{"title":"De l’ancienne rhétorique à la pratique du poème en prose ; la poétique de Paul Valéry","authors":"Jae-Ryong Cho","doi":"10.21720/complit89.09","DOIUrl":"https://doi.org/10.21720/complit89.09","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91358034","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 : 2022-12-01DOI: 10.1215/00104124-9989256
Natasha Tanna
This article analyzes queer literary politics and the engagement with cultural precursors in the 1990s and into the twenty-first century in works by Cuban writer Ena Lucía Portela and Argentine writer María Moreno. The lack of a clearly defined tradition of lesbian/queer literature by women in Cuba and Argentina leads these two writers to appropriate or invent their own during periods of increasing liberalization in their respective countries. At first glance, Portela and Moreno’s joyful gestures of what this essay conceptualizes as “creative plagiarism” appear to signal their reveling in a cosmopolitan commons, largely situated in the United States and Europe, via Paris of the années folles (Crazy Years), from which fragments can be drawn to create queer counter-canons. However, the article concludes that through their highly intertextual works both writers reflect critically on the location of the so-called cosmopolitan in queer literary genealogies and on power dynamics and hierarchies among both authors and characters and different creative forms, including academic writing. The article argues that while the diegesis of their texts is largely set outside their local contexts, both writers’ works are deeply located in Cuba and Argentina. Ultimately, Portela and Moreno claim authority for creative writers themselves, as well as their nonliterary cocreators, reflecting critically on literary scholarship.
本文分析了古巴作家Ena Lucía Portela和阿根廷作家María Moreno在20世纪90年代和21世纪作品中的酷儿文学政治和与文化先驱的接触。古巴和阿根廷的女同性恋/酷儿文学缺乏明确界定的传统，导致这两位作家在各自国家日益自由化的时期，借鉴或创造了自己的作品。乍一看，波特拉和莫雷诺对这篇文章所定义的“创造性抄袭”的快乐姿态，似乎表明他们在一个世界性的公地中狂欢，这个公地主要位于美国和欧洲，通过《疯狂岁月的巴黎》(Paris of the ann folles)，从中可以提取片段来创造奇怪的反经典。然而，文章的结论是，通过他们高度互文的作品，两位作家都批判性地反思了所谓的世界主义在酷儿文学谱系中的位置，以及作者和人物之间的权力动态和等级关系，以及不同的创作形式，包括学术写作。这篇文章认为，虽然他们的文本的叙述主要是在他们的当地背景之外，但两位作家的作品都深深扎根于古巴和阿根廷。最终，波特拉和莫雷诺声称自己是有创造力的作家，以及他们的非文学共同创作者的权威，批判性地反映了文学学术。
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Pub Date : 2022-12-01DOI: 10.1215/00104124-9989243
Matthew Beeber
This essay addresses Pablo Neruda and Nancy Cunard’s Spanish Civil War poetry anthology Los poetas del mundo defienden al pueblo espanol alongside Cunard’s earlier anthology, her massive and eclectic Negro: Anthology (1934). I argue that when read alongside Cunard’s later, lesser-known collaboration with Neruda, Negro can be seen as one part of Cunard’s larger trajectory as an editor of coalitional anthologies. Los poetas, an understudied collection of modernist poetry deserving of recovery in its own right, also allows greater perspective of Cunard’s earlier anthology. Reading Negro alongside Los poetas makes clear that the stakes of the project, along with the current academic discourse surrounding Cunard, are rooted in questions of the possibility of coalition. Ultimately, I argue that these anthologies uniquely model within their aesthetic form the organization of the political coalitions they seek to produce. They are coalitional, with the goal of bringing disparate elements into productive harmony, in both aesthetics and praxis. I locate what I call coalitional aesthetics within each volume, simultaneously attesting to the disparity of its constituent parts and to their unity. Coalitional aesthetics do not smooth over incongruities between individual parts but rather emphasize them, insisting on their singularity even within the whole they comprise.
