{"title":"Ben Hutchinson, Lateness and Modern European Literature","authors":"J. Purdon","doi":"10.3366/CCS.2021.0395","DOIUrl":"https://doi.org/10.3366/CCS.2021.0395","url":null,"abstract":"","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":"18 1","pages":"117-121"},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48969761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the changing nature of Austen's reception in China since the 1950s, in particular the growth of feminist critical approaches to her work among contemporary Chinese scholars. Among Austen's works, Pride and Prejudice has remained at the centre of scholarly and popular attention and has had a major impact on Chinese readers’ view of Austen as a feminist writer. Anglo-American scholarship commonly considers Austen's feminism in relation with her contemporary Mary Wollstonecraft's feminist thought. Unfamiliar with Wollstonecraft, Chinese scholars and general readers tend to read Austen rather differently, and their exploration of her engagement with ‘the woman question’ is instead closely connected with the development of Marxism and gender studies in contemporary China.
{"title":"Cross-Cultural Encounters: A Feminist Perspective on the Contemporary Reception of Jane Austen in China","authors":"Shuo Sun","doi":"10.3366/CCS.2021.0384","DOIUrl":"https://doi.org/10.3366/CCS.2021.0384","url":null,"abstract":"This article examines the changing nature of Austen's reception in China since the 1950s, in particular the growth of feminist critical approaches to her work among contemporary Chinese scholars. Among Austen's works, Pride and Prejudice has remained at the centre of scholarly and popular attention and has had a major impact on Chinese readers’ view of Austen as a feminist writer. Anglo-American scholarship commonly considers Austen's feminism in relation with her contemporary Mary Wollstonecraft's feminist thought. Unfamiliar with Wollstonecraft, Chinese scholars and general readers tend to read Austen rather differently, and their exploration of her engagement with ‘the woman question’ is instead closely connected with the development of Marxism and gender studies in contemporary China.","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":"18 1","pages":"7-25"},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47036054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Zanzibar Blues, or: How I Found Livingstone (Sansibar Blues oder: Wie ich Livingstone fand) by Hans Christoph Buch, translated from the German by Kate Roy","authors":"","doi":"10.3366/ccs.2021.0387","DOIUrl":"https://doi.org/10.3366/ccs.2021.0387","url":null,"abstract":"","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48335909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Battle of the Mice and Frogs (Batrachomyomachia) by Anonymous, translated from the Ancient Greek by Fintan O'Higgins","authors":"","doi":"10.3366/ccs.2021.0388","DOIUrl":"https://doi.org/10.3366/ccs.2021.0388","url":null,"abstract":"","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48205716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the age of convergence, bestselling novels have become parts of the phenomenon known as ‘branding’, and cultural production is highly conditioned by the mechanisms that regulate global markets. This article argues that if the contemporary global novel tends to render the plurilingual experience implicitly to ensure translatability, the use of dialect has become crucial for the construction of marginality on screen for products designed to travel internationally. By focusing on a case study grounded in the Italian context, a comparison between Roberto Saviano's Gomorra (2006), with its extensions in theatre, cinema, TV and fandom, and Elena Ferrante's tetralogy L'amica geniale (2011–2014), with its dramatized versions for radio, stage and television, it compares the intersection of language, space and power in recent examples of transmedia storytelling. Drawing on studies of multilingualism and marginality, the author addresses the following questions: how do linguistic strategies influence the portrayal of the urban periphery as a marginal, subaltern space? How does transmedia transposition relate to interlingual translation? Does the relation between fiction and the socio-linguistic reality represented change in the translation process? To what ends is dialect deployed in transnational productions designed for global reach, and what characterizes the reception by Italian and international audiences? A focus on transmedia adaptations, this article suggests, leads us to reconsider the paradigm of multilingualism in translation.
{"title":"From Scampia to Rione Luzzatti: Marginality and its Language in the Age of Convergence","authors":"Elisa Segnini","doi":"10.3366/CCS.2021.0385","DOIUrl":"https://doi.org/10.3366/CCS.2021.0385","url":null,"abstract":"In the age of convergence, bestselling novels have become parts of the phenomenon known as ‘branding’, and cultural production is highly conditioned by the mechanisms that regulate global markets. This article argues that if the contemporary global novel tends to render the plurilingual experience implicitly to ensure translatability, the use of dialect has become crucial for the construction of marginality on screen for products designed to travel internationally. By focusing on a case study grounded in the Italian context, a comparison between Roberto Saviano's Gomorra (2006), with its extensions in theatre, cinema, TV and fandom, and Elena Ferrante's tetralogy L'amica geniale (2011–2014), with its dramatized versions for radio, stage and television, it compares the intersection of language, space and power in recent examples of transmedia storytelling. Drawing on studies of multilingualism and marginality, the author addresses the following questions: how do linguistic strategies influence the portrayal of the urban periphery as a marginal, subaltern space? How does transmedia transposition relate to interlingual translation? Does the relation between fiction and the socio-linguistic reality represented change in the translation process? To what ends is dialect deployed in transnational productions designed for global reach, and what characterizes the reception by Italian and international audiences? A focus on transmedia adaptations, this article suggests, leads us to reconsider the paradigm of multilingualism in translation.","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41389966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Not I But the Wind ... and Leftover Life to Kill, the somewhat obscure mid-twentieth-century memoirs by Frieda Lawrence and Caitlin Thomas, were written, at least in part, in the countries that the authors eventually made their permanent home: New Mexico and Italy, respectively. While neither was marketed as a ‘travel book’, both works share many of the characteristics identified in the critical literature on women's travel writing, such as the way the memoirs were received as emotional outpourings with little authority outside the personal sphere and little of interest aside from their intimate knowledge of the authors' respective literary spouses. The analysis presented in this article shows that while Frieda and Caitlin sought to escape the gendered and classed strictures that so oppressed them in England, they applied them nevertheless to the individuals they encountered on their travels. Turning to the issue of viewpoints and watching, the article explores the frequency with which both narrators chose to position themselves behind windows as they set their scenes, indicating a more complex interrelation between watcher and watched than might first be assumed.
