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Jae-yong Kim

, while non-Europeans disavowed their own literary traditions and put forth their best efforts to emulate the European literary tradition. Eurocentrism took the whole world by storm, and it remained unchallenged for more than a hundred years, until Asian and African intellectuals and writers began to

Shaden M. Tageldin

glory, beyond [any] mention thereof […] Abū Shādī “Taḥiyyat Tājūr” 323–24 Whereas Abū Shādī’s 1928 essay on world literature would put freedom in the mouths of English writers and the English language, his 1926 encomium to Tagore gently begins to unseat Eurocentrism as the measure of comparison and the

Pheng Cheah and David Damrosch

situated the modern capitalist world-system and contemporary globalization in terms of the complicity between Eurocentrism, colonialism, and modernity and then attempted to reconceptualize the world by drawing on non-European cultural and religious traditions, for example, the Chinese concept of tianxia

Eurafrasiachronologies

Between the Eurocentric and the Planetary

Alexander Beecroft

Critical accounts of World Literature theory often speak of the dangers of “Eurochronology,” of the tendency to impose the narrative (and teleology) of the history of European cultures upon other regions of the world. This temporal dimension of Eurocentrism is of course to be avoided assiduously. At the same time, a synthetic reading of the literary histories of many of the larger cultures of premodern Eurasia suggests that there may in fact be room for a “Eurasiachronology,” or indeed a “Eurafrasiachronology,” which would identify parallels and connections across the entire so-called “Old World,” and offer a chronological basis for thinking about world literary history in a comparative way.

Africa and Its Significant Others

Forty Years of Intercultural Entanglement

Series:

Edited by Isabel Hoving, Frans-Willem Korsten and Ernst van Alphen

When did the intimate dialogue between Africa, Europe, and the Americas begin? Looking back, it seems as if these three continents have always been each other’s significant others. Europe created its own modern identity by using Africa as a mirror, but Africans traveled to Europe and America long before the European age of discovery, and African cultures can be said to lie at the root of European culture. This intertwining has become ever more visible: Nowadays Africa emerges as a highly visible presence in the Americas, and African American styles capture Europe’s youth, many of whom are of (North-) African descent. This entanglement, however, remains both productive and destructive. The continental economies are intertwined in ways disastrous for Africa, and African knowledge is all too often exported and translated for US and European scholarly aims, which increases the intercontinental knowledge gap. This volume proposes a fresh look at the vigorous and painful, but inescapable, relationships between these significant others. It does so as a gesture of gratitude and respect to one of the pioneering figures in this field. Dutch Africanist and literary scholar Mineke Schipper, who is taking her leave from her chair in Intercultural Literary Studies at the University of Leiden. Where have the past four decades of African studies brought us? What is the present-day state of this intercontinental dialogue? Sixteen of Mineke’s colleagues and friends in Europe, Africa and the Americas look back and assess the relations and debates between Africa-Europe-America: Ann Adams, Ernst van Alphen, Mieke Bal, Liesbeth Bekers, Wilfried van Damme, Ariel Dorfman, Peter Geschiere, Kathleen Gyssels, Isabel Hoving, Frans-Willem Korsten, Babacar M’Baye, Harry Olufunwa, Ankie Peypers, Steven Shankman, Miriam Tlali, and Chantal Zabus write about the place of Africa in today’s African Diaspora, about what sisterhood between African and European women really means, about the drawbacks of an overly strong focus on culture in debates about Africa, about Europe’s reluctance to see Africa as other than its mirror or its playing field, about the images of Africans in seventeenth-century Dutch writing, about genital excision, the flaunting of the African female body and the new self-writing, about new ways to look at classic African novels, and about the invigorating, disturbing, political art of intercultural reading.

Omid Azadibougar

disseminated through departments of Persian language and literature; b) a Eurocentrism that is popularized through departments of English, French and German. Both forces impede the recognition of the literary traditions of the wider world which are only accessible indirectly in translation, due to the lack of

Rewriting the Legacy of the Turkish Exile of Comparative Literature

Philology and Nationalism in Istanbul, 1933–1946

Firat Oruc

texts were put under erasure by the Kemalist humanists, too. If Auerbach “retreated into a Eurocentric mindset and downplayed the world of Islam” (156) in Turkey, the cultural climate of Kemalism did not really offer him much to rethink and revise his biases. On the contrary, Eurocentrism and anti

Karen L. Thornber

literature scholar René Étiemble (1909–2002) stridently criticized relentless Eurocentric constructions of world literature and pleaded with the field to broaden its perspective. Among the many examples he gives of Eurocentrism is the absence of Gesar in Elizabeth Frenzel’s Stoffe der Weltliteratur: Ein

Longxi Zhang

world outside their limited national environment. This seems the right thing to do at the right time as the renewed interest in world literature today is based on a truly global vision beyond the biases and myopia of Eurocentrism, Sinocentrism, or any other ethnocentrism. With regard to world literature

Omid Azadibougar and Esmaeil Haddadian-Moghaddam

World Literature is a promising but also hotly debated concept: there is rising interest on various fronts, and its promise as a way out of Eurocentrism and national parochialism brings hope to the world’s less commonly studied literatures. However, at the same time it has come under fire for