{"title":"Nancy Cunard and the 1930s Coalitional Anthology","authors":"Matthew Beeber","doi":"10.1215/00104124-9989243","DOIUrl":"https://doi.org/10.1215/00104124-9989243","url":null,"abstract":"\u0000 This essay addresses Pablo Neruda and Nancy Cunard’s Spanish Civil War poetry anthology Los poetas del mundo defienden al pueblo espanol alongside Cunard’s earlier anthology, her massive and eclectic Negro: Anthology (1934). I argue that when read alongside Cunard’s later, lesser-known collaboration with Neruda, Negro can be seen as one part of Cunard’s larger trajectory as an editor of coalitional anthologies. Los poetas, an understudied collection of modernist poetry deserving of recovery in its own right, also allows greater perspective of Cunard’s earlier anthology. Reading Negro alongside Los poetas makes clear that the stakes of the project, along with the current academic discourse surrounding Cunard, are rooted in questions of the possibility of coalition. Ultimately, I argue that these anthologies uniquely model within their aesthetic form the organization of the political coalitions they seek to produce. They are coalitional, with the goal of bringing disparate elements into productive harmony, in both aesthetics and praxis. I locate what I call coalitional aesthetics within each volume, simultaneously attesting to the disparity of its constituent parts and to their unity. Coalitional aesthetics do not smooth over incongruities between individual parts but rather emphasize them, insisting on their singularity even within the whole they comprise.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"7 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78363931","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 : 2022-12-01DOI: 10.1215/00104124-9989230
Birger Vanwesenbeeck
This essay seeks to fill a gap in the scholarship on Paul de Man by taking stock of the scattered references to Flemish in his later writings. Taking its cue from a passing remark in the most recent de Man biography—namely, that late in life the theorist attested repeatedly in private to the experience of “losing” his native tongue—this article has two aims. One is to show that de Man’s later works bear witness to this ongoing experience of native-linguistic loss; the other is to relate this experience to the theory of deconstruction that de Man had espoused by then. To this latter end, the essay establishes a comparison between de Man’s later works, from Allegories of Reading (1979) onward, and Jacques Derrida’s 1996 autobiographical essay Monolingualism of the Other in order to show how the deconstructive theory conception of language-as-other is rooted in these two thinkers’ respective experiences of native-linguistic loss. The essay closes by reflecting on the contrast between a major language's relative resilience to native-linguistic loss, as in the case of Derrida’s French, and the far more precarious condition of a minor language in exile such as de Man's Flemish.
本文试图通过对保罗·德曼后期作品中零散的佛兰德语参考资料进行评估，来填补关于保罗·德曼学术研究的空白。这篇文章的灵感来自于最近的德曼传记中的一句偶然的评论——也就是说，这位理论家在晚年一再私下证明自己“失去”了母语——这篇文章有两个目的。一是表明德曼的后期作品见证了这种持续的母语丧失经历;另一种是将这种经历与德曼当时所支持的解构主义理论联系起来。为此，本文将德曼自1979年《阅读的寓言》(Allegories of Reading)之后的作品与德里达1996年的自传体文章《他者的单语主义》(Monolingualism of the Other)进行比较，以表明语言作为他者的解构主义理论概念是如何根植于这两位思想家各自的母语丧失经历的。这篇文章最后反思了两种语言之间的对比:一种主要语言相对于本土语言的丧失具有弹性，比如德里达的法语，而一种次要语言在流亡中的处境要危险得多，比如德曼的佛兰德语。
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Pub Date : 2022-12-01DOI: 10.1215/00104124-9989269
N. Harrison
{"title":"Decolonizing Memory: Algeria and the Politics of Testimony","authors":"N. Harrison","doi":"10.1215/00104124-9989269","DOIUrl":"https://doi.org/10.1215/00104124-9989269","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75493544","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 : 2022-12-01DOI: 10.1215/00104124-9989204
Jane O. Newman, Rona Sadan
Erich Auerbach (1892–1957), best known as the author of Mimesis: Dargestellte Wirklichkeit in der abendländischen Literatur (1946; Mimesis: The Representation of Reality in Western Literature, 1953), wrote about the eighteenth-century philologist and philosopher of history Giambattista Vico (1668–1744) fifteen times over the course of his life. The translations offered here are among the earliest of these writings. These early essays on Vico refine the picture both of Auerbach himself and of the significance of his work for comparative literary studies today in important ways. First, they allow a reconsideration of the progressivist literary historical secularization thesis often claimed for Auerbach’s oeuvre writ large. Second, they display Auerbach’s early aspiration to reach “ein allgemeineres Publikum” (a more general public) through his work as a “Schriftsteller” (writer). Finally, they open a window onto the Vichian calculus upon which his assessment of the texts discussed in Mimesis may have been based. The modes of representation (Darstellung) Auerbach favored may thus be understood not as part of a restrictive canon but rather as examples of the human “Schauspiel” (drama) and fateful “Lage . . . der Menschen” (human condition) in a world whose literatures reach far beyond the European archive enshrined in Mimesis.
