{"title":"A Comparative Study on the Representation of “Kyongsong’s Namchon of Japanese and Korean Writers in Colonial Korea","authors":"Eun Kwon","doi":"10.21720/complit87.01","DOIUrl":"https://doi.org/10.21720/complit87.01","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"15 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82306041","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":"Georg Simmel’s Commodity and Flaneur: Focusing on “1896 Berliner Gewerbeausstellung” and “Die Großstädte und das Geistesleben”","authors":"Hyun ju Min","doi":"10.21720/complit87.02","DOIUrl":"https://doi.org/10.21720/complit87.02","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"33 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77758940","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":"A Communal Future: Through the Degenerative Eugenics and Autoimmune Crisis in Dracula","authors":"Yeeun Park","doi":"10.21720/complit87.07","DOIUrl":"https://doi.org/10.21720/complit87.07","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"104 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73105928","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":"Dancing Monster, Nuclear Power Under Control: Monster from the Deep and Nuclear Power","authors":"Youngjae Yi","doi":"10.21720/complit87.05","DOIUrl":"https://doi.org/10.21720/complit87.05","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"47 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89295418","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 : 2022-03-01DOI: 10.1215/00104124-9434563
Roanne L. Kantor
{"title":"Imperfect Solidarities: Tagore, Gandhi, Du Bois, and the Global Anglophone","authors":"Roanne L. Kantor","doi":"10.1215/00104124-9434563","DOIUrl":"https://doi.org/10.1215/00104124-9434563","url":null,"abstract":"","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"24 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78984465","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 : 2022-03-01DOI: 10.1215/00104124-9434498
S. Grewal
While the ghazal has appeared in many linguistic traditions, its diversity is undermined by the imposition of a singular definition of this genre, which is further compounded by the overly simplistic identification of ghazal as lyric; these lyricized readings of the ghazal as both transhistorical and transnational rely on a discourse of “worlding” as an imperial project of cultural recovery and homogenization. In contrast, this article employs the methodology of historical poetics to argue via a reading of meta-ghazals in Persian, Urdu, and English that reading practices around the ghazal—including definitions of the genre that variously emphasize form versus theme—change according to the historical and geographical context of its circulation. However, by celebrating the ghazal’s travel as seemingly apolitical and/or ahistorical, the discourse of world poetry, particularly in the reception of the ghazals of Agha Shahid Ali, participates in an ongoing imperialism in world literary study. In contrast, we can read the ghazals of Adrienne Rich as exemplifying the tradition of vernacularization that has enabled the ghazal’s movement between languages, such that her work, like the work of historical poetics as a methodology, honors the history of the form’s travel through its appearance in contemporary American English.
{"title":"The Ghazal as “World Poetry”: Between Worlding and Vernacularization","authors":"S. Grewal","doi":"10.1215/00104124-9434498","DOIUrl":"https://doi.org/10.1215/00104124-9434498","url":null,"abstract":"\u0000 While the ghazal has appeared in many linguistic traditions, its diversity is undermined by the imposition of a singular definition of this genre, which is further compounded by the overly simplistic identification of ghazal as lyric; these lyricized readings of the ghazal as both transhistorical and transnational rely on a discourse of “worlding” as an imperial project of cultural recovery and homogenization. In contrast, this article employs the methodology of historical poetics to argue via a reading of meta-ghazals in Persian, Urdu, and English that reading practices around the ghazal—including definitions of the genre that variously emphasize form versus theme—change according to the historical and geographical context of its circulation. However, by celebrating the ghazal’s travel as seemingly apolitical and/or ahistorical, the discourse of world poetry, particularly in the reception of the ghazals of Agha Shahid Ali, participates in an ongoing imperialism in world literary study. In contrast, we can read the ghazals of Adrienne Rich as exemplifying the tradition of vernacularization that has enabled the ghazal’s movement between languages, such that her work, like the work of historical poetics as a methodology, honors the history of the form’s travel through its appearance in contemporary American English.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"26 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78472341","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 : 2022-03-01DOI: 10.1215/00104124-9434485
Adam Spanos
This article tracks the engagement of several twentieth-century writers with a line from Aimé Césaire’s Cahier d’un retour au pays natal (Journal of a Homecoming): “et il est place pour tous au rendez-vous de la conquête” (and there is room for all at the appointed place of conquest; translated by C. L. R. James as “there is a place for all at the rendezvous of victory”). This line came to define an ethics and an aesthetics for the cultural movement that ensued in the wake of the Bandung conference, which brought together heads of state from the third world in pursuit of national independence. In the critical commentaries and artistic engagements with Césaire’s work by James, Frantz Fanon, Nadine Gordimer, and Edward Said, a form of internationalism emerged that was sustained by a common investment in this poetic image. These writers weren’t bound by an identity of interest, however, but rather by the displacements to which they subjected Césaire’s poem through their linguistic, generic, affective, and semantic translations. The essay concludes that Bandung humanism supposed a contingent and revisable understanding of the human and promoted an aesthetic of reworking rather than timeless forms.
