating the Monster, however, is that both are gross oversimplifications of a complex situation that he calls on Jacques Derrida to characterize as “the monster.”
The Finnish novelist Robinson takes as his case study for that monstrous rethinking is Volter Kilpi (1874-1939), regarded by scholars of Finnish literature as Finland’s second world-class writer—the first being Aleksis Kivi (1834-1872). Kilpi’s modernist experiments of the 1930s, especially his so-called Archipelago series, beginning with his masterpiece, In the Alastalo Parlor (1933), were forgotten and neglected for a half century, due to the extreme difficulty of his narrative style: he reinvents the Finnish language, to the extent that many Finns say it is like reading a foreign language (and one contemporary critic called it the “Mesopotamian language … of a half-wit”). That novel has been translated exactly twice, into Swedish and German. Translating the Monster also gives the English-speaking reader an extended taste of the novel in English—en route to a series of reframings of the novel as allegories of translation and world literature.
Volter Kilpi in Orbit Beyond (Un)translatability
One of the hottest battles emerging out of the theoretical and methodological collisions between Comparative Literature and Translation Studies—especially on the battleground of World Literature—has to do with translatability and untranslatability. Is any translation of a great work of literature not only a lamentable betrayal but an impossibility? Or is translation an imperfect but invaluable tool for the transmission of works and ideas beyond language barriers?
Both views are defensible; indeed both are arguably commonsensical. What Douglas Robinson argues in Translating the Monster, however, is that both are gross oversimplifications of a complex situation that he calls on Jacques Derrida to characterize as “the monster.”
The Finnish novelist Robinson takes as his case study for that monstrous rethinking is Volter Kilpi (1874-1939), regarded by scholars of Finnish literature as Finland’s second world-class writer—the first being Aleksis Kivi (1834-1872). Kilpi’s modernist experiments of the 1930s, especially his so-called Archipelago series, beginning with his masterpiece, In the Alastalo Parlor (1933), were forgotten and neglected for a half century, due to the extreme difficulty of his narrative style: he reinvents the Finnish language, to the extent that many Finns say it is like reading a foreign language (and one contemporary critic called it the “Mesopotamian language … of a half-wit”). That novel has been translated exactly twice, into Swedish and German. Translating the Monster also gives the English-speaking reader an extended taste of the novel in English—en route to a series of reframings of the novel as allegories of translation and world literature.
Both views are defensible; indeed both are arguably commonsensical. What Douglas Robinson argues in Translating the Monster, however, is that both are gross oversimplifications of a complex situation that he calls on Jacques Derrida to characterize as “the monster.”
The Finnish novelist Robinson takes as his case study for that monstrous rethinking is Volter Kilpi (1874-1939), regarded by scholars of Finnish literature as Finland’s second world-class writer—the first being Aleksis Kivi (1834-1872). Kilpi’s modernist experiments of the 1930s, especially his so-called Archipelago series, beginning with his masterpiece, In the Alastalo Parlor (1933), were forgotten and neglected for a half century, due to the extreme difficulty of his narrative style: he reinvents the Finnish language, to the extent that many Finns say it is like reading a foreign language (and one contemporary critic called it the “Mesopotamian language … of a half-wit”). That novel has been translated exactly twice, into Swedish and German. Translating the Monster also gives the English-speaking reader an extended taste of the novel in English—en route to a series of reframings of the novel as allegories of translation and world literature.
« A ti pa » avec l'antillectuel Léon Damas
Series:
Francopolyphonies, Volume: 32
Le troisième homme de la négritude, Léon Damas, s'aligne sur la Renaissance de Harlem et les surréalistes pour transmettre son message urgent : a ti pa, peu à peu, la France subit sa transformation décoloniale. Il prétend être « l'Antillectuel » qui traverse les frontières de la langue, du territoire, de la couleur, de la classe et du genre.
Cet essai présente Léon Damas sous un autre jour, opérant un double renversement de perspective, d'abord en le rapprochant du triangle afro-américain (Richard Wright) et des poètes et romanciers de la Harlem Renaissance (Langston Hughes, Claude McKay). Deuxièmement, Damas, contemporain de Fanon dont les chapitres de Peau noire, masques résonnent dans de nombreux poèmes, s'inscrit également comme un surréaliste mineur, dans la lignée de Guillaume Apollinaire et de Ghérasim Luca.
