Pub Date : 2023-08-16DOI: 10.1163/24056480-tat00004
Arka Chattopadhyay
This article charts world-making and home-formation as two connectors between Irish and Indian literature on their way toward becoming world literature. Home and world are conceptualized as flows while the idea of the path is seen as a synthetic bridge between them. The first part examines how Irish literature becomes world literature by studying two temporal encounters between Irish and Indian writers, between W.B. Yeats and Rabindranath Tagore and between Colm Tóibín and Amit Chaudhuri. The second part shifts from temporality to spatiality in a discussion of global modernisms that reads Tagore’s 1922 Lipika text on the path in relation to T.S. Eliot’s modernist imagination of tradition and the individual talent. The two parts of the article coalesce around the triad of home, world and path by envisaging the turn of world literature with a renewed focus on the universal and the ontological oneness of literature.
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Pub Date : 2023-05-30DOI: 10.1163/24056480-00802002
Francesca Billiani
This article adopts a historiographical approach to analyse some key debates on world literature that played out in literary and cultural magazines during the Italian Fascist dictatorship. It shows that by hosting such debates – especially on realism – in seemingly random fashion, literary and cultural magazines in the 1920s and 1930s significantly contributed to problematise the cultural politics of a xenophobic regime regarding the arts in general, and literature in particular. To this end, I focus on journals of different sizes, political orientations and visibility to provide different theorisations of world literature. Finally, by discussing the multiple epitomes of world literature that the magazines created, I question the presence of what may be considered a coherent national, or even canonical, literature to argue that world and national literatures could co-exist when made to function not just as literary but also as a cultural mechanism.
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Pub Date : 2023-05-30DOI: 10.1163/24056480-00802003
Yan Jia
This essay examines how “Eastern literature” was perceived and presented in the making of world literature in 1980s China, an era of political and cultural opening-up, through the lens of Indian literature included in the magazine Shijie Wenxue. Although the magazine’s editors discursively championed the idea of geographic all-inclusiveness, the larger conjuncture brought “Western literature” to the forefront of attention. “Eastern” authors and texts, in contrast, were confined to a state of “happenstance,” due to the occasional manner of their presentation. However, by re-reading Shijie Wenxue on three levels, I argue that the magazine managed to produce a relatively eclectic and “thick” knowledge of Indian literature, which would have otherwise been neglected because of its tokenistic appearance and low visibility. Adopting a more creative and critical mode of reading, one can turn the seemingly Western-centric project of Shijie Wenxue into a useful archive for readers with a special interest in “Eastern literature.”
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Pub Date : 2023-05-30DOI: 10.1163/24056480-00802005
Patricia Novillo-Corvalán
This essay explores the intertwined trajectories of a cluster of Argentine magazines, leftist and avant-garde: Proa, Martín Fierro, Insurrexit, and Revista de Oriente which, in their own peculiar ways, rocked and transformed the Buenos Aires cultural scene. It charts the magazines’ fleeting – though momentous – life-spans and existences at a time of revolution, when small collectives of writers and students spread radical and reformist ideas, formal experimentation, and a vernacular revival. While the nagging question of national identity underpinned the magazines’ literary aesthetics, the essay shows that, from the start, those at the editorial helm increasingly steered them towards the wider waters of world literature. Inasmuch as they realised that the conundrum of how to invent a modern Argentine literature could only be resolved dialectically, facing both inwards and outwards, nationally and transnationally, through the relationship between Argentina, Latin America, and the world at large.
本文探讨了一批阿根廷左翼和先锋杂志的交织轨迹：《Proa》、《Martín Fierro》、《Insurrexit》和《Revista de Oriente》，它们以自己独特的方式震撼和改变了布宜诺斯艾利斯的文化场景。它描绘了这些杂志在革命时期短暂而重要的生命跨度和存在，当时作家和学生的小团体传播激进和改革思想、正式实验和白话文复兴。尽管国家身份的恼人问题支撑着杂志的文学美学，但这篇文章表明，从一开始，编辑掌舵人就越来越多地引导杂志走向更广阔的世界文学领域。他们意识到，如何发明现代阿根廷文学的难题只能通过阿根廷、拉丁美洲和整个世界之间的关系，辩证地解决，既面向国内，也面向国外，既面向全国，也面向跨国。
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Pub Date : 2023-05-30DOI: 10.1163/24056480-00802004
Zain R. Mian
This essay examines Adabī dunyā, or Literary World, to argue for a dialectical relationship between world literature and the Urdu magazine. Adabī dunyā carved a niche for itself in a competitive Indian magazine ecology by positioning itself as a worldly and world-class magazine in terms of its content and material form. How this publication circulated world literature was inspired by the educational impetus of the ‘ilmī o adabī magazine genre (roughly translatable as “educational and literary”). Adabī dunyā mediated readers’ appreciation of world authors by relying on a range of forms such as the survey essay, image, and original Urdu texts inspired by those authors. By focusing on its representation of Dante Alighieri, I show how the magazine sought to nurture a multidimensional relationship between Indian readers and foreign writers. In so doing, Adabī dunyā produced a local iteration of world literature centered on Urdu culture.
