Pub Date : 2024-05-01DOI: 10.5325/complitstudies.61.2.0221
Naomi Caffee
This article explores the contributions of Soviet writers to global discourses of Indigenous rights. The author focuses on the work of three writers, Yeremei Aipin (Khanty, b. 1948), Vladimir Sangi (Nivkh, b. 1935), and Yury Vella (Nenets, 1948–2013), as they entered into transnational Indigenous movements and navigated a rapidly changing political landscape in the final years of the Soviet Union. The author argues that they engaged in a complex “art of recognition,” working across genres and modalities in order to reckon with legacies of colonialism and usher in new visions of identity and political sovereignty. This approach highlights the Soviet Union as a locus for international congresses and solidarity movements, such as the Nevada-Semipalatinsk Antinuclear Movement, the Global Forum of Spiritual and Parliamentary Leaders, and the 1990 Sacred Run for Land and Life, led by American Indian Movement cofounder Dennis Banks. Ultimately, an Indigenous-centered approach to the end of the Cold War provides a counterbalance to prevailing narratives of this era, which cast the ascendance of a Western-dominated capitalist world order as an inevitable conclusion.
{"title":"Indigenous Internationalism and the Art of Recognition: A Soviet Trace on a Global Stage","authors":"Naomi Caffee","doi":"10.5325/complitstudies.61.2.0221","DOIUrl":"https://doi.org/10.5325/complitstudies.61.2.0221","url":null,"abstract":"\u0000 This article explores the contributions of Soviet writers to global discourses of Indigenous rights. The author focuses on the work of three writers, Yeremei Aipin (Khanty, b. 1948), Vladimir Sangi (Nivkh, b. 1935), and Yury Vella (Nenets, 1948–2013), as they entered into transnational Indigenous movements and navigated a rapidly changing political landscape in the final years of the Soviet Union. The author argues that they engaged in a complex “art of recognition,” working across genres and modalities in order to reckon with legacies of colonialism and usher in new visions of identity and political sovereignty. This approach highlights the Soviet Union as a locus for international congresses and solidarity movements, such as the Nevada-Semipalatinsk Antinuclear Movement, the Global Forum of Spiritual and Parliamentary Leaders, and the 1990 Sacred Run for Land and Life, led by American Indian Movement cofounder Dennis Banks. Ultimately, an Indigenous-centered approach to the end of the Cold War provides a counterbalance to prevailing narratives of this era, which cast the ascendance of a Western-dominated capitalist world order as an inevitable conclusion.","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"56 3","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141050857","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 : 2024-05-01DOI: 10.5325/complitstudies.61.2.0306
Sandeep Banerjee
This article focuses on the Bengali novel হাজার চুরাশির মা (Mother of 1084) by Mahasweta Devi to read it as a rewriting of Maxim Gorky’s The Mother. It contends that Mother of 1084 recasts Gorky’s radical and gendered bildungsroman for the context of India where it not only documents the development of the radical consciousness of Sujata, the mother of the revolutionary Brati killed by the Indian state, but also the patriarchal structure of the Indian/Bengali family. Furthermore, it argues that the Bengali novel recasts the socialist realism of the Russian novel into modernist Bengali prose. It examines Mahasweta’s deployment of the modernist aesthetic while locating Mother of 1084 in a broader tradition of actually existing communist artistic praxis in South Asia to illuminate the tradition of committed modernism.
