The rise of world literature is the most noticeable phenomenon in literary studies in the twenty-first century. However, truly well-known and globally circulating works are all canonical works of European or Western literature, while non-European and even "minor" European literatures remain largely unknown beyond their culture of origin. World Literature as Discovery: Expanding the World Literary Canon argues that world literature for our time must go beyond Eurocentrism and expand the canon to include great works from (...) non-European and "minor" European literatures. As much of the world's literature remains untranslated and unknown, the expansion will be an exciting process of discovery. By discussing fundamental questions around canon, circulation, aesthetic values, translation, cosmopolitanism and the literary universal, Zhang Longxi proposes a new and liberating concept of world literature that will shape world literature worthy of its name. This book speaks for a more inclusive idea of world literature, and shows students and scholars alike that all the literary traditions, particularly non-European traditions, will be able to make important contributions and expand the canon of world literature. (shrink)

The article presents literary, sociological and cultural points of view on the problem of the literary canon, describes the mechanisms of canonization and defines the boundaries of the Russian classics. The author discovers a connection between the texts claiming the status of the canonical hierarchy and the question of ethnicity. The article establishes that the construction of both a national self-portrait and the image of a foreigner (the Other) are the most important functions of the classical (...) class='Hi'>canon. The object of this research is a unified discursive field of Russian classical literature. The subject is the generalized image of the German that forms in this field. The author, resorting references to current research practices of discourse analysis, establishes that the portrait of a German is based on such conceptual categories as: 1) the connection with the soil and nature, 2) the connection with roots, 3) reliance on reality and "mundanity", 4) planning, 5) positivism and subordination, 6) perception of life as a mechanism. The construction of the Other creates an opposition to the "Russian" in the structure of the classical text and builds a series of binary pairs: heredity / freedom, stability on the ground / ability to jump, clear planning / dreaminess, legalism / Paschality, self-aggrandizement / self-abasement, godlessness / Orthodoxy. The article reveals that the German hero acts as a constituent of the Other, provoking self-determination and self-identification. (shrink)

Using the examples of their interest in Gerd Gaiser and Günter Grass, we demonstrate that the German new right’s approach to writing literary history promotes revisionist views of history. The new-right activists associated with the publishing house Antaios hereby draw on interpretations of the Nazi era and postwar period, with roots traceable back to the 1950s.

It is unfortunately a lot easier to raise an arch eyebrow than it is to describe critical terms that might account for the values in idealization while preserving a pluralistic sense of possible canons and their uses. Instead of facing the challenge directly, I shall rely on what I call a contrastive strategy. Were I simply to assert a traditional psychology with its attendant values, I would expose myself to a host of suspicious charges about my pieties and delusions. So (...) I shall begin by concentrating on the limitations I take to be inherent in the empiricism of the critical historicists’ position. If, by deflating idealization, their arguments prove reductive, they should provoke us to ask what it is they reduce. We will find ourselves forced back within the circle of literary and existential expectations I suspect most of us still share. But now we might appreciate the force and possible uses of that training when we measure it against all we cannot do if we accept an alternative stance. That we can measure at all, of course, may emerge as the most significant consequence of this experiment in using contrastive strategies.The subject of self-interest provides us with a clear test among these competing positions, and it establishes some of the psychological concepts we will need if we are to describe the cultural functions canons can serve. Critical historicism concentrates on two basic aspects of self-interest—the desire for power over others and the pursuit of self-representations that satisfy narcissistic demands. Out of these aspects, ideologies are generated and sustained. But this is hardly an exhaustive account of needs, motives, and powers. I propose that at least two other claims seem plausible, each with important consequences for our understanding of the canon—that some people can understand their empirical interests to a degree sufficient to allow them considerable control over their actions and that a basic motive for such control is to subsume one’s actions under a meaning the self can take responsibility for.4 4. I use the term “empirical interests” in what I take to be a Kantian sense. “Empirical” refers to interests one simply accepts as preferences, without any need for justification. These interests invite ideological analysis, since, for Kant, they come essentially from outside as heteronomous rather than autonomous features of a subject’s life. The opposite of “empirical,” in this sense, is interests one tries to rationalize on principles that, at some level, have criteria not selected by the agent and also applicable to some other agents. For a historical account of the concept of interests, see Albert O. Hirschman, The Passions and the Interests: Political Arguments for Capitalism before Its Triumph. For a clear conceptual analysis of problems in attributing all motives to self-interest, see Paul W. Taylor, Principles of Ethics: An Introduction, chap. 3. Charles Altieri is professor of English and comparative literature at the University of Washington. He is the author of Act and Quality: A Theory of Literary Meaning and Humanistic Understanding and Self and Sensibility in Contemporary American Poetry and is presently working on value in ethics and esthetics. His previous contributions to Critical. (shrink)