Cette nouvelle circonférence montre le poète de Cayenne comme un précurseur sur toutes les Lignes. Un poète resté hors chant, hors champs, se révèle être le militant décolonial radical resté frustré de voir à quel point la République changeait lentement (« à ti pas »). Le présent essai se veut un « Plaidoyer pour l'Antillectuel » (Sartre) à travers la figure du poète resté dans l'ombre de Léopold Senghor et d'Aimé Césaire. Il montre aussi que l’outre-mer reste un territoire à géométrie variable, le troisième département éclipsé par la Martinique dans les théories d’autochtonie et de fabrique des classiques antillo-guyanais.
The third man of negritude, Léon Damas, aligned himself with the Harlem Renaissance and surrealists to transmit his urgent message: à ti pas, little by little, France was undergoing its decolonial transformation. He claims to be the “Antillectual” who crosses the Lines of language, territory, color, class and gender. This essay presents Léon Damas in another light, operating a double reversal of perspective, first by affiliating him with the African American triangle (Richard Wright) and the Harlem Renaissance poets and novelists (Langston Hughes, Claude McKay). Second, Damas, Fanon's contemporary whose chapters of Black Skin, White Masks resonate in many poems, also registers as a minor surrealist, following in the footsteps of Guillaume Apollinaire and Ghérasim Luca.
This new circumference shows the poet of Cayenne as a precursor on all lines. A poet who has remained off-screen, off-song, proves to be the radical decolonial militant who remained frustrated to see how slowly (“à ti pas”) the Republic was changing. The present essay is intended to be “Plea for the Antillectual” (Sartre) through the figure of the poet who remained in the shadow of Léopold Senghor and Aimé Césaire.
It also shows that the overseas remains a territory with variable geometry, the third department being eclipsed by Martinique in the theories of autochthony and manufacturing of the Antillean-Guyanese classics.
Cet essai présente Léon Damas sous un autre jour, opérant un double renversement de perspective, d'abord en le rapprochant du triangle afro-américain (Richard Wright) et des poètes et romanciers de la Harlem Renaissance (Langston Hughes, Claude McKay). Deuxièmement, Damas, contemporain de Fanon dont les chapitres de Peau noire, masques résonnent dans de nombreux poèmes, s'inscrit également comme un surréaliste mineur, dans la lignée de Guillaume Apollinaire et de Ghérasim Luca.
Cette nouvelle circonférence montre le poète de Cayenne comme un précurseur sur toutes les Lignes. Un poète resté hors chant, hors champs, se révèle être le militant décolonial radical resté frustré de voir à quel point la République changeait lentement (« à ti pas »). Le présent essai se veut un « Plaidoyer pour l'Antillectuel » (Sartre) à travers la figure du poète resté dans l'ombre de Léopold Senghor et d'Aimé Césaire. Il montre aussi que l’outre-mer reste un territoire à géométrie variable, le troisième département éclipsé par la Martinique dans les théories d’autochtonie et de fabrique des classiques antillo-guyanais.
The third man of negritude, Léon Damas, aligned himself with the Harlem Renaissance and surrealists to transmit his urgent message: à ti pas, little by little, France was undergoing its decolonial transformation. He claims to be the “Antillectual” who crosses the Lines of language, territory, color, class and gender. This essay presents Léon Damas in another light, operating a double reversal of perspective, first by affiliating him with the African American triangle (Richard Wright) and the Harlem Renaissance poets and novelists (Langston Hughes, Claude McKay). Second, Damas, Fanon's contemporary whose chapters of Black Skin, White Masks resonate in many poems, also registers as a minor surrealist, following in the footsteps of Guillaume Apollinaire and Ghérasim Luca.
This new circumference shows the poet of Cayenne as a precursor on all lines. A poet who has remained off-screen, off-song, proves to be the radical decolonial militant who remained frustrated to see how slowly (“à ti pas”) the Republic was changing. The present essay is intended to be “Plea for the Antillectual” (Sartre) through the figure of the poet who remained in the shadow of Léopold Senghor and Aimé Césaire.
It also shows that the overseas remains a territory with variable geometry, the third department being eclipsed by Martinique in the theories of autochthony and manufacturing of the Antillean-Guyanese classics.
