By Ali Behdad, Dominic Thomas
A significant other to Comparative Literature provides a suite of greater than thirty unique essays from demonstrated and rising students, which discover the historical past, present nation, and way forward for comparative literature.
• beneficial properties over thirty unique essays from prime overseas members
• offers a serious evaluation of the prestige of literary and cross-cultural inquiry
• Addresses the background, present nation, and way forward for comparative literature
• Chapters deal with such themes because the courting among translation and transnationalism, literary conception and rising media, the way forward for nationwide literatures in an period of globalization, gender and cultural formation throughout time, East-West cultural encounters, postcolonial and diaspora stories, and different experimental methods to literature and tradition.
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Extra resources for A Companion to Comparative Literature
This is because methods define a discipline while objects studied merely define a field of study. Here, the foregrounding of comparison in Comparative Literature highlights the methodological basis of the fields that comprise the humanities and, in so doing, implicates those fields within the logic of indiscipline to which Comparative Literature has recurrently turned whenever it evades the question of its own limit. The humanities are a comparative endeavor since their fundamental stake is that whatever is produced in the name of art, culture, literature, history, or thought has been historically grounded in an answer to the question of what it is like to be human, a question that immediately sets up a conflict about the right of this or that claim to such a title.
As tolerance becomes the global mediation currency for human transactions, with an ever renewable start-up point or zero balance known as a common humanity, it is the human subjects who are unable to participate in tolerance – whose accounts are messy and insolvent, as it were – who pose the greatest fascination. Cast in the Auerbachian terms of linguistic style, these would be subjects who refuse to speak or are incapable of speaking other than in their own idioms, whose styles remain elusively antagonistic, idiotic, monolingual, or untranslatable.
6 The more recent collective turn among contemporary critical theorists such as Alain Badiou, Giorgio Agamben, and Slavoj Žižek to the figure of Paul can perhaps be explained in part by way of this investment in the Janus-faced resilience of Christianity as both a religious and a secular enterprise – one that alternately signifies divine grace, ontological infinity, sacrifice and love, revolution, and institution building – despite such thinkers’ ostensible avant-garde philosophical and/or Marxist-Leninist sympathies, and remoteness from Auerbach’s type of philological orientation.
A Companion to Comparative Literature by Ali Behdad, Dominic Thomas