Post-colonialism and orientalism have inspired literary scholars to study various aspects of literature and literary translation in the post-colonial era. One of the implications of post-colonialism for literature as a discipline is the idea of cannibalism and cultural manipulation. This corpus-based study aims to analyze the notions of “cultural manipulation” or “cannibalism” in the Persian translation of Haji Baba by Mirza Habib Isfahani, to explore the translator’s strategy, as an intercultural mediator, in modulating the source novel’s colonial stance (...) and adapting it to the religious, literary and cultural tastes of the Iranians. Our findings reveal that two main techniques—of omission and euphemism—have been applied in rendering the novel into Persian. Using these techniques, the translator has attempted to challenge the imperial stance of the main writer and come up with a version of the source novel which is much less insulting to Iranians’ cultural values. That is why this translation has been widely received as a literary masterpiece in Persian literature. One implication is that it might be claimed that cannibalism and cultural manipulation can be used to explain the trend of manipulating western literature in countries which have never been colonized, but that have suffered from the colonial stance of colonial writers. (shrink)

Literary performance in the form of expressive reading aloud was central to Greco-Roman cultural transmission; scholars have described its role both in education and in ancient scholarship. Noting parallels in the terminology, objectives, and criteria for literary performance among the Techne Grammatike of Dionysius Thrax, scholia to canonical works, the Colloquia, and the scholia to the Techne, I argue that the scholia to canonical works reflect a performance culture in the Imperial period that included the ancient schoolroom, and (...) that the dynamics of literary performance in the ancient schoolroom may therefore help to solve the question of whether references to performance style and audience response in the scholia to canonical works were intended to guide real performances or, instead, they were meant simply describe an ideal performance by The Poet. I conclude that this is a false distinction for the schoolroom setting, since student performances were strongly conditioned by ideas of the historical origins of genre. (shrink)

Modern literary theory has opened up a variety of new approaches to reading texts of all kinds, however these have been applied mainly to works of prose fiction. This volume contains a collection of essays which attempts to apply these theoretical techniques to works of poetry.

W. B. Yeats’ poem “Politics” has as its epigraph Thomas Mann’s remark, “In our time the destiny of man presents its meaning in political terms.”1 Yeats chose the epigraph in 1938, just before World War II, for a poem proclaiming that sexuality holds his interest more than politics. This still may be true for poets, but by the looks of things, not for many contemporary critics, who, if they do not choose one over the other, subsume one under the other. (...) For them everything is political , which is to hold that everything is reduced to questions of power. So it is, in their eyes, with canons.The first canonization of note for western culture seems to have been that of the Hebrew Scriptures; and although there is much dispute about the whole matter of how that occurred, it is interesting to observe that in a 1971 book entitled The Shaping of Jewish History: A Radical New Interpretation Ellis Rivkin presents the development of that canon in political terms, arguing that production of the Hebrew Scriptures “was not primarily the work of scribes, scholars, or editors who sought out neglected traditions about wilderness experience, but of a class struggling to gain power.”2 In a very interesting article on this subject, Gerald L. Bruns observes that the lesson of this is that the concept of canon is not literary but a “category of power” . Rivkin himself decides, as Bruns remarks, to treat “the promulgation of canonical texts of the Scriptures, not according to literary criteria but according to power criteria” . Presumably it is this program that warrants Rivkin’s subtitle Radical New Interpretation. But what would the literary criteria that are opposed to power criteria here be? Are there any longer believers in the more than trivial existence of such criteria? Does the destiny of literature now present its meaning political terms? If there are no longer thought to be such things as literary criteria, is there, can there be, literature? We have heard answers in the negative to the last question; and the notion of canon has recently been addressed almost always in terms of politics and power, most notably, of course, but certainly not exclusively, by feminist and minority critics. The destiny of women’s writing has certainly presented its meaning in political terms. Hazard Adams is professor of English and comparative literature at the University of Washington. He has recently completed The Book of Yeats’ Poems and a collection of critical essays. (shrink)

