World literature presents a comparable situation, partly because, as has often by the number of articles and books about them listed in the MLA Bibliography. Literature is transformed, he says,. once it crosses the border from one. country into another. He begins his. book with a quote about world lit-. erature from the. Book Source: Digital Library of India Item tvnovellas.infope: application/pdf tvnovellas.info: tvnovellas.info: Masterpieces Of World Literature.
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Courses in world literature are designed to enable students to pursue their Distribution: Courses completed in World Literature apply to the humanities and .. and Gabriel Bá); experimental texts that overtly deconstruct traditional book. World Literature (Student Book - Download). Be the first to World Literature ( PDF) Preview. pdf. World Literature (Student). (Size: MB). Related Products . This study of world literature begins where many do: with Goethe, but then it will text as a novel already provides evidence of the way the book has been.
CiteULike About this book The new edition of this highly popular guide, How to Read World Literature, addresses the unique challenges and joys faced when approaching the literature of other cultures and eras. Fully revised to address important developments in World Literature, and generously expanded with new material, this second edition covers a wide variety of genres — from lyric and epic poetry to drama and prose fiction — and discusses how each form has been used in different eras and cultures. An ideal introduction for those new to the study of World Literature, as well as beginners to ancient and foreign literature, this book offers a variety of "modes of entry" to reading these texts. The author, a leading authority in the field, draws on years of teaching experience to provide readers with ways of thinking creatively and systematically about key issues, such as reading across time and cultures, reading works in translation, emerging global perspectives, postcolonialism, orality and literacy, and more. Accessible and enlightening, offers readers the tools to navigate works as varied as Homer, Sophocles, Kalidasa, Du Fu, Dante, Murasaki, Moliere, Kafka, Wole Soyinka, and Derek Walcott Fully revised and expanded to reflect the changing face of the study of World Literature, especially in the English-speaking world Now includes more major authors featured in the undergraduate World Literature syllabus covered within a fuller critical context Features an entirely new chapter on the relationship between World Literature and postcolonial literature How to Read World Literature, Second Edition is an excellent text for undergraduate and postgraduate courses in World Literature.
Not only that: The Lexus, the Mercedes, and their high-end friends have profited precisely by adding value in the form of dozens of microprocessors that do everything from improving fuel economy to remembering their drivers' preferred seating positions. World literature presents a comparable situation, partly because, as has often been noted, literary theory stepped in to provide an alternate canon to fill the gap left by the literature it was busy deconstructing.
If we no longer focus largely on a common canon of fictional, poetic, and dramatic masterworks that we can require our stu- dents to study and expect our readers to know, we need some alternate basis to work from. So, it's said, we rely on Butler, Foucault, Said, and Spivak to provide the com- mon basis for conversations formerly underwritten by a common fund of knowledge of Shakespeare, Wordsworth, Proust, and Joyce.
But have these old-economy authors really dropped by the wayside? Quite the contrary: Undeniably, comparatists today are giving more and more attention to "vari- ous contestatory, subaltern, or marginal perspectives," as the Bernheimer committee hoped we would,2 yet these perspectives are applied as readily to the major works of the "old" canon as to emergent works of the postcanon. How can this be? Something surely has to give. The number of hours in the day and the number of weeks in the semester haven't expanded along with the canon of world literature, yet we are definitely reading all sorts of works that are beyond the pale of the old "Western Masterpieces.
But this is not so. Instead, just as in the postindustrial economy, what has happened is that the rich have gotten richer, while most others just scrape by or see outright declines in their fortunes. It's too simple to say that the old canon has vanished.
Rather, the canon of world literature has morphed from a two-tiered system into a three-tiered one. For- merly, world literature could be divided into "major authors" and "minor authors.
Apuleius and Petronius formed the frame from which Virgil and Ovid cast their radiance abroad to the world; the Norton Anthology included Aleksandr Blok along with its far more extensive selections from Tolstoy and Dostoevsky. In place of this older, two-tiered model, our new system has three levels: The hypercanon is populated by the older "major" authors who have held their own or even gained ground over the past twenty years.
The countercanon is composed of the subaltern and "contestatory" voices of writers in languages less commonly taught and in minor literatures within great-power languages. Many, even most, of the old major authors coexist quite com- fortably with these new arrivals to the neighborhood, very few of whom have yet ac- cumulated anything like their fund of cultural capital.