« A ti pa » avec l'antillectuel Léon Damas
Series:
Francopolyphonies, Volume: 32
Le troisième homme de la négritude, Léon Damas, s'aligne sur la Renaissance de Harlem et les surréalistes pour transmettre son message urgent : a ti pa, peu à peu, la France subit sa transformation décoloniale. Il prétend être « l'Antillectuel » qui traverse les frontières de la langue, du territoire, de la couleur, de la classe et du genre.
Cet essai présente Léon Damas sous un autre jour, opérant un double renversement de perspective, d'abord en le rapprochant du triangle afro-américain (Richard Wright) et des poètes et romanciers de la Harlem Renaissance (Langston Hughes, Claude McKay). Deuxièmement, Damas, contemporain de Fanon dont les chapitres de Peau noire, masques résonnent dans de nombreux poèmes, s'inscrit également comme un surréaliste mineur, dans la lignée de Guillaume Apollinaire et de Ghérasim Luca.
Cette nouvelle circonférence montre le poète de Cayenne comme un précurseur sur toutes les Lignes. Un poète resté hors chant, hors champs, se révèle être le militant décolonial radical resté frustré de voir à quel point la République changeait lentement (« à ti pas »). Le présent essai se veut un « Plaidoyer pour l'Antillectuel » (Sartre) à travers la figure du poète resté dans l'ombre de Léopold Senghor et d'Aimé Césaire. Il montre aussi que l’outre-mer reste un territoire à géométrie variable, le troisième département éclipsé par la Martinique dans les théories d’autochtonie et de fabrique des classiques antillo-guyanais.
The third man of negritude, Léon Damas, aligned himself with the Harlem Renaissance and surrealists to transmit his urgent message: à ti pas, little by little, France was undergoing its decolonial transformation. He claims to be the “Antillectual” who crosses the Lines of language, territory, color, class and gender. This essay presents Léon Damas in another light, operating a double reversal of perspective, first by affiliating him with the African American triangle (Richard Wright) and the Harlem Renaissance poets and novelists (Langston Hughes, Claude McKay). Second, Damas, Fanon's contemporary whose chapters of Black Skin, White Masks resonate in many poems, also registers as a minor surrealist, following in the footsteps of Guillaume Apollinaire and Ghérasim Luca.
This new circumference shows the poet of Cayenne as a precursor on all lines. A poet who has remained off-screen, off-song, proves to be the radical decolonial militant who remained frustrated to see how slowly (“à ti pas”) the Republic was changing. The present essay is intended to be “Plea for the Antillectual” (Sartre) through the figure of the poet who remained in the shadow of Léopold Senghor and Aimé Césaire.
It also shows that the overseas remains a territory with variable geometry, the third department being eclipsed by Martinique in the theories of autochthony and manufacturing of the Antillean-Guyanese classics.
Cet essai présente Léon Damas sous un autre jour, opérant un double renversement de perspective, d'abord en le rapprochant du triangle afro-américain (Richard Wright) et des poètes et romanciers de la Harlem Renaissance (Langston Hughes, Claude McKay). Deuxièmement, Damas, contemporain de Fanon dont les chapitres de Peau noire, masques résonnent dans de nombreux poèmes, s'inscrit également comme un surréaliste mineur, dans la lignée de Guillaume Apollinaire et de Ghérasim Luca.
Cette nouvelle circonférence montre le poète de Cayenne comme un précurseur sur toutes les Lignes. Un poète resté hors chant, hors champs, se révèle être le militant décolonial radical resté frustré de voir à quel point la République changeait lentement (« à ti pas »). Le présent essai se veut un « Plaidoyer pour l'Antillectuel » (Sartre) à travers la figure du poète resté dans l'ombre de Léopold Senghor et d'Aimé Césaire. Il montre aussi que l’outre-mer reste un territoire à géométrie variable, le troisième département éclipsé par la Martinique dans les théories d’autochtonie et de fabrique des classiques antillo-guyanais.
The third man of negritude, Léon Damas, aligned himself with the Harlem Renaissance and surrealists to transmit his urgent message: à ti pas, little by little, France was undergoing its decolonial transformation. He claims to be the “Antillectual” who crosses the Lines of language, territory, color, class and gender. This essay presents Léon Damas in another light, operating a double reversal of perspective, first by affiliating him with the African American triangle (Richard Wright) and the Harlem Renaissance poets and novelists (Langston Hughes, Claude McKay). Second, Damas, Fanon's contemporary whose chapters of Black Skin, White Masks resonate in many poems, also registers as a minor surrealist, following in the footsteps of Guillaume Apollinaire and Ghérasim Luca.