The philosophical and exegetical oeuvre, biography and legacy of the Jewish-Italian Renaissance Rabbi Obadiah Sforno (c. 1475–1550) are revisited for the first time by international scholars presenting in-depth studies on the thoughts of a man “between two worlds”.

Greek culture matters because its unique pluralistic debate shaped modern discourses. This ground-breaking book explains this feature by retelling the history of ancient literary culture through the lenses of canon, space and scale. It proceeds from the invention of the performative 'author' in the archaic symposium through the 'polis of letters' enabled by Athenian democracy and into the Hellenistic era, where one's space mattered and culture became bifurcated between Athens and Alexandria. This duality was reconfigured into an eclectic (...) variety consumed by Roman patrons and predicated on scale, with about a thousand authors active at any given moment. As patronage dried up in the third century CE, scale collapsed and literary culture was reduced to the teaching of a narrower field of authors, paving the way for the Middle Ages. The result is a new history of ancient culture which is sociological, quantitative, and all-encompassing, cutting through eras and genres. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:...

Inconsistent and contradictory accounts of Terence’s death conclude his biography in Suetonius’ De Viris Illustribus. Many of these narratives originated in the work of scholar-poets active at the end of the second century b.c.e. This article shows that the numerous versions of his death are interpretations of the formation of his canon from the retrospective viewpoint of his late second-century readers. These death scenes dramatize the construction of Terence’s literary legacy in its reception. Furthermore, they elucidate the role (...) that the nascent genre of Roman literary biography played in enacting and articulating literary-critical debates among Terence’s readers. (shrink)

As an instrument of preserving the cultural memory of a community, the literary canon is usually a highly stable structure in its core elements. However, with the advent of the Communist regime after the Second World War, the Romanian literary canon underwent a drastic process of reconstruction. As early as the 1940s, what was euphemistically dubbed “revisiting our cultural heritage” actually equated to a radical revision—a purge of the literary canon through the fi lter (...) of Marxism-Leninism. Not only writers of literature, but literary critics themselves were subjected to this process. In this paper, I aim to discuss the role played by literary critics active during Gheorghe Gheorghiu-Dej’s regime in rehabilitating their predecessors. My focus will be on the press debate surrounding Titu Maiorescu’s rehabilitation in 1963. (shrink)

Este trabajo demuestra la presencia e influencia del canon literario en la enseñanza del Francés como Lengua Extranjera (FLE), condicionando las obras literarias en los manuales españoles para tal fin. Para ello, hemos seguido un itinerario que parte del análisis teórico del canon literario y de la inclusión de lo cultural en FLE para, a continuación, mostrar cómo este ha sido determinante en la enseñanza civilizacional. Todo ello se sustenta a través del estudio concreto de la literatura en (...) torno a la cultura vitivinícola. La conclusión es que, a través de este ejemplo, constatamos cómo se funden canon literario y literatura para el aula de FLE. (shrink)

In "Canonization and Variations of Shakespeare's Work in China," Qing Yang discusses the role of cross-linguistic and inter-cultural variations with regard to William Shakespeare's intercultural travel and canonization in China. In the context of globalization, Shakespeare's texts outside Western cultures undergo cross-national, cross-linguistic and inter-cultural variations in the process of translation. From a symbol of Western powers and cultures to a bearer of Confucianism, a fighter for the survival of the nation during the anti-Japanese struggle, and to a literary (...) master with abundant possibilities of interpretation and adaption today, Shakespeares change and vary in modern and contemporary China. The inter-cultural communication of Shakespeare with clear markings of Chinese culture and history progresses through variation. Yang argues that it is the paradigm of Shunqing Cao’s variation theory central to the formations of world literature that has facilitated the canonization of Shakespeare’s work in China. (shrink)

This volume probes the interdisciplinary relationships between African literature and African philosophy within the context of epistemological decolonization and the (South) African scholarly transformation project. The contributors map out how philosophy and literature can be viewed as mutually enriching disciplines within and for Africa.