{"title":"Through the Lens of Urdu","authors":"Zain R. Mian","doi":"10.1163/24056480-00802004","DOIUrl":"https://doi.org/10.1163/24056480-00802004","url":null,"abstract":"\u0000 This essay examines Adabī dunyā, or Literary World, to argue for a dialectical relationship between world literature and the Urdu magazine. Adabī dunyā carved a niche for itself in a competitive Indian magazine ecology by positioning itself as a worldly and world-class magazine in terms of its content and material form. How this publication circulated world literature was inspired by the educational impetus of the ‘ilmī o adabī magazine genre (roughly translatable as “educational and literary”). Adabī dunyā mediated readers’ appreciation of world authors by relying on a range of forms such as the survey essay, image, and original Urdu texts inspired by those authors. By focusing on its representation of Dante Alighieri, I show how the magazine sought to nurture a multidimensional relationship between Indian readers and foreign writers. In so doing, Adabī dunyā produced a local iteration of world literature centered on Urdu culture.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41926368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-30DOI: 10.1163/24056480-00802006
F. Orsini
In India, as in other parts of the world, readers’ exposure to the world and to world literatures largely took place through the pages of magazines, via translations, reviews, snippets of information, survey articles, and so on. The 1950s to 1970s were the golden age of magazine publishing in Hindi. Several Hindi magazines devoted to the short story not only showcased new literary talent but also invested much effort in translating writings from foreign literatures and from other Indian languages. Competing Cold War efforts to promote literatures from their rival spheres of influence produced a profusion of literary translations in magazine and book form, on which enterprising Hindi editors freely drew. This essay focuses on the spectacular special issues curated by Kamleshwar for two Hindi story magazines to explore the nexus between the short story, the magazine, and the world.
{"title":"World Literature as a Special Issue","authors":"F. Orsini","doi":"10.1163/24056480-00802006","DOIUrl":"https://doi.org/10.1163/24056480-00802006","url":null,"abstract":"\u0000 In India, as in other parts of the world, readers’ exposure to the world and to world literatures largely took place through the pages of magazines, via translations, reviews, snippets of information, survey articles, and so on. The 1950s to 1970s were the golden age of magazine publishing in Hindi. Several Hindi magazines devoted to the short story not only showcased new literary talent but also invested much effort in translating writings from foreign literatures and from other Indian languages. Competing Cold War efforts to promote literatures from their rival spheres of influence produced a profusion of literary translations in magazine and book form, on which enterprising Hindi editors freely drew. This essay focuses on the spectacular special issues curated by Kamleshwar for two Hindi story magazines to explore the nexus between the short story, the magazine, and the world.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44903053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-21DOI: 10.1163/24056480-00801005
I. Yi
An extended period of public mourning followed the 2014 Sewol Ferry disaster, one of South Korea’s largest maritime disasters which resulted in over three hundred passenger deaths. This article examines leading contemporary South Korean poet Kim Hyesoon’s narration of collective trauma in her elegy for the dead, Chugŭmŭi chasajŏn (Autobiography of Death, 2016). Drawing on the oral tradition, particularly the songs of female shamans, Kim facilitates a radical empathy with which her speaker enters the physical bodies of the dead and invokes their spirits. Kim’s polyvocal speaker traverses historical memory to excavate these deaths: Autobiography of Death connects the recent loss of life involved in the sinking of the Sewol Ferry with the structural injustice experienced by dissidents who were killed during South Korea’s democratization movement. I argue that Kim places her elegy in the public sphere by engaging the embodied memory of individuals to voice the transhistorical grief of the Korean community.
{"title":"Communal Mourning and Contemporary Elegy in Korean Poetry","authors":"I. Yi","doi":"10.1163/24056480-00801005","DOIUrl":"https://doi.org/10.1163/24056480-00801005","url":null,"abstract":"\u0000 An extended period of public mourning followed the 2014 Sewol Ferry disaster, one of South Korea’s largest maritime disasters which resulted in over three hundred passenger deaths. This article examines leading contemporary South Korean poet Kim Hyesoon’s narration of collective trauma in her elegy for the dead, Chugŭmŭi chasajŏn (Autobiography of Death, 2016). Drawing on the oral tradition, particularly the songs of female shamans, Kim facilitates a radical empathy with which her speaker enters the physical bodies of the dead and invokes their spirits. Kim’s polyvocal speaker traverses historical memory to excavate these deaths: Autobiography of Death connects the recent loss of life involved in the sinking of the Sewol Ferry with the structural injustice experienced by dissidents who were killed during South Korea’s democratization movement. I argue that Kim places her elegy in the public sphere by engaging the embodied memory of individuals to voice the transhistorical grief of the Korean community.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64627825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-21DOI: 10.1163/24056480-00801006
Nick Admussen
This essay is an elegy for the study of a Chinese elegy. Its putative archive is a book of poems printed in Shenzhen by the late Hei Guang, a collection I do not own by a poet who I never got to meet. My pursuit of the collection is hampered by my recent inability to travel to China, by changes in my ability to transculturate, and by the limits on global circulation in the age of climate change. Experimenting with tactics drawn from China’s tradition of lei elegy, I identify the loss of the collection as a disruption of the process of thick translation, of the ethical direction that animates world literature. By mourning the type of interactions that would have allowed me to translate Hei Guang well, I hope to reproduce the desire for heterogeneity and circulation into the post-pandemic, warming world.