{"title":"Forms of Translation, Translation of Forms: From Gorky’s Mother to Mahasweta Devi’s Mother of 1084","authors":"Sandeep Banerjee","doi":"10.5325/complitstudies.61.2.0306","DOIUrl":"https://doi.org/10.5325/complitstudies.61.2.0306","url":null,"abstract":"\u0000 This article focuses on the Bengali novel হাজার চুরাশির মা (Mother of 1084) by Mahasweta Devi to read it as a rewriting of Maxim Gorky’s The Mother. It contends that Mother of 1084 recasts Gorky’s radical and gendered bildungsroman for the context of India where it not only documents the development of the radical consciousness of Sujata, the mother of the revolutionary Brati killed by the Indian state, but also the patriarchal structure of the Indian/Bengali family. Furthermore, it argues that the Bengali novel recasts the socialist realism of the Russian novel into modernist Bengali prose. It examines Mahasweta’s deployment of the modernist aesthetic while locating Mother of 1084 in a broader tradition of actually existing communist artistic praxis in South Asia to illuminate the tradition of committed modernism.","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"13 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141042248","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 : 2024-05-01DOI: 10.5325/complitstudies.61.2.0276
Margaret Litvin
The year 1960 marked the fiftieth death anniversary of Leo Tolstoy (1828–1910), one of the earliest self-proclaimed world writers. That summer, the CIA-funded Congress for Cultural Freedom (CCF) organized a lavish international conference near Venice; meanwhile, in Haifa, the Palestinian Trotskyist Jabra Nicola (1912–1974) published his translation of Tolstoy’s sex-obsessed late novella The Kreutzer Sonata. These two events exemplified contrasting styles of Cold War literary internationalism, one aspiring to global dominance and the other to local impact. Both responded to Tolstoy’s “world” status, Kreutzer’s moral ambition, and the Soviet Union’s successful appropriation of nineteenth-century Russian literature. Exploring the CCF archives and the Arabic Kreutzer tradition, this article asks how each of these 1960 events came about, what they assumed, and what they achieved. The Palestinian Israeli case offers a usefully peripheral perspective from which the Cultural Cold War appears both more tangible and less strictly bipolar. Jabra’s translation used the resources provided by Soviet cultural diplomacy for local progressive ends: not to press for social change in Arab society, but to build the cultural confidence of readers who found themselves both minoritized as Israelis and isolated from their fellow Arabs.
{"title":"Cold War Kreutzer: Tolstoy’s Posthumous Political Career from Venice to Palestine","authors":"Margaret Litvin","doi":"10.5325/complitstudies.61.2.0276","DOIUrl":"https://doi.org/10.5325/complitstudies.61.2.0276","url":null,"abstract":"\u0000 The year 1960 marked the fiftieth death anniversary of Leo Tolstoy (1828–1910), one of the earliest self-proclaimed world writers. That summer, the CIA-funded Congress for Cultural Freedom (CCF) organized a lavish international conference near Venice; meanwhile, in Haifa, the Palestinian Trotskyist Jabra Nicola (1912–1974) published his translation of Tolstoy’s sex-obsessed late novella The Kreutzer Sonata. These two events exemplified contrasting styles of Cold War literary internationalism, one aspiring to global dominance and the other to local impact. Both responded to Tolstoy’s “world” status, Kreutzer’s moral ambition, and the Soviet Union’s successful appropriation of nineteenth-century Russian literature. Exploring the CCF archives and the Arabic Kreutzer tradition, this article asks how each of these 1960 events came about, what they assumed, and what they achieved. The Palestinian Israeli case offers a usefully peripheral perspective from which the Cultural Cold War appears both more tangible and less strictly bipolar. Jabra’s translation used the resources provided by Soviet cultural diplomacy for local progressive ends: not to press for social change in Arab society, but to build the cultural confidence of readers who found themselves both minoritized as Israelis and isolated from their fellow Arabs.","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"137 2","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141034278","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 : 2024-05-01DOI: 10.5325/complitstudies.61.2.0335
Sarah Ann Wells
Beginning in the 1960s and 1970s, Latin American filmmakers and filmgoers began to interpret and adapt early Soviet avant-garde cinema of the 1920s in an unprecedented fashion, extending its half-life in innovative ways. In this context, Brazil is a generative but seldom explored site. This article traces the Brazilian reception of Soviet cinematic poetics through the shifting approaches to Sergei Eisenstein in the filmography of Leon Hirszman (1937–1987). Eisenstein’s approaches to montage would shape Hirszman from his first student film to the workerist cinema that characterized his late filmography. Like his contemporary Glauber Rocha (1939–1981)—after Hirszman, the Brazilian filmmaker most marked by Eisenstein—Hirszman tranculturated the avant-garde postrevolutionary Soviet film for the truncated revolutionary context of Brazil. Changing and emphasizing different elements in Eisenstein’s understanding of montage, Hirszman consistently depicted it as a capacious opportunity for both capturing and transforming the world: registering justices and multiplying a cinematic off-screen where anti-capitalist solidarities might flourish. His experimental filmmaking praxis also suggests how Eisenstein’s montage method (activating disparate or contradictory contexts through juxtaposition) produces a paradoxical ground for comparison, a poetics of the urgent untimely, rather than either belated or diffusionist accounts of world cinema.