Outlining an improved approach that meets the expectations of 21st-century students and teachers, the author proposes a new definition of that object of study which addresses inconsistencies in the literary canon by including nontraditional narratives such as films, comic books and pop songs.

The canon is a flexible, normative fact. I speak here of the philosophical canon, though I believe only minor adjustments would be needed to extend the argument to the literary canon.

Although canon-formation is, as Lecker suggests, a product of rhetoric and textual choices of critics, it is also a product of economic forces, political conflicts, and cultural expectations of coherence, “order,” and unitary explanation. Conditioned by some or all of these, an essay ostensibly skeptical of canons, as this one appears to be, can find itself nevertheless contributing to the thing it questions. In attempting to attribute the formation of a single national canon to a specific period , (...) to a specific and allegedly homogeneous group of actors , and to a specific social phenomenon , Lecker’s essay becomes another constructor of canonical text and theory. Behind its arguments that a canon suddenly came into being are fairly precise assumptions not only about “Canadian critics” but also about what constitutes canonicity, and about the relative legitimacy of canonicity claims. “At the end of World War II, Canadian literature was not taught as an independent subject in Canadian schools. There was no canon,” his essay begins . Is a school curriculum the only possible context for the attainment of literary “legitimacy”? Can there be no canon if a literature has no curriculum, education publishers, or “academic critics,” or if it has not been institutionalized as an “independent” subject? Frank Davey, chair of the department of English at York University, is the author of From There to Here: A Guide to English Canadian Literature Since 1960 , Surviving the Paraphrase , Margaret Atwood: A Feminist Poetics , and Reading Canadian Reading . He is also the editor of Open Letter and the on-line magazine Swiftcurrent. He is currently working on a study of nationalist ideologies in Canadian fiction entitled National Arguments. (shrink)

Among the processes of canon-formation is the habit of coupling writers; and among the most powerful of couples in the traditional English literary canon is Spenser-and-Milton. Much of my own professional life has probably been determined by my first teaching assignment of 1963, which included “Spenser-and-Milton,” in those days at Toronto a famous cornerstone course carrying the tamp of the stamp of the formidable Renaissance scholar A. S. P. Woodhouse, known affectionately if disrespectfully to his students as (...) Professor Nature-and-Grace. For several years I labored mightily, though neither naturally nor, I suspect, gracefully, on Spenser-and-Milton, sensing all the time that the connections I made, the doctrines I was conveying, lacked persuasion; and no doubt the seed of this essay was sown in those days, although its angle of sight was not then available, obscured on all sides by institutional pillars.When we couple writers we usually imply a criterion of fit or at least explicable mating. While there is nothing to prohibit a merely comparativist curiosity, or coupling in the service of some other agenda, we presumably give greater authority to relationships that imply causality, even, or especially, if causality is defined as the influence of the one writer on the other. Most of such relationships are unidirectional, from the earlier to the later dead, and a plausible coupling requires either the successor’s own testimony that the influence-relation existed, or other evidence that the influence-relation was strong enough to be formative; or, preferably, both. Annabel Patterson, professor of literature and English at Duke University, is the author of Hermogenes and the Renaissance , Marvell and the Civic Crown , Censorship and Interpretation , Pastoral and Ideology: Virgil to Valéry , and Shakespeare and the Popular Voice. (shrink)

Literary Analysis: The Basics is an insightful introduction to analysing a wide range of literary forms. Providing a clear outline of the methodologies employed in twenty-first century literary analysis, it introduces readers to the genres, canons, terms, issues, critical approaches, and contexts that affect the analysis of any text. It addresses such questions as: What counts as literature? Is analysis a dissection? How do gender, race, class and culture affect the meaning of a text? Why is the (...) social and historical context of a text important? Can digital media be analysed in the same way as a poem? With examples from ancient myths to young adult fiction, a glossary of key terms, and suggestions for further reading, "Literary Analysis: The Basics "is essential reading for anyone wishing to improve their analytical reading skills. (shrink)

