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Cui Chen

decoloniality to bear on The Revenant , I will focus on what I call decolonial moments and scenes that exemplify the film’s attempt to move beyond a critique of Eurocentrism and towards different modes of understanding the world. The film’s evocation of Native Americans as ghosts plays a pivotal role therein

Matthew Melvin-Koushki

scholarship is only very rarely orientalizing ; if anything, authors and bio-bibliographers are keen to occidentalize the Arabic sources on which they are so dependent. Such burgeoning eurocentrism , the natural upshot of humanist neoclassicism, and expressed by the forcible hellen- or hispanization of


Jens Martin Gurr

possibilities of jumping back and forth. Thus, even if universalism has rightly been criticized, such a schematic representation allows me to relate developments on different continents to each other – and thus also to relativize genealogies such as Eurocentrism. My book claims, first of all, to define

Dante and the Construction of a Mediterranean Literary Space

Revisiting a 20th Century Philological Debate in Southern Europe and in the Arab World

Elisabetta Benigni

narratives for the composition of his poem. Accordingly, the Commedia was interpreted as an agent of cultural negotiation between the various spheres that constituted the Mediterranean epistemic unity. Nevertheless, this idealized Mediterranean unity was imbued with nationalistic rhetoric, eurocentrism

Sherif H. Ismail

Comparative Literature: From Birth to Death I conclude this essay by highlighting a final contrast between al-Ṭahṭāwī and al-Shidyāq, which links the two important figures in the Arab literary renaissance, in different ways, with the field of comparative literature, understood beyond narrow Eurocentrism

Subjects Barbarian, Monstrous, and Wild

Encounters in the Arts and Contemporary Politics


Edited by Maria Boletsi and Tyler Sage

Subjects Barbarian, Monstrous, and Wild responds to a contemporary political climate in which historically invested figures of otherness—barbarians, savages, monsters—have become common discursive currency. Through questionable historical comparisons, politicians and journalists evoke barbaric or primitive forces threatening civilization in order to exacerbate the fear of others, diagnose civilizational decline, or feed nostalgic restorative projects. These evocations often demand that forms of oppression, discrimination, and violence be continued or renewed.
In this context, the collected essays explore the dispossessing effects of these figures but also their capacities for reimagining subjectivity, agency, and resistance to contemporary forms of power. Emphasizing intersections of the aesthetic and the political, these essays read canonical works alongside contemporary literature, film, art, music, and protest cultures. They interrogate the violent histories but also the subversive potentials of figures barbarous, monstrous, or wild, while illustrating the risks in affirmative resignifications or new mobilizations.

Contributors: Sophie van den Bergh, Maria Boletsi, Siebe Bluijs, Giulia Champion, Cui Chen, Tom Curran, Andries Hiskes, Tyler Sage, Cansu Soyupak, Ruby de Vos, Mareen Will


Andrew Milner

Edited by J.R. Burgmann

, the owl of Minerva tends to fly at dusk. The second, more obviously political in character, is that of Eurocentrism or occidentalism. Both Moretti and Wallerstein have been so accused. 35 Moretti’s own response is simply that: ‘Theories will never abolish inequality: they can only hope to explain it

Isaac Hui

If a domesticated translation from Chinese to English can be understood as an act of eurocentrism, then the difficulties in translating Wong Bik-wan’s latest novel Weixi chong xing (The re-walking of Mei-hei, 2014) reveal how this Hong Kong female writer uses language to escape patriarchal and colonial influences. This article examines how Wong makes use of the strategy of writing as a “repressed” individual (both in terms of her subject position and language style). Even though her language and sentences are at times short and dense, and the rhythm is fast, Wong demonstrates how one can reveal more by seemingly saying less. Attempts to reduce her text to a single interpretation have only resulted in failure. If it is hard for the repressed to speak without oppression, Wong illustrates how one can circumvent the constraints through the tactic of evasion, and demonstrates how the repressed can explode from gaps and silence.

Chih-ming Wang

This paper proposes an alternative approach to the contemporary discussion of Asia, or more specifically East Asia. Rather than conceptualizing Asia as a geo-economic entity, as a cultural historical construct of Euro-centrism, and as a capitalist vision of the world market, this paper seeks to recapture “Asia” in what I call “affective articulations.” Specifically, I will examine Dazai Osamu’s Farewell with Regret (Sekibetsu, 1945) and Zhang Chengzhi’s Respect and Farewell with Regret (Jingzhong yu xibie, 2008) as two exemplars of inter-Asian writing in which Asia is represented as a loaded symbol of affect. Whereas Dazai’s book was written in the heat of Great East Asia War, to comply with the demands of the Japanese war effort, Zhang’s book was written at the no less challenging time of China’s rise to regional hegemony. Though they differ in style and purpose, both texts hold up a vision of Asia which is distinctly grasped in affective encounters, symbolized by the act of “bidding farewell with regret” (xibie). Intrigued by the affective significance of bidding farewell with regret, this paper first considers “farewell” as a method to recast the discussion of Asia in regional and geopolitical terms, and then performs an analysis of the texts in question so as to identify crucial moments when Asia, despite its internal heterogeneity and complicated history, is grasped in the affective articulation of Sino-Japanese encounters. Such moments, I believe, are real, sincere, and indispensable for our attempt to re-imagine Asia as a translocal solidarity.