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Following the critical acclaim of Sino-French literature in recent years, an increasing number of Chinese presses have solicited translations of prize-winning novels written in French by authors of Chinese descent. Yet as the work of authors like François Cheng, Shan Sa, Ya Ding and Dai Sijie travels from French into Chinese, it also undergoes a transformation via the politics of translation and publication in China. This essay exposes the inner workings of translation between French and Chinese, as well as the politics that colour its publication and reception between France and China. The act of translating these works back into their authors' native tongue signals a return to the national paradigms the writers initially sought to evade by writing in French. Translation here functions as a form of aggression, a forced return home that ultimately breaks with the poetic ethos that animates the original creative works.

Wozu Dichter in Dürftiger Zeit?—HölderlinTriumphant or turbulent, cultures are at once symbolized by and constituted from their arts and sciences. Literature celebrates, as law canonizes, the grand ideals of a living culture. Traditional or transitional, societies and their institutional structures of authority find elaborate expressions in the literature they produce.This volume of Iranian Studies is devoted to an examination of the modern Iranian writer and contemporary Persian literature in their dialectical, interaction with a transitional Iranian culture and society. Its focus is on a revolutionary literature within a revolutionary social context. The term "revolutionary" is used here in its fundamental cultural sense, embracing both the social and the political.This paper is devoted to a sociological examination of the problem of "commitment" in modern Persian literature. To reach for the political nature of the problem, it traces the formation of the intelligentsia in modern Iranian society.

"The Literature of Northern Ireland: Spectral Borderlands theorizes how Irish cultural production has been disturbed by partition. It argues that the rearrangement of the island and creation of multiple states produced two major effects in the North: it incited concomitant fractures within self and society and interrupted experiences of place. In this 'interregnum,' the whole arc of Irish time crystallized, the subject as keenly aware of ancient events as those of today and all while awaiting a more just political future. These conditions are represented in the literature through a self-contradictory poetics that fuses ancient and contemporary literary styles. Age-old Irish tropes are deployed within recognizably postmodern styles in works that rely, particularly, on specter and scrim: haunting, deathly characters and metaphors and perilous, pivotal borders. This spectral borderlands aesthetic captures the peculiar temporality of daily life and takes inspiration, chiefly, from Samuel Beckett. This position is outlined in Chapter One and fully elaborated through sustained analyses of literary writing by Belfast women writers: poet Medbh McGuckian, dramatist and fiction writer Anne Devlin, and novelist Anna Burns. Chapters on each explicate their distinctive deployments of the spectral borderlands: Devlin's self-contradiction, McGuckian's silence, and Burns' doubt"--

A brief account of law and literature -- Literature v. law: institutions, procedures, and justice -- Natural law and fundamental justice -- Property -- Contract and tort -- Sexuality -- Evidence and truth -- On trial -- Vigilantism and extrajudicial action -- Toward law and humanities.

"War was the first subject of literature; at times, war has been its only subject. In this volume, the contributors reflect on the uneasy yet symbiotic relations of war and writing, from medieval to modern literature. War writing emerges in multiple forms, celebratory and critical, awed and disgusted; the rhetoric of inexpressibility fights its own battle with the urgent necessity of representation, record and recognition. This is shown to be true even to the present day: whether mimetic or metaphorical, literature that concerns itself overtly or covertly with the real pressures of war continues to speak to issues of pressing significance, and to provide some clues to the intricate entwinement of war with contemporary life. Particular topics addressed include writings of and about the Crusades and battles during the Hundred Years War; Shakespeare's treatment of war; Auden's 'Journal of an Airman'; and War and Peace."-- Publisher description