{"title":"The Brazilian Eisenstein (1961–1981)","authors":"Sarah Ann Wells","doi":"10.5325/complitstudies.61.2.0335","DOIUrl":"https://doi.org/10.5325/complitstudies.61.2.0335","url":null,"abstract":"\u0000 Beginning in the 1960s and 1970s, Latin American filmmakers and filmgoers began to interpret and adapt early Soviet avant-garde cinema of the 1920s in an unprecedented fashion, extending its half-life in innovative ways. In this context, Brazil is a generative but seldom explored site. This article traces the Brazilian reception of Soviet cinematic poetics through the shifting approaches to Sergei Eisenstein in the filmography of Leon Hirszman (1937–1987). Eisenstein’s approaches to montage would shape Hirszman from his first student film to the workerist cinema that characterized his late filmography. Like his contemporary Glauber Rocha (1939–1981)—after Hirszman, the Brazilian filmmaker most marked by Eisenstein—Hirszman tranculturated the avant-garde postrevolutionary Soviet film for the truncated revolutionary context of Brazil. Changing and emphasizing different elements in Eisenstein’s understanding of montage, Hirszman consistently depicted it as a capacious opportunity for both capturing and transforming the world: registering justices and multiplying a cinematic off-screen where anti-capitalist solidarities might flourish. His experimental filmmaking praxis also suggests how Eisenstein’s montage method (activating disparate or contradictory contexts through juxtaposition) produces a paradoxical ground for comparison, a poetics of the urgent untimely, rather than either belated or diffusionist accounts of world cinema.","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"32 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141044772","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 : 2024-05-01DOI: 10.5325/complitstudies.61.2.0199
Samuel Hodgkin
{"title":"Introduction: Communist World Poetics","authors":"Samuel Hodgkin","doi":"10.5325/complitstudies.61.2.0199","DOIUrl":"https://doi.org/10.5325/complitstudies.61.2.0199","url":null,"abstract":"","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"37 2","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141053316","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 : 2024-05-01DOI: 10.5325/complitstudies.61.2.0246
Samuel Hodgkin
This article considers the national poet as surrogate: the rhetorical and poetic repertory that enables speaking for the national collectivity, and the ease with which this repertory is redirected to speak on behalf of other collectivities. It is a commonplace to attribute to Soviet multinational culture a Romantic nationalist genealogy, but this continuity or revival has generally been located in genre, intertextuality, and theories of the nation. Here, the author focuses instead on the tool kit of representation, and surrogacy in particular, arguing that the Soviet multinational literary system was a crucible that transformed the representational resources of Romanticism for the postcolonial age. The author’s account draws on the distinctively neo-Romantic approaches to representation proposed by Lukacs and Ankersmit to consider the Soviet reception and translation of the major national poets Robert Burns, Victor Hugo, and Taras Shevchenko. It also follows the Soviet Eastern (Kyrgyz, Tajik, and Iranian émigré) writer-functionaries who translated the Romantics through their own acts of surrogate representation in the Third World. The result is an account of how the Soviet Union, simultaneously anti-colonial and semicolonial, bridged the transition from the Romantic figure of the national poet to the postcolonial figure of the literary representative.