Thus it would not be the content or meaning of a written Torah that Jeremiah would attack; rather it would be the Deuteronomic “claim to final and exclusive authority by means of writing” . Jeremiah’s problem is political rather than theological. He knows that writing is more powerful than prophecy and that he will not be able to withstand it—and he knows that the Deuteronomists know no less. As Blenkinsopp says, “Deuteronomy produced a situation in which prophecy could not continue (...) to exist without undergoing profound transformations” —that is, without ceasing to be “free prophecy,” or prophecy unbound by any text, including its own. “It might be considered misleading or flippant to say that for [Deuteronomy], as for rabbinic orthodoxy, the only good prophet is a dead prophet. But in point of fact the Deuteronomic scribes, despite their evident debt to and respect for the prophets, contributed decisively to the eclipse of the kind of historically oriented prophecy represented by Jeremiah and the emergence in due course of quite different forms of scribal prophecy” .It is at this point that we reach a sort of outer limit of biblical criticism—a threshold that scholars, with their foundations in literary criticism, their analytical attitude toward texts, and their theological concerns, are not inclined to cross. In any case, it is no accident that the political meaning of the conflict of prophecy and canon has received its most serious attention not from a biblical scholar but from a radical historian, Ellis Rivkin. In The Shaping of Jewish History, a brilliant and tendentious book, Rivkin proposes to treat the question of canon-formation and the promulgation of canonical texts of the Scriptures, not according to literary criteria but according to power criteria. For Rivkin, the production of the Hebrew Scriptures “was not primarily the work of scribes, scholars, or editors who sought out neglected traditions about wilderness experience, but of a class struggling to gain power.”23 23. Ellis Rivkin, The Shaping of Jewish History: A Radical New Interpretation , p. 30; further references to this work will be included in the text. Gerald R. Bruns is professor of English at the University of Iowa. He is the author of Modern Poetry and the Idea of Language and Inventions: Writing, Textuality, and Understanding in Literary History . The present essay is from a work in progress, Hermeneutics, Ancient and Modern. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments LITERARY STUDIES AND THE REPRESSION OF REPUTATION by John Rodden 6 6T A Thomakesorbreaks a writer's reputation?" asked Esquire during VV the mid-1960s. The editors' answer, titled "The Structure of the Literary Establishment," came in the form of a multicolored "chart of power." Included was "virtually everyone of serious literary consequence," whether "writer, editor, agent, or simple hipster." The center of power was (...) indicated, noted the editors, by "the hot red blob in the middle," which oozed over the names of the chief literary makers and breakers.1 In 1977 Esquire drove to the heart of the blob, asking a long list of "knowledgeable" writers, academic critics, andjournalists the question, "Which American writers of this century do you consider the most overand under-rated"? Running below the responses across four pages was a sketch of Father Time, busily at work inflating and bursting bubbles bearing the images of various candidates. No consensus was sought, though Dreiser and Willa Cather fared well, and Pound, Eliot, Hemingway, Mailer, and Edmund Wilson less well. The editors acknowledged that their respondents generously volunteered a number of nonAmericans too (and stretched "writers of this century" back to the Venerable Bede), "proving that once you get started on this kind of thing, it's hard to know where to stop." 2 Unfortunately, reflection on the matter seems to stop at the doorstep of literary studies. "Reputation" is one of those subjects that readers, 261 262Philosophy and Literature critics, and scholars love to talk about, but to which serious attention is rarely paid, even by sociologists of literature—and not at all by literary critics. Separate disciplines are devoted to the study ofwealth and power, yet none to honor or reputation, the third chiefcategory ofclass systems and human motivation.3 A few cultural critics have drawn attention to the ways in which the "institution of criticism"—book publishing, book reviewing, literaryjournalism, scholarly criticism—has exerted influence on public literary taste or the profession of literary studies. But their work has typically criticized "the culture industry" or "the literary-industrial complex," rather than addressed the making of authors' and books' reputations.4 Although semesterly reading lists and even whole libraries testify to the exalted reputations of a few canonized authors, a near-total silence has prevailed in the academy on reputation as a literary issue in its own right.5 That such a central dynamic of literary life—in a sense the defining, controlling category for an essentially honorific activity like literature and literary criticism—should go virtually unattended by critics of literature might seem at first glance a professional conspiracy by Esquire's "blob." Yet the academy's neglectof"the problem ofreputation" is hardly due to outright professional collusion, but rather to a joint matter of institutional and historical factors. These have partly to do with the elusiveness of "reputation" as a concept, which has accommodated the more important repressive factors: the academy's preoccupation with literary interpretation and its persistent habit of averting its eyes from its own institutional history. This essay explores the problematics of literary reputation, the essence of which consists in our unrefiective tendency to assume that what is valued is invariably what is also reputed. II Few readers would deny that authors' reputations bear heavily on practices in publishing and literary journalism. Few even question Esquire 's buried point that "reputations get made" through institutional networks which exchange and distribute information. Yet the literary academy has traditionally relegated the subject to the slick magazines and, more recendy, to the sociology of art and occupations, where it has received scant attention and where literary canons are not made.6 On those rare occasions when journals like The American Scholar have taken up literary reputation as an issue, they have politely asked only the first of Esquire's questions (about underrated books and authors), John Rodden263 characterizing their discussion as "the game" ofrediscovering "neglected books." 7 Indeed the topic may well strike a bit too close to home, as observers as opposed in their literary politics as Norman Podhoretz and Richard Kostelanetz seem to agree.8 For elite institutions and star reputations exist in academe and in the literary... (shrink)