本文用艾姆斯•卡萨伊尔的《归乡日记》(Cahier d 'un retour au pays natal)中的一句话追踪了几位20世纪作家的参与:“et il est place pour tous au rendez-vous de la conquête”(在指定的征服地点，所有人都有一席之地;詹姆斯(c.l.r. James)将其翻译为“在胜利的集会上，人人都有一席之地”)。这条路线为万隆会议之后的文化运动定义了一种伦理和美学，万隆会议将第三世界国家的首脑聚集在一起，追求民族独立。在詹姆斯、弗朗茨·法农、纳丁·戈迪默和爱德华·赛义德对csamsaire作品的评论和艺术参与中，一种国际主义的形式出现了，这种国际主义是通过对这一诗意形象的共同投资来维持的。然而，这些作家并没有被兴趣的身份所束缚，而是被他们通过语言、通用、情感和语义的翻译对cassaaire的诗进行的转换所束缚。万隆人文主义设想了一种偶然的、可修正的对人的理解，提倡了一种再造的审美，而不是永恒的形式。
{"title":"The Rendezvous of Victory: Translations of Bandung Humanism","authors":"Adam Spanos","doi":"10.1215/00104124-9434485","DOIUrl":"https://doi.org/10.1215/00104124-9434485","url":null,"abstract":"\u0000 This article tracks the engagement of several twentieth-century writers with a line from Aimé Césaire’s Cahier d’un retour au pays natal (Journal of a Homecoming): “et il est place pour tous au rendez-vous de la conquête” (and there is room for all at the appointed place of conquest; translated by C. L. R. James as “there is a place for all at the rendezvous of victory”). This line came to define an ethics and an aesthetics for the cultural movement that ensued in the wake of the Bandung conference, which brought together heads of state from the third world in pursuit of national independence. In the critical commentaries and artistic engagements with Césaire’s work by James, Frantz Fanon, Nadine Gordimer, and Edward Said, a form of internationalism emerged that was sustained by a common investment in this poetic image. These writers weren’t bound by an identity of interest, however, but rather by the displacements to which they subjected Césaire’s poem through their linguistic, generic, affective, and semantic translations. The essay concludes that Bandung humanism supposed a contingent and revisable understanding of the human and promoted an aesthetic of reworking rather than timeless forms.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78864234","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 : 2022-03-01DOI: 10.1215/00104124-9434550
A. Lewis
This article looks at the influence of Ludwig Wittgenstein’s early philosophy of language on the Black Arts Movement. Amiri Baraka’s essay / prose poem “Expressive Language” ends with a quotation from Wittgenstein: “Can the concept of God exist in a perfectly logical language?” The problem is that Wittgenstein never wrote this. In tracking the meaning of Baraka’s pseudo ascription, this essay situates Baraka’s early work in the context of midcentury philosophy of language and the linguistic turn. It argues that Baraka’s extensive engagement with the form and thought of Wittgenstein’s Tractatus Logico-Philosophicus is crucially important in Baraka’s narration of his conversion from Beat bohemianism to Black nationalism. Baraka’s argument with Wittgenstein anticipates the concerns of a debate that occurred several years later between Hans Gadamer and Jürgen Habermas. Reading “Expressive Language” and Baraka’s poetry and autobiographical writing alongside the exchanges of the Gadamer-Habermas debate, the essay argues that Baraka’s writings challenge the identification of critique with progressive politics that informs the work of Habermas and Paul Gilroy.
