The work of world literature : introduction
The contentious discourse around world literature tends to stress the 'world' in the phrase. This volume, in contrast, asks what it means to approach world literature by inflecting the question of the literary. Debates for, against, and around 'world...
more
|
Full text:
|
|
|
Link for citation:
|
|
|
The contentious discourse around world literature tends to stress the 'world' in the phrase. This volume, in contrast, asks what it means to approach world literature by inflecting the question of the literary. Debates for, against, and around 'world literature' have brought renewed attention to the worldly aspects of the literary enterprise. Literature is studied with regard to its sociopolitical and cultural references, contexts and conditions of production, circulation, distribution, and translation. But what becomes of the literary when one speaks of world literature? Responding to Derek Attridge's theory of how literature 'works', the contributions in this volume explore in diverse ways and with attention to a variety of literary practices what it might mean to speak of 'the work of world literature'. The volume shows how attention to literariness complicates the ethical and political conundrums at the centre of debates about world literature.
|
| Export to reference management software |
|
| Content information: |
free
|
Transcontextual gestures : a lyric approach to the world of literature
What if one thinks not in terms of shared meanings or contents, but rather in terms of iterable gestures available for reenactment in different times and places in order to conceive of a cross-cultural world of literature? This essay sets out to...
more
|
Full text:
|
|
|
Link for citation:
|
|
|
What if one thinks not in terms of shared meanings or contents, but rather in terms of iterable gestures available for reenactment in different times and places in order to conceive of a cross-cultural world of literature? This essay sets out to explore, within the discursive mode of the lyric, whether the notion of gesture could be more helpful than meaning-based translation to account for the transferability of literary texts and for envisioning a form of community based on the shareability of certain gestures. To do so, it will look at how the act-event of reading described by Derek Attridge is processed in two cases in which poems are transferred from an earlier authoritative tradition into a new one.
|
| Export to reference management software |
|
| Content information: |
free
|
An interminable work? : the openness of Augustine's "Confessions"
From opening books to read them, through the continuous effort at opening one's heart to God, to the eventual disclosure of God's mysteries to human beings, Augustine seems to trace an implicit conceptualization of openness in his "Confessions". The...
more
|
Full text:
|
|
|
Link for citation:
|
|
|
From opening books to read them, through the continuous effort at opening one's heart to God, to the eventual disclosure of God's mysteries to human beings, Augustine seems to trace an implicit conceptualization of openness in his "Confessions". The words of Matthew 7. 7–8 underlie Augustine's engagement with openness up to the very last sentence of the book, which ends with a sequence of verbs in the passive voice that culminates with the desired manifestation of the divine. The entire endeavour of opening oneself up undertaken in the "Confessions" aims at this final passive openness, which is (always) yet to come as much as human opera are (always) yet to come to completion.
|
| Export to reference management software |
|
| Content information: |
free
|
Recitation : lyric time(s) I
What is the time of the lyric? For Augustine, the recitation of a hymn illustrates the workings of time in the human mind; for Giorgio Agamben, the poem itself exemplifies the structure of what he defines as 'messianic time'. By focusing on Dante's...
more
|
Full text:
|
|
|
Link for citation:
|
|
|
What is the time of the lyric? For Augustine, the recitation of a hymn illustrates the workings of time in the human mind; for Giorgio Agamben, the poem itself exemplifies the structure of what he defines as 'messianic time'. By focusing on Dante's sonnet 'Tanto gentile e tanto onesta pare' and looking at the double act of the recitation of the poem and the "re-citation" of prior gestures, the temporality of both the single poem and lyric discourse will come into focus.
|
| Export to reference management software |
|
| Content information: |
free
|
Reversion: lyric time(s) II
Is a 'history' of the lyric even conceivable? What would a 'lyric' temporality look like? With a focus on Rainer Maria Rilke's decision not to translate, but rather to rewrite Dante's "Vita nova" (1293–1295) in the first of his "Duineser Elegien"...
more
|
Full text:
|
|
|
Link for citation:
|
|
|
Is a 'history' of the lyric even conceivable? What would a 'lyric' temporality look like? With a focus on Rainer Maria Rilke's decision not to translate, but rather to rewrite Dante's "Vita nova" (1293–1295) in the first of his "Duineser Elegien" (1912), the essay deploys 'reversion' (as turning back, return, coming around again), alongside 're-citation', as a keyword that can unlock the transhistorical operations of the lyric as the re-enactment of selected gestures under different circumstances.
|
| Export to reference management software |
|
| Content information: |
free
|