During the 1960's and 1970's, the eruption of theory was presented as an epistemic break, reorganizing the field of questioning both prospectively and retrospectively. In the forefront of this new movement was the influential journal Tel Quel, which both canonized a body of preferred avant-garde texts (both literary and theoretical) and nullified prominent figures from preceding generations. In a broad remapping of French modernism, this book shows how the milieu of Tel Quel transferred myths of the powers of literature (...) inherited from Bataille, Sartre, Valéry, and Breton to theory, in the process erasing the traces of these myths and their common ground. The author analyzes cultural and theoretical positions—pure art, automatism, engagement, and transgression—that structured the literary and critical field from the 1920's to the 1950's to show their strong impact on the formulation and elaboration of theoretical issues in more recent decades. Focusing on the question of relations between poetry and action, she reexamines these positions and uncovers proximities between them that significantly displace theoretical issues. These proximities emerge when a philosophical subtext of Bergson—antiphilosopher and nondialectical thinker—is revealed to operate alongside the more obvious subtext of Hegel. The discourse of Bergson shifts the category of action central to these literary polemics and revalues the visual register, suggesting a reconsideration of Surrealism. The book concludes by examining the ideological pressures associated with the eclipse of the discourse of Bergson as well as some of the effects of this erasure on our understanding of the modern as distinct from the postmodern. (shrink)

This article explores and defends some of f r leavis's ideas about the nature of reasoning in literary criticism. In particular, It examines leavis's contention that the validity of literary criticism does not wait upon a theoretical defence of its canons of judgments of standards. It aims to show that this eschewal of theoretical thought is rationally justifiable and that the form of reasoning leavis advocates for literary criticism has respectable parallels elsewhere, Not least in philosophy itself. (...) Throughout, Reference is made to the work of wittgenstein and john wisdom for elucidation and justification of leavis's point of view. (shrink)