{"title":"The World’s Literatures","authors":"Jane O. Newman, Rona Sadan","doi":"10.1215/00104124-9989204","DOIUrl":"https://doi.org/10.1215/00104124-9989204","url":null,"abstract":"\u0000 Erich Auerbach (1892–1957), best known as the author of Mimesis: Dargestellte Wirklichkeit in der abendländischen Literatur (1946; Mimesis: The Representation of Reality in Western Literature, 1953), wrote about the eighteenth-century philologist and philosopher of history Giambattista Vico (1668–1744) fifteen times over the course of his life. The translations offered here are among the earliest of these writings. These early essays on Vico refine the picture both of Auerbach himself and of the significance of his work for comparative literary studies today in important ways. First, they allow a reconsideration of the progressivist literary historical secularization thesis often claimed for Auerbach’s oeuvre writ large. Second, they display Auerbach’s early aspiration to reach “ein allgemeineres Publikum” (a more general public) through his work as a “Schriftsteller” (writer). Finally, they open a window onto the Vichian calculus upon which his assessment of the texts discussed in Mimesis may have been based. The modes of representation (Darstellung) Auerbach favored may thus be understood not as part of a restrictive canon but rather as examples of the human “Schauspiel” (drama) and fateful “Lage . . . der Menschen” (human condition) in a world whose literatures reach far beyond the European archive enshrined in Mimesis.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"48 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80620318","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 : 2022-12-01DOI: 10.1215/00104124-9989282
R. Srinivasan
{"title":"World Literature for the Wretched of the Earth: Anticolonial Aesthetics, Postcolonial Politics","authors":"R. Srinivasan","doi":"10.1215/00104124-9989282","DOIUrl":"https://doi.org/10.1215/00104124-9989282","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"114 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79343870","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 : 2022-12-01DOI: 10.1215/00104124-9989217
Tyler Grand Pre
Aimé Césaire’s long poem Cahier d’un retour au pays natal is the most expressive example of his ambitious effort “infléchir le français” (“to inflect the French”), as he famously put it in an interview, “pour exprimer, dison: ce moi, ce moi-nègre, ce moi-créole, ce moi-martiniquais, ce moi-antillais” (translated by Brent Edwards, this reads: “in order to express, let’s say: “this I, this nègre-I, this creole-I, this Martinican-I, this Antillean-I”). Many scholars have read the Cahier’s inflection of French language and discourse in terms of its elaborate use of Latinate neologisms, archaic terminology, and typographic wordplay; however, less attention has been given to the implications this poem’s tortuous shifts in address have as a radical critique of the formal desires and ontological exclusions of Enlightenment universalism. Through the way Césaire rearticulates the basic components of grammatical address in a vexed, lyric encounter with the colonial reality of Martinique, he gradually recalibrates the relationship between the poem’s speaker and the African-diasporic community of and beyond Martinique as that between a kind of intersubjective voice of négritude and a globally discursive locus of anticolonialism—what he later calls the “rendez-vous de la conquête” (“convocation of conquest”).
艾姆萨雷的长诗《Cahier d 'un retour au pays natal》是他雄心勃勃的努力“inflchir le franais”(“使法语发生变化”)的最具表现力的例子，正如他在一次采访中所说的那样，“pour exprimer, dison: ce moi, ce moi- ngre, ce moi- crole, ce moi-martiniquais, ce moi-antillais”(由布伦特·爱德华兹翻译，这句话的意思是:“为了表达，让我们说:“这个I，这个ngrei，这个克里奥尔人，这个马提尼格人，这个安的列斯人”)。许多学者都读过《纪事录》对法语语言和话语的变形，因为它精心使用了拉丁语新词、古老的术语和排版上的文字游戏;然而，很少有人注意到这首诗在地址上曲折的转变所隐含的含义，这是对启蒙普遍主义的形式欲望和本体论排斥的激进批评。在与马提尼克岛的殖民现实的一场痛苦而抒情的邂逅中，通过csamsae重新阐明语法地址的基本组成部分的方式，他逐渐重新调整了诗歌的讲话者与马提尼克岛及马提尼克岛以外的非洲散居社区之间的关系，就像一种主观间的nsamsae之声与反殖民主义的全球话语中心之间的关系——他后来称之为“征服的集会”(“conquest的集会”)。
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{"title":"The Gender-oriented Interpellation and the Dilemma of Women’s Growth —Focusing on Sylvia Plath’s “The Bell Jar”","authors":"Hwa-Young Moon","doi":"10.21720/complit88.03","DOIUrl":"https://doi.org/10.21720/complit88.03","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"69 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77777506","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":"Floating Letters and Space-Time of Exile: Focusing on Anna Seghers’ Transit","authors":"Harim Lee","doi":"10.21720/complit88.07","DOIUrl":"https://doi.org/10.21720/complit88.07","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"30 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83774206","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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