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A good deal of the work on literature in the North Indian vernaculars over the last decades has been, perhaps out of necessity, somewhat narrowly philological. This volume, however, marks a new stage of collective development in the field. Any scholar interested in current directions in South Asian humanities should find the papers exciting. Tellings and Texts, however, is much more than the sum of its parts. Indeed, it is hard to express how well put-together this volume is. Much too often edited books even on a fairly well-defined topic consist of separate chapters that appear mostly independent of one another, with section divisions that seem somewhat forced and not particularly coherent. This volume, by contrast, really does read as a well-executed whole, with the papers referencing one another generously and a progression from one nicely conceived section to the next. — Daniel Gold, Professor of South-Asian Religions, Cornell University Examining materials from early modern and contemporary North India and Pakistan, Tellings and Textsbrings together seventeen first-rate papers on the relations between written and oral texts, their performance, and the musical traditions these performances have entailed. The contributions from some of the best scholars in the field cover a wide range of literary genres and social and cultural contexts across the region. The texts and practices are contextualized in relation to the broader social and political background in which they emerged, showing how religious affiliations, caste dynamics and political concerns played a role in shaping social identities as well as aesthetic sensibilities. By doing so this book sheds light into theoretical issues of more general significance, such as textual versus oral norms; the features of oral performance and improvisation; the role of the text in performance; the aesthetics and social dimension of performance; the significance of space in performance history and important considerations on repertoires of story-telling. The book also ...

Literature transforms the subject because its raw material is words and imagination, two issues that operate in the human being for an adequate development of its reality. By sharing these elements, what we will call the infinite bifurcated consciousness emerges because the purpose of literature is to reveal possible worlds. Rhizomatic thinking is proposed as a method to evidence the complicities and possible articulations that exist between literature and performativity. This article does not try to exhaust the analytical potential, but rather to leave the door open for future explorations, reflections, or texts. In general, in literature during the XXI century, the role of performativity in the subject and its incidence in what is political is discovered. The activism of today's world, both in its face-to-face and virtual versions (social networks), indicates the close relationship between aesthetics (including literature and fiction) and politics. ; La literatura transforma al sujeto porque tiene como materia prima la palabra y la imaginación, dos cuestiones que operan en el ser humano para su adecuado desarrollo de realidad. Al compartir estos elementos, se presenta lo que llamamos la conciencia bifurcada infinita, porque la función de la literatura es revelar mundos posibles. Se propone el pensamiento rizomático como método para evidenciar las complicidades y articulaciones posibles que ocurren entre literatura y performatividad. El presente artículo no intenta agotar el potencial analítico, sino dejar abierta la puerta para futuras exploraciones, reflexiones o textos. En general, en la literatura, durante el siglo XXI, se descubre el papel de lo performativo en el sujeto y su incidencia en lo político. El activismo propio del mundo de hoy, en su versión tanto presencial como virtual (redes sociales), nos indica la estrecha relación entre lo estético (incluida la literatura y la ficción) y lo político.

The literary heritage of an influential German writer and academical
literary critic of the late twentieth century W.G. Sebald (1944–2001) is considered in
relation to the essential features of Austrian literature (as a special phenomenon)
identified by N.S. Pavlova, and in the context of its important topics. The article
traces Sebald's rise as an outstanding prose writer in parallel with how his interest
as an academic Germanist was focusing on the work of Austrian writers (from
Adalbert Stift er, 1805–1868, to Peter Handke, b. 1942), how he was familiarizing
himself with fundamentals of their worldview (distrust of reality; lack of confidence
in the state, homeland and the language; deep intimacy with 'things'; dominance of
sensation over judgment) and acute topics (physical and mental pain, illness, homelessness, isolation).
Some pieces of Sebald's prose are compared here to the work of the Austrian
writers (Franz Kafka and Th omas Bernhard in particular) to study his extremely
mobile and multi-layered perspective of narration, which is characteristic for all his
texts and lies at the core of the specifics of his literary style. The article aims not only
to show some important features of Sebald's prose (the multilevel mediation of
perspective, 'network structures' within the text) in their connection to Austrian
literature of the last two centuries, but also to demonstrate that they were formed
largely due to his deep understanding of this literature.