This new circumference shows the poet of Cayenne as a precursor on all lines. A poet who has remained off-screen, off-song, proves to be the radical decolonial militant who remained frustrated to see how slowly (“à ti pas”) the Republic was changing. The present essay is intended to be “Plea for the Antillectual” (Sartre) through the figure of the poet who remained in the shadow of Léopold Senghor and Aimé Césaire.
It also shows that the overseas remains a territory with variable geometry, the third department being eclipsed by Martinique in the theories of autochthony and manufacturing of the Antillean-Guyanese classics.
Volume Editor:
Lucyna Harmon
The viscerally haunting and politically disturbing Painted Bird, the most famous novel by the Polish-American writer, Jerzy Kosinski, finally receives a long overdue fresh scientific perspective: a truly insightful study of linguistic and cultural controversy in translation against the benchmark of a tailor-made iron-clad methodology of such concepts as involved culture, detached culture and the universe of the opus. The study presents the kaleidoscopic cross section of renditions into as many as thirteen languages, making it a pioneering elaboration of a macrocosm of the afterlife of a translated novel and a tour de force of comparative translation studies. The dark contents of the work, heavily loaded with political and moral issues, vulnerable to shifts and refractions in the process of translation, have been analysed, unaffected by ideological sway, debunking any persistent myths about Kosinski’s harrowing work.
Volume Editor:
Lucyna Harmon
The viscerally haunting and politically disturbing Painted Bird, the most famous novel by the Polish-American writer, Jerzy Kosinski, finally receives a long overdue fresh scientific perspective: a truly insightful study of linguistic and cultural controversy in translation against the benchmark of a tailor-made iron-clad methodology of such concepts as involved culture, detached culture and the universe of the opus. The study presents the kaleidoscopic cross section of renditions into as many as thirteen languages, making it a pioneering elaboration of a macrocosm of the afterlife of a translated novel and a tour de force of comparative translation studies. The dark contents of the work, heavily loaded with political and moral issues, vulnerable to shifts and refractions in the process of translation, have been analysed, unaffected by ideological sway, debunking any persistent myths about Kosinski’s harrowing work.
Pascale Casanova’s World of Letters and Its Legacies proposes a wide-ranging appraisal of the work, influence and intellectual profile of a major figure in the humanities and social sciences, from sociology to literary theory and criticism. Both a tribute to the life and work of Pascale Casanova and a critical examination of the dissemination of her theoretical ideas around the world and in fields as diverse as world literature, comparative literature, translation studies, and the sociology of literature, the essays selected here are signed by leading scholars in these disciplines including David Damrosch, Claire Ducournau, Mads Rosendahl Thomsen, Tiphaine Samoyault and Jing Tsu among others.
Pascale Casanova’s World of Letters and Its Legacies proposes a wide-ranging appraisal of the work, influence and intellectual profile of a major figure in the humanities and social sciences, from sociology to literary theory and criticism. Both a tribute to the life and work of Pascale Casanova and a critical examination of the dissemination of her theoretical ideas around the world and in fields as diverse as world literature, comparative literature, translation studies, and the sociology of literature, the essays selected here are signed by leading scholars in these disciplines including David Damrosch, Claire Ducournau, Mads Rosendahl Thomsen, Tiphaine Samoyault and Jing Tsu among others.
Poetry in Poland and China Since 1989
In Search of Singularity introduces a new “compairative” methodology that seeks to understand how the interplay of paired texts creates meaning in new, transcultural contexts. Bringing the worlds of contemporary Polish and Chinese poetry since 1989 into conversation with one another, Joanna Krenz applies the concept of singularity to draw out resonances and intersections between these two discourses and shows how they have responded to intertwined historical and political trajectories and a new reality beyond the human. Drawing on developments such as AI poetry and ecopoetry, Krenz makes the case for a fresh approach to comparative poetry studies that takes into account new forms of poetic expression and probes into alternative grammars of understanding.