{"title":"Romanticism, Internationalism, and the National Poet: Genealogies of Second-World Surrogacy","authors":"Samuel Hodgkin","doi":"10.5325/complitstudies.61.2.0246","DOIUrl":"https://doi.org/10.5325/complitstudies.61.2.0246","url":null,"abstract":"\u0000 This article considers the national poet as surrogate: the rhetorical and poetic repertory that enables speaking for the national collectivity, and the ease with which this repertory is redirected to speak on behalf of other collectivities. It is a commonplace to attribute to Soviet multinational culture a Romantic nationalist genealogy, but this continuity or revival has generally been located in genre, intertextuality, and theories of the nation. Here, the author focuses instead on the tool kit of representation, and surrogacy in particular, arguing that the Soviet multinational literary system was a crucible that transformed the representational resources of Romanticism for the postcolonial age. The author’s account draws on the distinctively neo-Romantic approaches to representation proposed by Lukacs and Ankersmit to consider the Soviet reception and translation of the major national poets Robert Burns, Victor Hugo, and Taras Shevchenko. It also follows the Soviet Eastern (Kyrgyz, Tajik, and Iranian émigré) writer-functionaries who translated the Romantics through their own acts of surrogate representation in the Third World. The result is an account of how the Soviet Union, simultaneously anti-colonial and semicolonial, bridged the transition from the Romantic figure of the national poet to the postcolonial figure of the literary representative.","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"50 5","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141058243","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 : 2024-05-01DOI: 10.5325/complitstudies.61.2.0365
Cedric R. Tolliver
This article considers the “warring ideals” (Du Bois, Souls of Black Folks) of Black American solidarity with Third World Internationalism and complicity in U.S. imperialism through a reading of Lauren Wilkinson’s American Spy (2019). The novel, a spy thriller, centers on the life and experience of Marie Mitchell, a Black woman FBI agent recruited by the CIA to further an assassination plot against Thomas Sankara, the charismatic socialist leader of Burkina Faso. The story puts individual career advancement in the service of American imperialism in direct tension with the larger collectivist goals of Black and Third World liberation. Thus, the novel invites an exploration of the geopolitical implications of Du Bois’s famous formulation about Black American double consciousness, a formulation most often considered solely as a matter of individual psychology.
{"title":"Raising Malcolm’s Ghost: Black Radicalism, Third World Internationalism, and Counterintelligence in Lauren Wilkinson’s American Spy","authors":"Cedric R. Tolliver","doi":"10.5325/complitstudies.61.2.0365","DOIUrl":"https://doi.org/10.5325/complitstudies.61.2.0365","url":null,"abstract":"\u0000 This article considers the “warring ideals” (Du Bois, Souls of Black Folks) of Black American solidarity with Third World Internationalism and complicity in U.S. imperialism through a reading of Lauren Wilkinson’s American Spy (2019). The novel, a spy thriller, centers on the life and experience of Marie Mitchell, a Black woman FBI agent recruited by the CIA to further an assassination plot against Thomas Sankara, the charismatic socialist leader of Burkina Faso. The story puts individual career advancement in the service of American imperialism in direct tension with the larger collectivist goals of Black and Third World liberation. Thus, the novel invites an exploration of the geopolitical implications of Du Bois’s famous formulation about Black American double consciousness, a formulation most often considered solely as a matter of individual psychology.","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"10 12","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141048084","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 : 2024-02-01DOI: 10.5325/complitstudies.61.1.0033
Laurent Mignon
Selahattin Demirtaş’s fiction has led to some fierce discussions in the literary world in Turkey. The polemics were a reminder that prison literature, broadly defined, always was a hotly debated genre in the literary sphere of the late Ottoman Empire and the Republic of Turkey. Indeed, the publication of a Turkish translation of a classic example of the genre—namely Silvio Pellico’s Le mie prigioni, translated by Recaizade Mahmut Ekrem in 1874—caused a vivid reaction by the Young Ottoman reformer Namık Kemal. This article looks at how the debate on the partial Turkish translation of Pellico’s memoirs that combined both aesthetic concerns and political sensitivities is not without similarities with debates about Demirtaş’s literary work. After a first part outlining varied responses to Demirtaş’s short stories and novels, the article analyses Namık Kemal’s “Mes prisons Muahazanamesi” (A Criticism of Mes prisons) and brings to the fore those aspects that were to become characteristic for future literary polemics. That Pellico’s first Ottoman Turkish critic should have been himself an author and activist who was repressed, incarcerated, and exiled for his political views and engagement, shows how essential prison literature was in the development of modern literature in Turkish.