Far from being threatened by these unfamiliar neighbors, the old major authors gain new vitality from association with them, and only rarely do they need to admit one of them directly into their club. By "they," of course, I really mean "us": This process can be seen even within the national literatures, where pressures of time and range are much less pronounced than in the larger scale of world literature.
Shake - speare and Joyce aren't going anywhere, and have actually added spacious new wings onto their mansions, but Hazlitt and Galsworthy are looking a little threadbare on the rare occasions when they're seen out and about. It may not be long until their cultural capital runs out and their ruined cottages are bought for a tear-down. The shape of the new canon can be illustrated in various ways, both within national literatures and across them.
A concise example is the situation of the "Big Six" British Romantic poets, as illustrated by the number of articles and books about them listed in the MLA Bibliography. Obviously, this is an imprecise measure, yet over time trends can be seen, particularly if we look at ten-year totals to smooth out the variations that can be caused by a centenary or a chance bunching of essay collections or special issues of journals.
The figures for these major authors can be further contextualized by comparison with the numbers of entries for traditionally "minor" Romantic poets like Southey and Landor and for newly prominent countercanonical figures like Felicia Hemans and Anna Letitia Barbauld. The "Big Six" are particularly interesting as a test case, since their works were so central to the older New Criticism and then to Yale-style deconstruction before the advent of the current countercanonical criticism.
It would be reasonable to expect that the Big Six would have suffered a significant decline during the past decade or two. Yet a survey of the MLA Bibliography reveals a startling continuity in the critical attention given to all of the Big Six.
Even going back forty years, there has been remarkably little movement among the six, still less between them as a group relative to the field as a whole fig. The Big Six dominated the field in , with upwards of books and articles devoted to each of them in whole or in part during those ten years, whereas every other Romantic-era poet that I looked at had fewer than entries for the same decade.
This imbalance remains true today, and indeed, every one of the Big Six has had more entries for the most recent decade than they did for the first decade of this survey.
Even more remarkably, there has been relatively little movement within the group. Byron began at the bottom of the hypercanonical group and remains there still.
Shelley and Coleridge have each moved up a notch or two, and Blake and Keats have declined a notch or two, but no more. Blake did have a brief boom during the second of these four decades, but he then settled back to his prior level of attention.
Wordsworth began at the top and remains there still, actually increasing his lead over the pack in the hypercanon: John Clare went from 40 entries to 56; William Hazlitt has slipped from 88 to 78; Robert Southey has gone up and down, from 46 at the start to 62, then down to 44, and now up to 81, but he has never come close to breaking the mark.
Walter Savage Landor, on the other hand, has dropped sharply, from 41 at the start to 25, then down to 4 and now to 9. The countercanonical poets I looked at, Felicia Hemans and Anna Letitia Barbauld, have risen from next to nowhere during the past twenty years, but they haven't risen all that far.
They are now about where Southey and Hazlitt began, oc- cupying places that would formerly have indicated "minor" canonical status: Hemans went from no entries at all to 70; Barbauld from 4 entries to The neighborhood is certainly looking different today than it did thirty and forty years ago—yet it's clear that the larger structure of the field doesn't look as different as one might have expected.
The contributors are prominent Danish literary scholars, and the volume can be read as a greatest hits of Danish literary history. Because the volume is part of the 'Literatures as World Literature' series, the primary intent is to examine the ways in which Danish literature reacts to and interacts with the world.
Most of the arguments are compelling and clearly written, and there is a welcome underlying discussion about what 'world literature' even means. Noteworthy are discussions of whether Saxo's 13th-century History of the Danes is Danish or world literature, the attraction of Danish ballads outside Denmark, Ludvig Holberg as a 'world citizen' or as a Dane seeking to engage the world, and Hans Christian Andersen's avid traveling and how his articulation of the local and the global within the same work contributed to his unparalleled global success.
The essay on Karen Blixen reverses a bit by exploring why as a prominent global author she is also uncontested in the Danish canon. A welcome addition to the literature on Scandinavianism. Summing Up: Recommended. Jensen and placing them in the context of World Literature. Related Products. Check items to add to the cart or select all.
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World Literature Digital Download. Stobaugh Literature. James Stobaugh.