Pub Date : 2023-06-01DOI: 10.1215/00104124-10334516
Leah Feldman
This article traces the devolution of Soviet anti-racism and the emergence of ethnonationalist violence amid the collapse of the Soviet Union. Through an analysis of Uzbek writer Hamid Ismailov’s novel Mbobo/The Underground (2009), it explores the contradictions of Soviet anti-racism at the interface of flesh and place, metaphor and materiality, ecology and affect—contradictions manifested in the ways in which Brown and Black bodies were mapped onto the triumphalist architecture of socialist internationalism. Attending to built infrastructures—metro stations, sports arenas, concert halls, and conference venues—and the bodies of visibly marked internal and international others who constructed, inhabited and moved through these spaces, it discusses how these bodies were conscripted in the material manifestation of socialist internationalism and then made the targets of racialized violence in the waning days of the Soviet Union.
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Pub Date : 2023-06-01DOI: 10.1215/00104124-10334542
A. Glaser
At many points in modern history, Ukrainian identity has been bound up with the Ukrainian language, Ukrainian forms of Christianity, and specific collective experiences of trauma as Ukrainians. This sense of national identity was particularly felt in the immediate post-Soviet period; for although Soviet nationalities policy attempted to eradicate dangerous forms of nationalism and ethnic prejudice, these policies often had the reverse effect, creating a heightened sense of competition between individual ethnic groups, which persisted into the post-1991 reconstruction of East European borders. In the wake of the 2013–14 Euromaidan protests, poets in Ukraine have sought to correct the failures of both Soviet nationalities policy and post-Soviet Ukrainian national-identity formation by weaving Jewish, Ukrainian, and Crimean Tatar histories of collective trauma into their writing. This article focuses on the recent work of the poet Marianna Kiyanovska, whose attempt to bridge seemingly irreconcilable histories can be read as part of what scholars have identified as a recent shift from viewing Ukrainian identity as an ethnic category to a civic one. Reading Kiyanovska in the context of other recent Ukrainian poems and songs, the author argues that this “civic turn” in Ukrainian identity formation is both a direct response to conversations taking place about the meaning of the Maidan, and part of a global conversation about privilege, erasure, and culpability.
{"title":"“Mine from ’33; Yours from ’41”","authors":"A. Glaser","doi":"10.1215/00104124-10334542","DOIUrl":"https://doi.org/10.1215/00104124-10334542","url":null,"abstract":"\u0000 At many points in modern history, Ukrainian identity has been bound up with the Ukrainian language, Ukrainian forms of Christianity, and specific collective experiences of trauma as Ukrainians. This sense of national identity was particularly felt in the immediate post-Soviet period; for although Soviet nationalities policy attempted to eradicate dangerous forms of nationalism and ethnic prejudice, these policies often had the reverse effect, creating a heightened sense of competition between individual ethnic groups, which persisted into the post-1991 reconstruction of East European borders. In the wake of the 2013–14 Euromaidan protests, poets in Ukraine have sought to correct the failures of both Soviet nationalities policy and post-Soviet Ukrainian national-identity formation by weaving Jewish, Ukrainian, and Crimean Tatar histories of collective trauma into their writing. This article focuses on the recent work of the poet Marianna Kiyanovska, whose attempt to bridge seemingly irreconcilable histories can be read as part of what scholars have identified as a recent shift from viewing Ukrainian identity as an ethnic category to a civic one. Reading Kiyanovska in the context of other recent Ukrainian poems and songs, the author argues that this “civic turn” in Ukrainian identity formation is both a direct response to conversations taking place about the meaning of the Maidan, and part of a global conversation about privilege, erasure, and culpability.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"14 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87197376","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}
Pub Date : 2023-03-01DOI: 10.1215/00104124-10160641
S. Newman
This article examines the figuring of Black voices in literature, specifically addressing the grotesque sonority of Anglophone and Francophone African writing. The analysis focuses on the Zimbabwean Dambudzo Marechera’s stuttered speech in the semi-autobiographical short fiction The House of Hunger (1978) and the Congolese Sony Labou Tansi’s tropical sounds in the dictator novels La vie et demie (1979) and Les septs solitudes de Lorsa Lopez (1985). The article argues that the authors reprise colonial misconceptions of Africa as a noisy continent and parody racist mishearings of Black voices as illegible or dissonant in order to establish a literal and conceptual proximity of voice to violence. Marechera and Sony Labou Tansi thus identify the truly grotesque brutality of colonialism, including its sounded modes of bodily regulation, racist accent policing, ableist speech norms, and inimical linguistic control. The authors reject notions of proper speech and beautiful sound altogether. Instead, they turn to screaming, stuttering, and other postlingual utterances to cast doubt on the governability of sounded language in both graphic and phonic iterations. The article contributes to postcolonial literary criticism and sound studies by revising approaches to orality in African writing and racialized sound in literature more broadly.