{"title":"From Silvio Pellico to Selahattin Demirtaş: Prison Literature and Literary Polemics in Turkey","authors":"Laurent Mignon","doi":"10.5325/complitstudies.61.1.0033","DOIUrl":"https://doi.org/10.5325/complitstudies.61.1.0033","url":null,"abstract":"\u0000 Selahattin Demirtaş’s fiction has led to some fierce discussions in the literary world in Turkey. The polemics were a reminder that prison literature, broadly defined, always was a hotly debated genre in the literary sphere of the late Ottoman Empire and the Republic of Turkey. Indeed, the publication of a Turkish translation of a classic example of the genre—namely Silvio Pellico’s Le mie prigioni, translated by Recaizade Mahmut Ekrem in 1874—caused a vivid reaction by the Young Ottoman reformer Namık Kemal. This article looks at how the debate on the partial Turkish translation of Pellico’s memoirs that combined both aesthetic concerns and political sensitivities is not without similarities with debates about Demirtaş’s literary work. After a first part outlining varied responses to Demirtaş’s short stories and novels, the article analyses Namık Kemal’s “Mes prisons Muahazanamesi” (A Criticism of Mes prisons) and brings to the fore those aspects that were to become characteristic for future literary polemics. That Pellico’s first Ottoman Turkish critic should have been himself an author and activist who was repressed, incarcerated, and exiled for his political views and engagement, shows how essential prison literature was in the development of modern literature in Turkish.","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"81 2","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140470043","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 : 2024-02-01DOI: 10.5325/complitstudies.61.1.0062
R. A. Judy
This article is concerned with the stories of Selahattin Demirtaş, with the preposition “of” indicating Demirtaş as both the storyteller and subject of stories. For many, if not most of us, he is known as both, with the stories about him circumscribing, and often overshadowing the stories he tells. Focusing on the stories told about him and that he tells in judicial proceedings about his political speeches, as well as those he tells in his first book of short stories, Seher, it considers how those stories pose a challenge to the account about the relationship between storytelling, speech, action, and politics predominate in political philosophy since Aristotle, giving particular attention to Hannah Arendt’s critique of that account. At the crux of the stories of Selahattin Demirtaş is a fundamental contestation about the relationship between ethnicity and the nation state, whether the demand for the political and territorial integrity of the nation necessitates foreclosing on the plurality of democratic dissensus.
{"title":"The Mūthoi of Selahattin Demirtaş","authors":"R. A. Judy","doi":"10.5325/complitstudies.61.1.0062","DOIUrl":"https://doi.org/10.5325/complitstudies.61.1.0062","url":null,"abstract":"\u0000 This article is concerned with the stories of Selahattin Demirtaş, with the preposition “of” indicating Demirtaş as both the storyteller and subject of stories. For many, if not most of us, he is known as both, with the stories about him circumscribing, and often overshadowing the stories he tells. Focusing on the stories told about him and that he tells in judicial proceedings about his political speeches, as well as those he tells in his first book of short stories, Seher, it considers how those stories pose a challenge to the account about the relationship between storytelling, speech, action, and politics predominate in political philosophy since Aristotle, giving particular attention to Hannah Arendt’s critique of that account. At the crux of the stories of Selahattin Demirtaş is a fundamental contestation about the relationship between ethnicity and the nation state, whether the demand for the political and territorial integrity of the nation necessitates foreclosing on the plurality of democratic dissensus.","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"47 11","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139965643","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 : 2024-02-01DOI: 10.5325/complitstudies.61.1.0017
Ö. Galip
This article explores the links between Kurdish oral and written literary traditions in Selahattin Demirtaş’s literary works, arguing that they contribute to the practices of heritage-making and collective memory through their use of distinctive sociocultural and literary motifs of the oppressed societies in Turkey while also departing from these practices.
{"title":"Exploring the Kurdish Literary Tradition in Selahattin Demirtaş’s Works","authors":"Ö. Galip","doi":"10.5325/complitstudies.61.1.0017","DOIUrl":"https://doi.org/10.5325/complitstudies.61.1.0017","url":null,"abstract":"\u0000 This article explores the links between Kurdish oral and written literary traditions in Selahattin Demirtaş’s literary works, arguing that they contribute to the practices of heritage-making and collective memory through their use of distinctive sociocultural and literary motifs of the oppressed societies in Turkey while also departing from these practices.","PeriodicalId":55969,"journal":{"name":"COMPARATIVE LITERATURE STUDIES","volume":"51 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139966749","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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