Poetry in Poland and China Since 1989
In Search of Singularity introduces a new “compairative” methodology that seeks to understand how the interplay of paired texts creates meaning in new, transcultural contexts. Bringing the worlds of contemporary Polish and Chinese poetry since 1989 into conversation with one another, Joanna Krenz applies the concept of singularity to draw out resonances and intersections between these two discourses and shows how they have responded to intertwined historical and political trajectories and a new reality beyond the human. Drawing on developments such as AI poetry and ecopoetry, Krenz makes the case for a fresh approach to comparative poetry studies that takes into account new forms of poetic expression and probes into alternative grammars of understanding.
Editors:
Otto Boele, Sander Brouwer, Joanna Niżyńska, Andrei Rogatchevski, Maria Rubins, Galin Tihanov, and Stijn Vervaet
The BRILL series Studies in Slavic Literature and Poetics occupies a unique place in the academic and intellectual book market due to its emphasis on theoretically informed and interdisciplinary approaches to the study of Slavic literatures and cultures.
The series welcomes book proposals for monographs or edited volumes discussing questions of Slavic culture, identity and history as expressed in literature, film and other forms of cultural production.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
The series published an average of one volume per year over the last 5 years.
The series welcomes book proposals for monographs or edited volumes discussing questions of Slavic culture, identity and history as expressed in literature, film and other forms of cultural production.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
The series published an average of one volume per year over the last 5 years.
Editor:
Ernst van Alphen
Thamyris seeks to initiate alternative forms of criticism by analysing the ways in which cultural and theoretical discourses intervene in the contemporary world. This criticism should pursue a re-politicizing and remobilizing of theoretical perspectives and cultural practices, preferably through case studies. Thamyris hopes to contribute to the productive interaction between art, activism, and theory. We understand cultural practices to include those of literary, visual, digital, and performance arts, but also social practices related to gender, sexuality, and ethnicity. In short, Thamyris aims at exploring the ways in which varying cultural practices, separately or in interaction, can be effective as agents of social and cultural change.
Postcolonial Literatures of Climate Change investigates the evolving nature of postcolonial literary criticism in response to global, regional, and local environmental transformations brought about by climate change. It builds upon, and extends, previous studies in postcolonial ecocriticism to demonstrate how the growing awareness of human-caused global warming has begun to permeate literary consciousness, praxis and analysis. The breadth of the volume’s coverage – the diversity of its focal locations, cultures, genres and texts – serves as a salient reminder that, while climate change is global, its impacts vary, effecting peoples from place to place unequally, and often in accordance with their particular historical experience of colonialism and neo-colonialism, as well as their ongoing marginalisations.
“Demonstrating the urgency of invoking novel epistemological approaches combining the scientific and the imaginative, this book is a “must read” for those concerned about the present and potential impacts of climate change on formerly colonised areas of the world. The comprehensive and illuminating Introduction offers a crucial history and current state of postcolonial ecocriticism as it has been and is addressing climate crises.”
- Helen Tiffin, University of Wollongong
“The broad focus on the polar regions, the Pacific and the Caribbean – with added essays on environmental justice/activism in India and Egypt – opens up rich terrain for examination under the rubric of postcolonial and ecocritical analysis, not only expanding recent studies in this field but also enabling new comparisons and conceptual linkages.” - Helen Gilbert, Royal Holloway, University of London
“The subject is topical and vital and will become even more so as the problem of how to reconcile the demands of climate change with the effects on regions and individual nations already damaged by the economic effects of colonisation and the subsequent inequalities resulting from neo-colonialism continues to grow.” - Gareth Griffiths, Em. Prof. University of Western Australia
“Demonstrating the urgency of invoking novel epistemological approaches combining the scientific and the imaginative, this book is a “must read” for those concerned about the present and potential impacts of climate change on formerly colonised areas of the world. The comprehensive and illuminating Introduction offers a crucial history and current state of postcolonial ecocriticism as it has been and is addressing climate crises.”
- Helen Tiffin, University of Wollongong
“The broad focus on the polar regions, the Pacific and the Caribbean – with added essays on environmental justice/activism in India and Egypt – opens up rich terrain for examination under the rubric of postcolonial and ecocritical analysis, not only expanding recent studies in this field but also enabling new comparisons and conceptual linkages.” - Helen Gilbert, Royal Holloway, University of London
“The subject is topical and vital and will become even more so as the problem of how to reconcile the demands of climate change with the effects on regions and individual nations already damaged by the economic effects of colonisation and the subsequent inequalities resulting from neo-colonialism continues to grow.” - Gareth Griffiths, Em. Prof. University of Western Australia
Series:
Cross/Cultures, Volume: 218
Postcolonial Literatures of Climate Change investigates the evolving nature of postcolonial literary criticism in response to global, regional, and local environmental transformations brought about by climate change. It builds upon, and extends, previous studies in postcolonial ecocriticism to demonstrate how the growing awareness of human-caused global warming has begun to permeate literary consciousness, praxis and analysis. The breadth of the volume’s coverage – the diversity of its focal locations, cultures, genres and texts – serves as a salient reminder that, while climate change is global, its impacts vary, effecting peoples from place to place unequally, and often in accordance with their particular historical experience of colonialism and neo-colonialism, as well as their ongoing marginalisations.