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Pub Date : 2023-03-01DOI: 10.1215/00104124-10160680
B. Hutchinson
This article revisits the emergence of “comparative” and “world” literature within the early nineteenth century, arguing that we can only understand the full normative force of the two terms if we read them rhetorically. In order to do this, the article draws on Roman Jakobson’s classic essay “Two Aspects of Language and Two Types of Aphasic Disturbances” (1956). Jakobson makes a number of claims in this essay, the most celebrated of which is his distinction between the two poles of “metaphoric” and “metonymic” language. The motor of metaphor, Jakobson reminds us, is similarity (one thing is like another); the motor of metonymy, on the other hand, is contiguity (one thing is next to, or part of another). Jakobson’s distinction, this article suggests, maps instructively onto the mechanisms of comparative and world literature: where the former compares one text to another, the latter situates one text within the global field of others. For comparison to be possible, initially, the things being compared must stand apart; to claim the status of world literature for a given work, conversely, is to make it part of a broader whole. Comparative and world literature may thus be said to function as a mobile army of metaphors and metonymies.
{"title":"Two Aspects of Language, Two Types of Comparison","authors":"B. Hutchinson","doi":"10.1215/00104124-10160680","DOIUrl":"https://doi.org/10.1215/00104124-10160680","url":null,"abstract":"\u0000 This article revisits the emergence of “comparative” and “world” literature within the early nineteenth century, arguing that we can only understand the full normative force of the two terms if we read them rhetorically. In order to do this, the article draws on Roman Jakobson’s classic essay “Two Aspects of Language and Two Types of Aphasic Disturbances” (1956). Jakobson makes a number of claims in this essay, the most celebrated of which is his distinction between the two poles of “metaphoric” and “metonymic” language. The motor of metaphor, Jakobson reminds us, is similarity (one thing is like another); the motor of metonymy, on the other hand, is contiguity (one thing is next to, or part of another). Jakobson’s distinction, this article suggests, maps instructively onto the mechanisms of comparative and world literature: where the former compares one text to another, the latter situates one text within the global field of others. For comparison to be possible, initially, the things being compared must stand apart; to claim the status of world literature for a given work, conversely, is to make it part of a broader whole. Comparative and world literature may thus be said to function as a mobile army of metaphors and metonymies.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"25 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90365420","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}
Pub Date : 2023-03-01DOI: 10.1215/00104124-10160706
T. Wright
{"title":"The African Novel of Ideas: Philosophy and Individualism in the Age of Global Writing","authors":"T. Wright","doi":"10.1215/00104124-10160706","DOIUrl":"https://doi.org/10.1215/00104124-10160706","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"48 8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85393964","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}
Pub Date : 2023-03-01DOI: 10.1215/00104124-10160693
M. Caplan
{"title":"Hebrew Gothic: History and the Poetics of Persecution","authors":"M. Caplan","doi":"10.1215/00104124-10160693","DOIUrl":"https://doi.org/10.1215/00104124-10160693","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"70 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75657115","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}
Pub Date : 2023-03-01DOI: 10.1215/00104124-10160654
Lara Norgaard
This essay analyzes representations of Asia in the satirical 1911 short story “O homem que sabia javanês” (“The Man Who Knew Javanese”) by Brazilian author Lima Barreto. Like much of Barreto’s work, the short story critiques the deterministic categories of scientific racism popular in elite circles during the First Brazilian Republic. However, this essay asserts that the references to Java in the story are not arbitrary means through which to carry out that critique. Instead, drawing on Lisa Lowe’s concept of residual intimacies and Bruno Carvalho’s engagement of cartografia letrada (lettered cartography), it argues that Barreto crafts a fiction of plausible contact between Brazil and Java, revealing transpacific spatial and racial entanglements that categories of canonized knowledge at the turn of the twentieth century failed to manage and control. Barreto imagines Java on the streets of Rio, revealing the tangible closeness of two experiences categorized as different and distant. The essay considers how the plausible yet fictional intimacies in this literary counternarrative conceptually reorient readers toward both the Pacific and the Atlantic.