With the central role of Marxism as my focus, I examine proletarian literary texts of 1920s and 1930s colonial Korea for their bodily representations of the masses. Amidst the emergence and proliferation of mass culture during the 1920s and 1930s, early socialist literary criticism and proletarian literature was the locus for the "importation" and development of indigenous intellectual, theoretical, and literary movements that reflect and engage with issues of nationalism, colonialism, modernity, and mass subjectivity. The first chapter, "Politics of the Body : Realism, Sensationalism and the Abject in 'New Tendency Literature' (1924-1927)" analyzes the intersection of socialism and mass literary culture, and begins with an examination of the hybridization of literary tendency, the effect of print culture, and the colonized Korean subject in works by "New Tendency School" writers: Ch'oe So-hae, Chu Yo-sop, Cho Myong-hui and Kim Ki-jin. Drawing upon the convergence of psychoanalysis and postcolonial theory, I argue that proletarian literary tropes like excess, sensational language, and lurid descriptions of poverty underwrite a criticism of colonialism through the embodied experience of the abject subject. The second chapter of my dissertation, "The Proletarian Body in Visual Culture," examines political cartoons, films, and film-novels, and the circulation of mass representations of the "proletariat" in the figure of the abject colonial body. I argue that the circulation of the symbol of the starving body, the insane intellectual, and the trope of utopic resolution all present nationalism as "in-between," formulated against sanity, order, and imperial subjecthood. In the later context of the 1920s and 1930s, "The Liminal Spaces of Discourse" concentrates on KAPF's increasing focus on agrarian space. Yi Sang's and Kim Yu-chong's travelogues serve as a comparison point to proletarian and "fellow traveler" literature by Paek Sin-ae, Ch'ae Man-sik, and Yi Ik-sang, which provide what I argue to be temporal and spatial "interruptions" to universal narratives mediated by official Marxism, as well as by logics of modernity. My final chapter "From Artist to Soldier of Culture : The Case of Pak Yong-hui" addresses the issue of the "conversion" of leftist intellectuals to Japanese nationalism in the mid-1930s at the dissolution of KAPF

Jewish and Christian religious material from the Old and New Testament and other Midrashic works was absorbed into Muslim literature to serve manifold aims. Quotations from the Old Testament, which constitute the lion's share of the quoted material, were designed to corroborate some dogmatic issues in Islam. Verses from the Books of Genesis and Deuteronomy, as well as verses from the later prophets, Isaiah, Habakkuk, and Haggai, were intended mainly to prove the authenticity of the mission of Muhammad and the truthfulness of his prophecy. Quotations from the Book of John came to convince the ordinary Muslim believer that the name of Muhammad was mentioned in the Bible, and to confirm that Jesus had already foretold his coming. Other quotations served controversial political factions and oppositional parties. The Shi'ite faction especially made extensive use of the biblical material to corroborate their claims for the throne in the Muslim state. The use of the biblical material was not restricted only to dogmatic or political goals; rather, it was deliberately used to strengthen the scholars' argumentation in questions of theology, historicity, genealogy, morality, ethics, editing, literature, etc.

The utopian vision behind the so-called War on Drugs was that, as with other wars, we might sacrifice some amount of individual freedom in order to gain a larger freedom. In this case, the larger freedom was what Nancy Reagan called a "drug free America." Thus, the War on Drugs era (from roughly 1970 to the present) aligns historically yet exists in tension with what scholars have called the neoliberal era, wherein individual freedom is paramount, and moral, political, and economic responsibility is left to the individual. This dissertation asks what the depictions of drug use in literature from this period might indicate about the relationship between neoliberalism and the War on Drugs. Reading subtle or extended portrayals of drug use in novels by Joan Didion, Bret Easton Ellis, Daniel Cano, David Foster Wallace, and Alfredo Véa, and ambitious literary memoirs by Ann Marlowe and Leslie Jamison, this dissertation finds that these texts depict drug use as a normative moral or political issue, either in a way that demonstrates residual moral thinking, or makes new normative claims about how to live in a fractured, atomistic, and consumption-driven world. This dissertation argues that the depictions of drugs in these literary texts represents a significant complication of the notion that literature in the neoliberal era leaves normative morality and politics to the individual.

Fomeshi, Behnam M. "Green Apples, Red Apples: Politics of Comparative Literature in Iran." Comparative Literature Around the World: Global Practice . Eds. Eugene Eoyang, Gang Zhou, and Jonathan Hart. Paris: Honoré Champion, 2021. 201-218.

Fomeshi, Behnam M. "Green Apples, Red Apples: Politics of Comparative Literature in Iran." Comparative Literature Around the World: Global Practice. Eds. Eugene Eoyang, Gang Zhou, and Jonathan Hart. Paris: Honoré Champion, 2021. 201-218.