{"title":"“Can the Concept of God Exist in a Perfectly Logical Language?” Baraka, Wittgenstein, and the Hermeneutics of Counter-Enlightenment","authors":"A. Lewis","doi":"10.1215/00104124-9434550","DOIUrl":"https://doi.org/10.1215/00104124-9434550","url":null,"abstract":"\u0000 This article looks at the influence of Ludwig Wittgenstein’s early philosophy of language on the Black Arts Movement. Amiri Baraka’s essay / prose poem “Expressive Language” ends with a quotation from Wittgenstein: “Can the concept of God exist in a perfectly logical language?” The problem is that Wittgenstein never wrote this. In tracking the meaning of Baraka’s pseudo ascription, this essay situates Baraka’s early work in the context of midcentury philosophy of language and the linguistic turn. It argues that Baraka’s extensive engagement with the form and thought of Wittgenstein’s Tractatus Logico-Philosophicus is crucially important in Baraka’s narration of his conversion from Beat bohemianism to Black nationalism. Baraka’s argument with Wittgenstein anticipates the concerns of a debate that occurred several years later between Hans Gadamer and Jürgen Habermas. Reading “Expressive Language” and Baraka’s poetry and autobiographical writing alongside the exchanges of the Gadamer-Habermas debate, the essay argues that Baraka’s writings challenge the identification of critique with progressive politics that informs the work of Habermas and Paul Gilroy.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73680061","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 : 2022-03-01DOI: 10.1215/00104124-9434537
J. White
This article posits that Pier Paolo Pasolini’s long engagement with Catalonia offers important insights into his practice as a poet, filmmaker, and thinker about language, as well as explaining the nature of his influence on other European cinemas. The first part of the article focusses on the special issue “Fiore di poeti catalani” of Quaderno romanzo alongside Pasolini’s poetry in and advocacy for the Friulan language. The second part of the article focusses on Joaquín (Joaquim) Jordà’s translation of Pasolini, published as Cine de poesía contra cine de prosa, alongside the emergence of the Barcelona school of filmmakers, of which Jordà was a part. Overall, the article argues that although there was clearly an Italian influence on Catalan cinema of the 1960s and 1970s, throughout the long course of his career there was a distinctly Catalan quality to Pasolini’s thought.