本文分析了巴西作家利马·巴雷托1911年的讽刺短篇小说《O homem que sabia javanês》(《懂爪哇语的人》)对亚洲的表现。和巴雷托的大部分作品一样，这篇短篇小说批判了巴西第一共和国时期精英阶层中流行的科学种族主义的决定论。然而，这篇文章断言，故事中对Java的引用并不是任意的，通过它来进行批评。相反，它借鉴了丽莎·洛(Lisa Lowe)关于剩余亲密关系的概念和布鲁诺·卡瓦略(Bruno Carvalho)对字母制图的研究，认为巴雷托创作了一种巴西和爪哇之间看似合理的联系的小说，揭示了跨太平洋的空间和种族纠葛，而这些纠葛在20世纪之交被规范化的知识类别未能管理和控制。Barreto在b里约热内卢的街道上想象Java，揭示了两种被归类为不同和遥远的体验的切实密切关系。本文考虑了这种文学反叙事中看似合理但虚构的亲密关系如何在概念上重新引导读者走向太平洋和大西洋。
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Pub Date : 2023-03-01DOI: 10.1215/00104124-10160667
Juliette Taylor-Batty
This article demonstrates that Beckett’s play Not I derives from a hitherto unrecognized source: Rimbaud’s poem of synesthesia, “Voyelles.” Revealing the significant intertextual links between Beckett’s play and Rimbaud’s poem, the article demonstrates that the striking central image of Not I—the disembodied mouth spewing out an almost incomprehensible torrent of words—directly recalls Rimbaud’s image for the vowel I in “Voyelles.” Beckett uses Rimbaud, the article argues, in a way that is distortive and translational: the image for I is carried across languages and across sensory planes: from French to English, from words on the page to theatrical performance; from verbal to visual and sensory experience. The correspondences between Not I and “Voyelles” are not only directly intertextual, however, but conceptual. Beckett draws particularly on two Rimbaudian concepts: the otherness of the poetic I, and the notion of a “dérèglement de tous les sens.” Adapting and translating Rimbaud’s conception of synesthesia in “Voyelles,” Beckett develops a theatrical mode that explores and manipulates various forms of cross-sensory experience, including synesthesia, to produce a “theater of the nerves.”
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Pub Date : 2023-03-01DOI: 10.1215/00104124-10160615
D. Quint
Contrary to the views of Hegelian critics, epic from its Homeric beginnings has projected a future time and future readers beyond its narrative frame. The genre does not close itself off in a heroic past. The episode of the Phaeacian banquet in the Odyssey places a utopian, technologically advanced and wealthy mercantile society side by side with its heroic world. The Phaeacians who listen to Odysseus’s wanderings and tales of Troy at their banquet figure a future, nonheroic audience for the poem itself. Subsequent imitations of this episode in major epics—the Aeneid, Orlando furioso, Os Lusíadas, Gerusalemme liberata, The Faerie Queene, Paradise Lost—measure a modern, critical distance, fed by science and a commercial economy, upon epic and its heroic values. The genre contains a historical dialectic of past and present from its outset.
{"title":"Epic Futurity: The Phaeacians, Carthage, and the Tradition","authors":"D. Quint","doi":"10.1215/00104124-10160615","DOIUrl":"https://doi.org/10.1215/00104124-10160615","url":null,"abstract":"Contrary to the views of Hegelian critics, epic from its Homeric beginnings has projected a future time and future readers beyond its narrative frame. The genre does not close itself off in a heroic past. The episode of the Phaeacian banquet in the Odyssey places a utopian, technologically advanced and wealthy mercantile society side by side with its heroic world. The Phaeacians who listen to Odysseus’s wanderings and tales of Troy at their banquet figure a future, nonheroic audience for the poem itself. Subsequent imitations of this episode in major epics—the Aeneid, Orlando furioso, Os Lusíadas, Gerusalemme liberata, The Faerie Queene, Paradise Lost—measure a modern, critical distance, fed by science and a commercial economy, upon epic and its heroic values. The genre contains a historical dialectic of past and present from its outset.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"35 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78391561","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}
Pub Date : 2023-03-01DOI: 10.1215/00104124-10160628
Mariajosé Rodríguez-Pliego
This article explores the relationship between storytelling and prophecy by reading narratives of extractivism in the US-Mexico borderlands that raise questions about the apocalyptic aftermaths of colonialism. Specifically, it analyzes contemporary migration stories narrated through Indigenous cosmovisions in Leslie Marmon Silko’s Almanac of the Dead (1991) and Yuri Herrera’s Señales que precederán el fin del mundo (2009). It contends that Silko and Herrera’s novels employ Maya, Nahua, Yaqui, and Laguna Pueblo migration narratives to eschew colonial cartographic portrayals of the borderlands and reclaim them as dynamic spaces of mobility, as opposed to static cartographic lines. The article demonstrates how Indigenous epistemologies afford Silko and Herrera opportunities to extend their stories into underground spaces and lay bare a history of extractivism—specifically of mining. In doing so, the novels materialize the land’s colonial history and lay out prophecies for the end of our present world.
本文通过阅读美墨边境地区的采掘主义叙事，探讨了讲故事与预言之间的关系，这些叙事提出了关于殖民主义的末世后果的问题。具体来说，它分析了莱斯利·马蒙·西尔科的《死者年鉴》(1991)和尤里·埃雷拉的《Señales que precederán el fin del mundo》(2009)中通过土著世界观讲述的当代移民故事。它认为，西尔科和埃雷拉的小说采用了玛雅人、纳华人、亚基人和拉古纳普韦布洛人的移民叙事，以避免殖民地图对边境地区的描绘，并将其重新定位为动态的流动空间，而不是静态的地图线条。这篇文章展示了土著认识论如何为Silko和Herrera提供了将他们的故事扩展到地下空间的机会，并揭示了开采主义的历史——特别是采矿。在这样做的过程中，小说将这片土地的殖民历史物化，并为我们当今世界的终结做出了预言。
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