By David Damrosch
World literature was once lengthy outlined in North the United States as a longtime canon of eu masterpieces, yet an rising worldwide standpoint has challenged either this eu concentration and the very classification of "the masterpiece." the 1st publication to seem largely on the modern scope and reasons of worldwide literature, what's international Literature? probes the makes use of and abuses of global literature in a swiftly altering world.
In case reviews starting from the Sumerians to the Aztecs and from medieval mysticism to postmodern metafiction, David Damrosch seems to be on the methods works switch as they stream from nationwide to international contexts. providing international literature no longer as a canon of texts yet as a style of movement and of analyzing, Damrosch argues that global literature is figure that earnings in translation. while it truly is successfully provided, a piece of global literature strikes into an elliptical house created among the resource and receiving cultures, formed by way of either yet circumscribed through neither on my own. tested classics and new discoveries alike perform this mode of flow, yet they are often heavily mishandled within the strategy. From the rediscovered Epic of Gilgamesh within the 19th century to Rigoberta Menchú's writing this present day, international works have usually been distorted via the rapid wishes in their personal editors and translators.
Eloquently written, argued principally via instance, and replete with insightful shut readings, this ebook is either an essay in definition and a sequence of cautionary tales.
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Additional info for What Is World Literature?
In recent decades a growing proportion of works has been produced primarily for foreign consumption-a process that will be the focus ofthe 岳nal third of this book. This is a fundamentally new literary development: for the first time in history, authors ofhighly successful works can hope to have them translated into twenty or thirty languages within a few years of publication , and foreign countries may even provide the primary readership for writers who have small audiences at home or who are censored by their governments.
Owen's position has been widely criticized, most notably by Rey Chow, who opened her 1993 book Writing Diaspora with a wholesale attack on his essay. Calling Owen's views orientalist and even "racist" (2 n. 匀， Chow argued that the problem is not with the poetry but wi白 the Western critic's 10ss of authority: Basic to Owen's disdain for the new "world poetry" is a sense of 10ss and , consequently, an anxiety over his own intellectual position. . This is the anxiety that the Chinese past which he has undertaken to penetrate is evaporating and that the Sinologist himse1f is the abandoned subject.
Looking closely at the story of its reappearance , it turns out that the people involved in the recovery and interpretation of Mesopotamian culture were a surprisingly varied group , and they approached and assessed their astonishing finds from a variety of perspectives and with very different motives. lf their first efforts inevitably involved a high degree of assimilation toward the already known (most especial1y the Bible and its history) , they were 。在"en remarkably alive to the uncanny strangeness of the epic and the other artifacts they were un唰 covering.