{"title":"A Far Away and Nameless State: The Travel Narratives of Frieda Lawrence and Caitlin Thomas","authors":"Katherine Collins","doi":"10.3366/ccs.2020.0378","DOIUrl":"https://doi.org/10.3366/ccs.2020.0378","url":null,"abstract":"Not I But the Wind ... and Leftover Life to Kill, the somewhat obscure mid-twentieth-century memoirs by Frieda Lawrence and Caitlin Thomas, were written, at least in part, in the countries that the authors eventually made their permanent home: New Mexico and Italy, respectively. While neither was marketed as a ‘travel book’, both works share many of the characteristics identified in the critical literature on women's travel writing, such as the way the memoirs were received as emotional outpourings with little authority outside the personal sphere and little of interest aside from their intimate knowledge of the authors' respective literary spouses. The analysis presented in this article shows that while Frieda and Caitlin sought to escape the gendered and classed strictures that so oppressed them in England, they applied them nevertheless to the individuals they encountered on their travels. Turning to the issue of viewpoints and watching, the article explores the frequency with which both narrators chose to position themselves behind windows as they set their scenes, indicating a more complex interrelation between watcher and watched than might first be assumed.","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45405096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Carl Van Vechten's novel Peter Whiffle. His Life and Works (1922) is a work of ‘autobiografiction’, merging biography and autobiography, and drawing attention to the fictional elements of life-writing. It problematizes authorship and posits selfhood as a dialogic, polyphonic construct, dependent on the strategies, content, and structure of narrative. The article explores the complex intertextual presence of George Moore's Confessions of a Young Man in Van Vechten's novel: they both propose different aspects of a similar story of two friends with cosmopolitan and refined tastes, whose subjectivities are mediated by constant references to other literary characters, and who depend on one another's narratives to have access to their own selves, or at least to become authors of works of art about themselves. Drawing on Adriana Cavarero's and Lucia Boldrini's studies on auto/biographical selves, and on Rebecca Walkowitz's and Homi Bhabha's theories of cosmopolitanism, the article argues that Peter Whiffle's emphasis on dialogic subjectivity questions the notion of authorship and creates a problematic, parodic form of cosmopolitanism. This type of cosmopolitanism does not contribute to any productive experiences of self-knowledge or of knowledge of the foreign ‘other’, but rather asks crucial questions on the very possibility of these experiences.
{"title":"Strange Characters: Dialogic Selves and Cosmopolitanism in Carl van Vechten's Peter Whiffle","authors":"Laura Scuriatti","doi":"10.3366/ccs.2020.0379","DOIUrl":"https://doi.org/10.3366/ccs.2020.0379","url":null,"abstract":"Carl Van Vechten's novel Peter Whiffle. His Life and Works (1922) is a work of ‘autobiografiction’, merging biography and autobiography, and drawing attention to the fictional elements of life-writing. It problematizes authorship and posits selfhood as a dialogic, polyphonic construct, dependent on the strategies, content, and structure of narrative. The article explores the complex intertextual presence of George Moore's Confessions of a Young Man in Van Vechten's novel: they both propose different aspects of a similar story of two friends with cosmopolitan and refined tastes, whose subjectivities are mediated by constant references to other literary characters, and who depend on one another's narratives to have access to their own selves, or at least to become authors of works of art about themselves. Drawing on Adriana Cavarero's and Lucia Boldrini's studies on auto/biographical selves, and on Rebecca Walkowitz's and Homi Bhabha's theories of cosmopolitanism, the article argues that Peter Whiffle's emphasis on dialogic subjectivity questions the notion of authorship and creates a problematic, parodic form of cosmopolitanism. This type of cosmopolitanism does not contribute to any productive experiences of self-knowledge or of knowledge of the foreign ‘other’, but rather asks crucial questions on the very possibility of these experiences.","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":"1 1","pages":"1-27"},"PeriodicalIF":0.2,"publicationDate":"2020-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45929374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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