Worlding a Peripheral Literature

Juvan, Marko

doi:10.1007/978-981-32-9405-9

Cited by 18 publications

(5 citation statements)

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“…Similarly, Feng Cheah (2016), following David Damrosch (2003), sees literature as a circulation of texts reflecting a globalizing economic order, but also having the potential to change this order, as the world is not geospatially limited, but evolves through an open temporality of becoming. I agree with Marko Juvan that these critical approaches have a strong ethical potential drawing on Heideggerian phenomenology (Juvan, 2019), but I also agree with Juvan's critique, namely that the values of texts are related to evaluative instances: conservative modes and mechanisms, for example, are part kyloušek of hierarchical and inequality-producing systems that no analysis can simply ignore. Nor does open processuality abolish centralities and peripheries.…”

Section: Petr Kyloušekmentioning

confidence: 77%

Introduction

Kyloušek

2024

Centers and Peripheries in Romance Language Literatures in the Americas and Africa

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Section: Petr Kyloušekmentioning

confidence: 77%

Introduction

Kyloušek

2024

Centers and Peripheries in Romance Language Literatures in the Americas and Africa

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“…Juvan, 2019, 141-197). Jednocześnie mitologizował zawód poety, podobnie jak na przykład Aleksander Puszkin (Juvan, 2017). W duchu nacjonalizmu jako zlaicyzowanej religii ukazywał poetę w roli stwórcy (w znaczeniu greckiego czasownika poiein) narodowej wspólnoty wyobrażonej (por.…”

Section: "Syndrom" Między Literaturą a Teoriąunclassified

Jožego Jurančiča wędrówka przez labirynty pamięci i zapomnienia

Jezernik

2023

Starcie Narracji. Studia O Słoweńskiej Pamięci Zbiorowej

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Wstęp 21 trudno definiowalnej Europy Środkowej, w tym Polaków i Słoweńców, sposoby pamiętania czy upamiętniania przeszłości (paradygmat romantyczny), jak i narracje wynikające ze specyficznie słoweńskiego przebiegu wydarzeń oraz z procesów historycznych (stosunek do dziedzictwa marksistowskiego, pamięć o drugiej wojnie światowej).Publikacje dążące do ujęcia charakterystycznych zjawisk jakiejś kultury i wskazania mechanizmów generujących ich powstanie narażają się na niebezpieczeństwo przedstawienia tej kultury jako niezmiennego monolitu. Zastrzegamy więc, że w tomie tym jest ukazany wycinek dyskursu naukowego, który obowiązuje na początku trzeciego dziesięciolecia XXI wieku. Nie należy zapominać, że narracja uniwersytecka również wywiera wpływ na kształt pamięci zbiorowej. Zachęcamy do krytycznej lektury aktualizującej treści zaprezentowane w książce. Bibliografia

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“…There are exceptions (as in Dam-rosch 2003, 44, 270;Casanova 2004, 295), of which more could be made. "Worlding a peripheral literature" (Juvan 2019) can happen from a new perspective: the regions now called SWANA (South West Asia/North Africa) are anything but a periphery in the fruitful historical moment we have been considering.…”

Section: A Wider Worldmentioning

confidence: 99%

Nation vs. world? Global imprints on Shakespeare and the orientation of world literature

Steppat

2023

WLS

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One of the foremost critics in recent decades, Harold Bloom, has asserted that "Shakespeare is to the world's literature what Hamlet is to the imaginary domain of literary character: a spirit that permeates everywhere, that cannot be confined", also calling him "the center of the embryo of a world canon, not Western or Eastern" (1994, 52,(62)(63). Is this "world's literature" that which others call world literature? In major discussions of the latter, Shakespeare is mentioned only occasionally and briefly, as if his work and status do not lend themselves to the agenda of such concepts; his prominence in the "world's literature" does not transfer to world literature. Is this just a play on words? Or is there an underlying epistemological problem owing to which world literature is, for some reason, hardly concerned with Shakespeare? * Another approach to the world/Shakespeare nexus declares him to be an "omnipresence worldwide": he is able to "transcend any barrier or class, language, colour or creed", perhaps a symbol of sociologist Zygmunt Bauman's "liquid modernity" with the "fluid, ideas-based economy of the global web", or "a 'rhizomatic' figure -decentered, uncontainable, his roots erupting from many different locations simultaneously" (Dickson 2016). Uncontainable, unconfinable: a dialectic appears to operate between the imprint of Shakespeare on the world and the reverse. It is traceable, too, in the "MIT Global Shakespeare Project", which likewise uses world terminology when it offers information about "international performances that are varying how we understand Shakespeare's plays and the world" (emphasis added).Globe and world are often treated as near-synonyms, apparent in the way "global Shakespeare" is explained by his presence in "many world cultures" (Dickson 2016). Yet The Oxford English Dictionary defines world prominently as "[t]he state or realm of human existence on earth" (I.1.a.), with a temporal dimension (5.b.); globe is "[a] spherical representation of the earth" (I.2.) (http://www.oed.com; see also Cheah 2014, 307-308). Accordingly, a geographically global or international Shakespeare is not coterminous with his position vis-à-vis world literature. Does that matter? I will

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Worlding a Peripheral Literature

Cited by 18 publications

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Jožego Jurančiča wędrówka przez labirynty pamięci i zapomnienia

Nation vs. world? Global imprints on Shakespeare and the orientation of world literature

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