If we inspect closely the works that ascend to world literature from the peripheral, David Damrosch’s well-recognized argument that “world literature is writing that gains in translation” may need some revision, because apparently translation is not the sole factor that decides the formation of world literature. Translated works do not necessarily represent the best part in one national literature. Damrosch’s overemphasis on translation differences and untranslatability in world literature tends to overlook the syncretism of heterogeneous literatures: The influence of Roman (...) Empire on Indian Buddhism, the influx of elements from Indian, Arabic, and Persian stories into European writers’ creation, the genres of China’s ancient literature influenced by Buddhism, etc. Furthermore, a great deal of Chinese idioms and allusions appearing in Japanese, Korean and Vietnamese literatures provide us a general view of how world literature forms through exchange and syncretism. On this account, Damrosh’s argument may be reformulated as “world literature is writing that gains in variation.” Variation reflects the ability to absorb otherness and then to create something new. Meanwhile, the perspective of literary syncretism will help us reasonably distinguish world literature and national canons. (shrink)

Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- (...) Eternalizing the moment : artistic projections of time -- Conclusion : the status and future of art. (shrink)

A major literary and theological force was at work in shaping the present form of the Hebrew Bible by which prophetic oracles directed to one generation were fashioned in Sacred Scripture by a canonical process to be used by another generation.

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.3 (2001) 57-66 [Access article in PDF] Literary Study Among the Ruins J. Hillis Miller It must be remembered and squarely faced, though it is difficult to do so for a lover of literature like me, that in spite of the lip service paid these days to literature's authority by politicians, the media, and educationists, fewer and fewer people, in Europe and America at least, actually spend (...) much time reading "literature" in the old-fashioned sense of canonical works—Chaucer, Shakespeare, Milton, Pope, Wordsworth, George Eliot, Virginia Woolf, and the rest, in English literature. Literature has been granted enormous authority in our culture, but though that authority may still be tacitly or even explicitly acknowledged, for example by the media, no candid observer can doubt that it is no longer so pragmatically operative. If the books just stay there on the shelves, their authority is only potential. They must be read to be performatively effective. The joke about how George W. Bush's presidential library has been destroyed, both books in it, has an uncannily plausible ring. He has better things to do than read literature.If you are watching a movie or television or playing a computer game or surfing the Internet, you cannot at the same time be reading Shakespeare. People spend, all the statistical evidence suggests, more and more time doing the former. Poetry, it might be argued, does little legislating these days, unacknowledged or otherwise. Fewer and fewer people are decisively influenced by such reading as they do. Radio, television, cinema, popular music, and now the Internet—these are more decisive in shaping citizens' ethos and values, as well as in filling their minds and feelings with imaginary worlds. It is these virtual realities rather than strictly literary ones that have most performative efficacy these days to generate people's feelings, behavior, and value judgments. To speak of literature's authority is already to speak, to some degree, of an historical epoch that began in the late seventeenth or early eighteenth century in Europe with the rise of modern democracies and their concomitant print cultures. That epoch is now perhaps rapidly vanishing, whatever teachers of literature say, write, or do. Nevertheless, if someone happens for some reason to pick up Hamlet, or Middlemarch, or Yeats's poems, these works may still exert their magic power. Literature still has great authority over me and over no doubt many others. Just what effects are the globalization of the university and the new regime of telecommunications having on literary study and on the social role of literature itself?Jacques Derrida, in a striking passage written by one or another of the protagonists of La carte postale (The Post Card), says the following:... an entire epoch of so-called literature, if not all of it, cannot survive a certain technological regime of telecommunications (in this respect the political regime is secondary). Neither can philosophy, or psychoanalysis. Or love letters.... Refound here the American student with whom we had coffee last Saturday, the one who was looking for a thesis [End Page 57] subject (comparative literature), I suggested to her something on the telephone in the literature of the 20th century (and beyond), starting with, for example, the telephone lady in Proust or the figure of the American operator, and then asking the question of the effects of the most advanced telematics [la télématique la plus avancée] on whatever would still remain of literature. I spoke to her about microprocessors and computer terminals, she seemed somewhat disgusted [avait l'air un peu dégoutée]. She told me that she still loved literature (me too, I answered her, mais si, mais si). Curious to know what she understood by this. [Derrida, La carte postale 212, 219; Derrida Post Card 197, 204]What Derrida or rather his protagonist in La carte postale says in the citation I have made is truly frightening, at least to a lover of literature like me or like the protagonist's hapless interlocutor, the American graduate student in comparative literature who was looking for a dissertation topic... (shrink)

