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The first book to assess the impact of feminist criticism on comparative literature, Borderwork recharts the intellectual and institutional boundaries on that discipline. The seventeen essays collected here, most published for the first time, together call for the contextualization of the study of comparative literature within the areas of discourse, culture, ideology, race, and gender. Contributors: Bella Brodzki, VèVè A. Clark, Chris Cullens, Greta Gaard, Sabine Gölz, Sarah Webster Goodwin, Margaret R. Higonnet, Marianne Hirsch, Susan Sniader Lanser, Françoise Lionnet, Fedwa Malti-Douglas, Lore Metzger, Nancy K. Miller, Obioma Nnaemakea, Rajeswari Sunder Rajan, Anca Vlasopolos.

"33 revolutions per minute" tracks the turbulent relationship between popular music and politics, through 33 pivotal songs that span seven decades and four continents, from Billie Holiday singing 'Strange Fruit' to Green Day raging against the Iraq war. Dorian Lynskey explores the individuals, ideas and events behind each song, showing how protest music has soundtracked and informed social change since the 1930s. Through the work of such artists as Woody Guthrie, Bob Dylan, Stevie Wonder, Fela Kuti, The Clash, Public Enemy and Gil Scott Heron, Lynskey examines how music has engaged with racial unrest, nuclear paranoia, apartheid, war, poverty and oppression, offering hope, stirring anger, inciting action and producing songs which continue to resonate years down the line.

Zola-pastiches are a sign of reception of Zola's literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola's style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola's style thanothers. The study of the imitative ways of pastiches' writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola's thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or ...

Self-management socialism displayed ambiguities and vagueness in handling social controversy and public life in general, giving rise to numerous peculiarities particular to this social phenomenon in Yugoslavia. While a Leninist interpretation of democracy in socialism constituted the background of Edvard Kardelj's recipe for "socially responsible criticism," Yugoslavia and Slovenia were at the same time under the influence of western liberal concepts. Considering the political and ideological contexts of late socialism, the article discusses the systemic way of dealing with social criticism between the late 1960s and the mid-1980s, while trying to determine the impact of these circumstances on the subsequent evolvement of democratisation. Prior to the major social shifts of the second half of the 1980s, the "pluralism of self-management interests" could be articulated in practice primarily in a way that did not force it into competition with the Party. In those cases when this nevertheless occurred, the leading political establishment preferred to leave it to its "proxies" to deal with the transgressors, while itself taking on arbitrary positions that displayed some of the key features of the late-socialist regime in Slovenia.

Less than a year before his recent death, the distinguished émigré poet-critic Georgii Adamovich published one of his last essays in the New York Novyi Zhurnal. One section of it was particularly striking. Here was the "dean" of Russian émigré criticism and the author of hundreds of critiques and articles over the past fifty years questioning the purpose of literary criticism and whether there was a need for it at all: "In criticism … what is amazing is that behind all the innumerable articles and pieces of research, even the most penetrating of them, one never discerns the least perplexity about why, in fact, the article was written… Do Tolstoy, Dickens, and the others really require
explanation and commentary ? Wasn't Tolstoy right …that 'criticism is when
the foolish write about the wise' ?"

"Beginning with the question of the role of the past in the shaping of a contemporary identity, this volumes spans three generations of German and Austrian writers and explores changes and shifts in the aesthetics of Vergangenheitsbeweltigung (coming to terms with the past). The purpose of the book is to assess contemporary German literary representations of National Socialism in a wider context of these current debates. The contributors address questions arising from a shift over the last decade, triggered by a generation change-questions of personal and national identity in Germany and Austria, and the aesthetics of memory. One of the central questions that emerges in relation to the Hitler youth generation is that of biography, as examined through Gunter Grass' and Martin Walser's conflicting views on the subject of National Socialism. Other themes explored here are the conflict between the post-war generations and the contributions of that conflict to (West)-German mentality, and the growing historical distance and its influence on the aesthetics of representation."--Provided by publisher.