本文认为，皮埃尔·保罗·帕索里尼与加泰罗尼亚的长期合作，为他作为诗人、电影制作人和语言思想家的实践提供了重要的见解，同时也解释了他对其他欧洲电影的影响的本质。文章的第一部分主要关注Quaderno romanzo的特刊“Fiore di poeti catalani”，以及帕索里尼对弗留兰语的诗歌和倡导。文章的第二部分重点关注Joaquín (Joaquim) jorddom对帕索里尼的翻译，发表在“Cine de poesía contra Cine de prosa”上，与此同时，巴塞罗那电影学院也出现了，jorddom是其中的一员。总的来说，文章认为，尽管意大利对20世纪60年代和70年代的加泰罗尼亚电影有明显的影响，但在帕索里尼漫长的职业生涯中，他的思想中有明显的加泰罗尼亚特质。
{"title":"Pasolini in/and Catalonia: Translation, Minority Languages, and Internationalism","authors":"J. White","doi":"10.1215/00104124-9434537","DOIUrl":"https://doi.org/10.1215/00104124-9434537","url":null,"abstract":"\u0000 This article posits that Pier Paolo Pasolini’s long engagement with Catalonia offers important insights into his practice as a poet, filmmaker, and thinker about language, as well as explaining the nature of his influence on other European cinemas. The first part of the article focusses on the special issue “Fiore di poeti catalani” of Quaderno romanzo alongside Pasolini’s poetry in and advocacy for the Friulan language. The second part of the article focusses on Joaquín (Joaquim) Jordà’s translation of Pasolini, published as Cine de poesía contra cine de prosa, alongside the emergence of the Barcelona school of filmmakers, of which Jordà was a part. Overall, the article argues that although there was clearly an Italian influence on Catalan cinema of the 1960s and 1970s, throughout the long course of his career there was a distinctly Catalan quality to Pasolini’s thought.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"148 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82273342","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 : 2022-03-01DOI: 10.1215/00104124-9434511
Sunny S. Yudkoff
This article examines the intersection of the Yiddish modernist Yankev Glatshteyn’s poetics of old age with the cultural politics of language. Specifically, the article draws on Robert Pogue Harrison’s concept of “heterochronicity”—the ability to embody many ages at once—to investigate how a young Yiddish poet textualized old age and age ambiguity in his early work. To do so, the article first investigates the cultural assumptions concerning age in European Yiddish writing circulating toward the end of the nineteenth century and the beginning of the twentieth. It then turns to Glatshteyn’s early work, “Mayne lider” (My Poems), in which the heterochronic management of old age functions as a rejoinder to Glatshteyn’s American Yiddish literary predecessors and as a model of his modernist poetics. Finally, the article turns its attention to Glatshteyn’s 1925 poem “Tsu mayn tsveyhundertyorikn geburtstog” (“On the Occasion of My Two-Hundredth Birthday”), analyzing the text as a tendentious reading of T. S. Eliot and the hierarchy of Yiddish-English difference. To grow old in Yiddish was not simply a biological experience for Glatshteyn. Rather, it was an aesthetic commitment—a mode of writing energized by heterochronic entanglements, intertextual confrontation, and the intersecting age-driven assumptions of Yiddish literature and Anglo-American modernism.
{"title":"Growing Old in Yiddish Modernism: The Case of the Young Yankev Glatshteyn","authors":"Sunny S. Yudkoff","doi":"10.1215/00104124-9434511","DOIUrl":"https://doi.org/10.1215/00104124-9434511","url":null,"abstract":"\u0000 This article examines the intersection of the Yiddish modernist Yankev Glatshteyn’s poetics of old age with the cultural politics of language. Specifically, the article draws on Robert Pogue Harrison’s concept of “heterochronicity”—the ability to embody many ages at once—to investigate how a young Yiddish poet textualized old age and age ambiguity in his early work. To do so, the article first investigates the cultural assumptions concerning age in European Yiddish writing circulating toward the end of the nineteenth century and the beginning of the twentieth. It then turns to Glatshteyn’s early work, “Mayne lider” (My Poems), in which the heterochronic management of old age functions as a rejoinder to Glatshteyn’s American Yiddish literary predecessors and as a model of his modernist poetics. Finally, the article turns its attention to Glatshteyn’s 1925 poem “Tsu mayn tsveyhundertyorikn geburtstog” (“On the Occasion of My Two-Hundredth Birthday”), analyzing the text as a tendentious reading of T. S. Eliot and the hierarchy of Yiddish-English difference. To grow old in Yiddish was not simply a biological experience for Glatshteyn. Rather, it was an aesthetic commitment—a mode of writing energized by heterochronic entanglements, intertextual confrontation, and the intersecting age-driven assumptions of Yiddish literature and Anglo-American modernism.","PeriodicalId":45160,"journal":{"name":"COMPARATIVE LITERATURE","volume":"184 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86231297","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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