“Demonstrating the urgency of invoking novel epistemological approaches combining the scientific and the imaginative, this book is a “must read” for those concerned about the present and potential impacts of climate change on formerly colonised areas of the world. The comprehensive and illuminating Introduction offers a crucial history and current state of postcolonial ecocriticism as it has been and is addressing climate crises.”
- Helen Tiffin, University of Wollongong
“The broad focus on the polar regions, the Pacific and the Caribbean – with added essays on environmental justice/activism in India and Egypt – opens up rich terrain for examination under the rubric of postcolonial and ecocritical analysis, not only expanding recent studies in this field but also enabling new comparisons and conceptual linkages.” - Helen Gilbert, Royal Holloway, University of London
“The subject is topical and vital and will become even more so as the problem of how to reconcile the demands of climate change with the effects on regions and individual nations already damaged by the economic effects of colonisation and the subsequent inequalities resulting from neo-colonialism continues to grow.” - Gareth Griffiths, Em. Prof. University of Western Australia
“Demonstrating the urgency of invoking novel epistemological approaches combining the scientific and the imaginative, this book is a “must read” for those concerned about the present and potential impacts of climate change on formerly colonised areas of the world. The comprehensive and illuminating Introduction offers a crucial history and current state of postcolonial ecocriticism as it has been and is addressing climate crises.”
- Helen Tiffin, University of Wollongong
“The broad focus on the polar regions, the Pacific and the Caribbean – with added essays on environmental justice/activism in India and Egypt – opens up rich terrain for examination under the rubric of postcolonial and ecocritical analysis, not only expanding recent studies in this field but also enabling new comparisons and conceptual linkages.” - Helen Gilbert, Royal Holloway, University of London
“The subject is topical and vital and will become even more so as the problem of how to reconcile the demands of climate change with the effects on regions and individual nations already damaged by the economic effects of colonisation and the subsequent inequalities resulting from neo-colonialism continues to grow.” - Gareth Griffiths, Em. Prof. University of Western Australia
Memory, Literature, Culture on the Atlantic Periphery
Iceland and Ireland, two North-Atlantic islands on the periphery of Europe, share a long history that reaches back to the ninth century. Direct contact between the islands has ebbed and flowed like their shared Atlantic tides over the subsequent millennium, with long blanks and periods of apparently very little exchange, transit or contact. These relational and regularly ruptured histories, discontinuities and dispossessions are discussed here less to cover (again) the well-trodden ground of our national traditions. Rather, this volume productively illuminates how a variety of memory modes, expressed in trans-cultural productions and globalized genre forms, such as museums cultures, crime novels, the lyric poem, the medieval codex or historical fiction, operate in multi-directional ways as fluid transnational agents of change in and between the two islands. At the same time, there is an alertness to the ways in which physical, political and linguistic isolation and exposure have also made these islands places of forgetting.
Memory, Literature, Culture on the Atlantic Periphery
Iceland and Ireland, two North-Atlantic islands on the periphery of Europe, share a long history that reaches back to the ninth century. Direct contact between the islands has ebbed and flowed like their shared Atlantic tides over the subsequent millennium, with long blanks and periods of apparently very little exchange, transit or contact. These relational and regularly ruptured histories, discontinuities and dispossessions are discussed here less to cover (again) the well-trodden ground of our national traditions. Rather, this volume productively illuminates how a variety of memory modes, expressed in trans-cultural productions and globalized genre forms, such as museums cultures, crime novels, the lyric poem, the medieval codex or historical fiction, operate in multi-directional ways as fluid transnational agents of change in and between the two islands. At the same time, there is an alertness to the ways in which physical, political and linguistic isolation and exposure have also made these islands places of forgetting.