Although Kierkegaard's writings have not exerted an essential influence on canonical trends in literary criticism and theory, his work has supplied subtle and important inspiration for numerous eminent literary critics and theorists. Kierkegaard's influence transcends many polemics in literary theory—a claim justified by the fact that literary critics who draw significant examples and authority from Kierkegaard support varied and sometimes greatly conflicting philosophical and moral positions. This chapter argues that literary‐critical topics invested in Kierkegaard's texts (...) and ideas can be grouped loosely under three thematic banners: irony, repetition, and silence. These themes are often pursued with reference to Kierkegaard's On the Concept of Irony, Repetition, and Fear and Trembling, respectively. The chapter discusses key examples from each of the three common themes, and indicates some of the important exceptions to this typology. (shrink)

Global Literary Theory: An Anthology comprises a selection of classic, must-read essays alongside contemporary and global extracts, providing an engaging and timely overview of literary theory. The volume is thoroughly introduced in the General Introduction and Section Introductions and each piece is contextualised within the wider sphere of global theory. Each section also includes annotated suggestions for further reading to help the reader navigate the extensive literature on each topic. The volume engages with the 'internationalising' of the curriculum (...) as well as the globalization of literature and theory. Alongside these key themes, the volume also extends its coverage to include: The core topics and theorists from formalism and structuralism to post-modernism and deconstruction Digital humanities and humanities computing and their relevance to globalization and literary theory The religious turn in literary theory and philosophy New textualities such as auto/biography, travel writing and ecocritcism Oppositional texts which 'write back' against the canon In addition, the book's Companion Website features an interactive world map incorporating biographies of every theorist in the book, as well as biographies of additional influential theorists. Crucially, this anthology shows that ethnic, postcolonial studies and globalization are not simply niche areas of literary study but are of concern across the contemporary humanities and that new voices are always emerging, and being discovered, from around the globe. As such, this volume offers a refocusing of essential literary theory, extending the canon in line with ongoing debates concerning contemporary cultural and geographic borders. (shrink)

It is startling to realize that Canadian literature was canonized in fewer than twenty years. Here is how it happened.At the end of World War II, Canadian literature was not taught as an independent subject in Canadian schools. There was no canon. In 1957, the publishing firm McClelland and Stewart introduced its mass-market paperback reprint series entitled the New Canadian Library. It allowed teachers to discuss the work of many Canadian authors who had never been the subject of formal (...) academic study. This New Canadian Library was truly “new”: prior to its conception, there was no “library” in use. There were no Canadian classics. Northrop Frye recalls that at that time the notion of finding a classic Canadian writer remained but “a gleam in a paternal critic’s eye.”1Frye’s comment must be placed in context: he was remembering the efforts that produced the first Literary History of Canada in 1965. In T. D. MacLulich’s words, its publication “gave a definitive imprimatur of respectability to the academic study of Canadian writing.”2 It made a Canadian canon seem possible; to many, it made the canon seem real. With the advent of this history, the institution called Canadian literature was born.3 1. Northrop Frye, “Conclusion,” in Literary History of Canada: Canadian Literature in English, 2d ed., ed. Carl F. Klinck et al., 3 vols. , 3:319.2. T. D. MacLulich, “What Was Canadian Literature? Taking Stock of the Canlit Industry,” Essays on Canadian Writing 30 : 19; hereafter abbreviated “WWCL.”3. My use of the term “Canadian literature” applies to English-Canadian literature; the canonization of French-Canadian, or Québecois literature, invokes another story and another set of political imperatives that cannot be adequately treated within the scope of this discussion.4. John Guillory, “Canonical and Non-Canonical: A Critique of the Current Debate,” ELH 54 : 483. Robert Lecker is professor of English at McGill University. He is the author of several critical studies, including On the Line , Robert Kroetsch , and An Other I , and coeditor of Essays on Canadian Writing, the multi-volume Canadian Writers and Their Works , and the eight-volume Annotated Bibliography of Canada’s Major Authors . Lecker is currently preparing a collection of essays on the Canadian canon. (shrink)

This book develops the existing analyses of the founder of free market economics, and gives it a radical new extension by taking into account recent debates in literary theory.