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Pub Date : 2023-04-21DOI: 10.1163/24056480-00801008
R. Binetti
The self-elegy is considered a hyper-literary genre which provides the readers with a self-portrait of the poets, while also discussing their own poetics and literary works. This article aims to re-map the genre of self-elegiac writing in contemporary Italy by focusing on two recently published collections: Patrizia Cavalli’s Vita meravigliosa (2020) and Biancamaria Frabotta’s Nessuno veda nessuno (2022). Both collections play with the genre of self-elegiac writing by trying to redefine its boundaries: first, both authors problematize the gender perspective intrinsic to the elegy; second, Cavalli and Frabotta delve into some of the canonical references and the structure of the elegiac genre; third, they insert their elegiac discourse within a global literary community.
自哀歌是一种超文学体裁，它为读者提供了诗人的自画像，同时也讨论了诗人自己的诗学和文学作品。本文旨在通过关注最近出版的两本选集:帕特里齐亚·卡沃利的《青春的生命》(2020)和比安卡玛利亚·弗拉博塔的《nesuno veda nesuno》(2022)，重新描绘当代意大利自我哀歌写作的类型。两部选集都尝试着重新定义自我哀歌的界限:首先，两位作者都质疑了哀歌内在的性别视角;其次，Cavalli和Frabotta深入研究了一些典型的参考文献和挽歌类型的结构;第三，他们将他们的挽歌话语插入全球文学社区。
{"title":"Posthumous Selves","authors":"R. Binetti","doi":"10.1163/24056480-00801008","DOIUrl":"https://doi.org/10.1163/24056480-00801008","url":null,"abstract":"\u0000 The self-elegy is considered a hyper-literary genre which provides the readers with a self-portrait of the poets, while also discussing their own poetics and literary works. This article aims to re-map the genre of self-elegiac writing in contemporary Italy by focusing on two recently published collections: Patrizia Cavalli’s Vita meravigliosa (2020) and Biancamaria Frabotta’s Nessuno veda nessuno (2022). Both collections play with the genre of self-elegiac writing by trying to redefine its boundaries: first, both authors problematize the gender perspective intrinsic to the elegy; second, Cavalli and Frabotta delve into some of the canonical references and the structure of the elegiac genre; third, they insert their elegiac discourse within a global literary community.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44601999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-21DOI: 10.1163/24056480-00801002
Emily Drumsta
This article examines two modern women poets’ ambivalent engagements with Arabic elegy: the Iraqi Nazik al-Malaʾikah and the Egyptian Iman Mersal. Although they wrote in different national contexts and historical eras, with utterly distinct political and aesthetic projects, a close look at their verse reveals a specter of the bereft-yet-eloquent “ancient Arab woman” haunting their respective poetic voices. Looking in particular at a conventionally metered and rhymed ode like al-Malaʾikah’s “To My Late Aunt” (Ila ʿAmmati al-Rahilah) and at the quasi-elegiac threads woven through the prose poems in Mersal’s 1992 collection, A Dark Corridor Suitable for Learning How to Dance (Mamarr Muʾtam Yuslah Li-Taʿallum al-Raqs) allows us to see how durable and omnipresent the woman-elegy association is in Arabic – surfacing everywhere from the heyday of Iraqi modernism, with its revaluation of conventional metrical forms, all the way through the unmetered, unrhymed experimentations of the “nineties generation” in Egypt.
本文考察了两位现代女性诗人对阿拉伯挽歌的矛盾参与：伊拉克的Nazik al-Malaʾikah和埃及的Iman Mersal。尽管他们是在不同的国家背景和历史时代写作的，有着截然不同的政治和美学项目，但仔细观察他们的诗歌，就会发现一种失落但雄辩的“古代阿拉伯女性”的幽灵萦绕在他们各自的诗歌声音中。特别是看看像al-Malaʾikah的《致我已故的姑姑》（IlaʿAmmati al-Rahilah）这样的传统韵律和押韵的颂歌，以及Mersal 1992年散文集中编织的准挽歌线，《适合学习舞蹈的黑暗走廊》（Mamarr Muʾtam Yuslah Li Taʿallum al-Raqs）让我们看到了阿拉伯语中的女性挽歌协会是多么持久和无所不在——从伊拉克现代主义的鼎盛时期开始，它对传统韵律形式进行了重新评估，埃及“90年代一代”的不押韵实验。
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