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Shaden M. Tageldin

, feared (in the voice of an English translation of a history of German literature!) for the dilution of aesthetic particularity that such a métissage might portend, insofar as it erodes “literariness” and thus, paradoxically, homogenizes “literature.” By 1926, world literature assumes, for Abū Shādī, a

Multilingual Novel

Anticlimax and the Real of World Literature

Matylda Figlerowicz

, atsegina izan nahi zuena. – Fuck you . Atseginez erantzun zion, erdi barrez, begietara so. Gizona nahasturik geratu zen. ‘ Perdona ’, murmuriatuz, ‘ pero no hablo euskera ’. Metalezko ikurrina baten distira zuen paparrean. 399–400 – Qué andamos . [How is it going.] The neutral voice, without an accent

Vedran Ćatović

that, good intentions notwithstanding, may not always prove capable of accommodating all the different cultural and creative positionalities, and providing an all-inclusive platform for wildly different literary voices and phenomena. Take for example the rich and important literary production of the

Whirls of Faith and Fancy

House Symbolism and Sufism in Elif Shafak’s The Flea Palace

Verena Laschinger

contemporary Istanbul against the backdrop of modern Turkish political history. The narrative voice clearly takes a critical stance in employing the apartment plot in conjunction with the garbage theme, which bespeaks the novel’s grotesque mode. Especially in the main part, the disintegrated and foulsmelling

Intersecting Imperialisms

The Rise and Fall of Empires in Richard Flanagan’s The Narrow Road to the Deep North

Ben Holgate

written from the perspective of the ancient Greek king Odysseus, a leader in the Trojan War, who decides late in life to reject idleness and travel again. Dorrigo specifically reads Tennyson’s lines: The long day wanes: the slow moon climbs: the deep Moans round with many voices. Come, my friends, ’Tis


Russell Williams

In Pathos, Poetry and Politics in Michel Houellebecq's fiction, Russell Williams examines the literary style of France's most notorious novelist. Houellebecq is frequently the focus of debate for his provocative comments about Islam and the decline of Western civilisation. This book refocuses attention on how such provocation is an integral part of the texture of his novels.
Williams considers Houellebecq's writing about literature and outlines the key principles of the author's poetics, founded on an acute sensitivity to reading experience. He then explores Houellebecq's earliest poetry before mapping this poetic voice into his subsequent fiction, including Sérotonine (2019). Houellebecq's relationship with genre fiction and the crucial issue of the authorial persona that exists in and around his texts are also explored.

Ellipses of Cultural Diplomacy

The 1957 Chinese Literary Sphere in Hindi

Adhira Mangalagiri

considered to have voiced dissent under the Hundred Flowers banner were now labelled “Rightists,” leading to a large-scale persecution of intellectuals. It was this restrictive literary atmosphere – one of heightened censorship, insecurity, and paranoia – that Dinkar entered in China. Dinkar’s case

The Uneven Travels of World Literature

On Creole and Untranslatability in Sam Selvon’s The Lonely Londoners and Miriam Mandelkow’s Die Taugenichtse

Birgit Neumann

of English literature “into [Anglophone] world literatures” (Rupp 148), The Lonely Londoners is one of the first novels that consistently uses the vernacular both on the level of story and discourse to give voice to previously silenced black migrants. To this end, Selvon has crafted a poetically

“From Postcolonial Literature to World Literature”

Performative Historiography and the Reinvention of Taiwan Literature in a New Age

Kuei-fen Chiu

less important a role in shaping the poetic theory and practice of Le Moulin poets. The use of Japanese as the main language in the documentary highlights the colonial poets’ connection to Japanese culture. Le Moulin does not employ an extradiegetic voice-over to narrate its story. Instead

Satoru Hashimoto and Karen Thornber

-interrogations of the normativity of that process. Featuring six essays that give voices to different transregional literary interactions, this special issue of the Journal of World Literature reconsiders the normative significance of what we mean by “world.” The first essay, by Kuei-fen Chiu, is titled “ ‘From