The Estonian poet, physician and politician Johannes Vares-Barbarus (1890–1946) is a contradictory figure in Estonian history and culture. He was a well-known and acknowledged doctor named Vares, but also a poet named Barbarus who was notable for his modernistic poems in the 1920s and 1930s. His actions in the 1940s as one of the leading figures in the Sovietization of Estonia have complicated the reception of his poetry. His opposition to the Republic of Estonia and his left-wing views are nearly always under observation when he or his poems are discussed. Predominantly his poetry has been discussed; his other works have received much less attention. This article analyses his travelogue Matkavisandeid & mõtisklusi (Travel Sketches and Contemplations) based on his trip to the Soviet Union. It was published in the literary magazine Looming in 1935 and reprinted in 1950 in his collected works. Travelogues have proven to be valuable materials when discussing the author and his mentality. The article analyses the image of the Soviet Union in his travelogue published in 1935 and discusses notable changes that were made in the reprint some of which have significantly altered the meaning, so that the text fits perfectly into the Soviet canon.

This dissertation "Between Text and Sect: Early Nineteenth Century Shifts in the Theology of Ram", focuses on the two primary facets of Ram devotion in North India. The cult of Ram, which is not only central to the practice of modern Hinduism but is also the lynchpin of Hindu nationalist politics, emerged as a major devotional tradition in sixteenth century North India. The Ram tradition was propelled by two primary forces - the famous devotional composition of Tulsidas, the "Ramcharitmanas" and the rapidly expanding monastic community, the Ramanandi sect. Modern scholarship on Ram devotion has either tended to treat each facet separately or has simply assumed that the text forms the theological core of the sect. My research shows that although text and sect emerged almost simultaneously in the sixteenth century, they represented distinct theologies until the late eighteenth and early nineteenth centuries, when they were united under the patronage of a rising Hindu polity. My dissertation focuses on the earliest literary-theological link between the "Ramcharitmanas" and the Ramanandi sect. Through a study of early sectarian commentaries, I show how the Ramanandis shaped the contours of the Ram tradition by incorporating their distinct theology into the "Ramcharitmanas". The sectarian adoption of the devotional text, and the spurt in the production of exegetical literature among other genres, highlights the centrality of literary cultures to the formation of the Ram devotional community in early modern North India. This project thus not only makes an intervention into the history of Ram devotion, but also has wider implications for the study of the formation of modern Hindu religious traditions.

This article deals with deviation in Euphrase Kezilahabi´s novel Gamba la Nyoka (1979). We analyse four different types of deviation, namely grammatical, lexical, phonological, and semantic deviation. The objective of this study is to combine linguistic analysis with literary riticism, in order to show how these different types of deviation correspond with the overall message the author conveys in this novel, which is a political novel dealing with the era of establishing Ujamaa policies in rural Tanzania.

Charting the construction of sexual perversions in nineteenth- and early twentieth-century medical, psychiatric and psychological discourse, Schaffner argues that sexologists' preoccupation with these perversions was a response to specifically modern concerns, and illuminates the role of literary texts in the formation of sexological knowledge

Numéro coordonné par Émilie Brière, Mélanie Lamarre et Dominique Viart ; National audience ; At the end of Une femme, a narrative published in 1988 recounting the life of her mother (translation : A Woman' Story, Seven Stories Press, 1991), Annie Ernaux states: "This is not a biography, nor a novel of course", but a work deliberately situated "below literature, [.] somewhere between literature, sociology and history". To qualify the self-reflexive texts she has published since 1974 in the Blanche collection at Gallimard, the writer refuses any pre-established generic classification and prefers to speak of "forms". The quest for a "right" form for her texts being at the very heart of her indissociably literary, social and political reflection, she has come to invent the labels of "transpersonal narratives" or "ethnotexts" to specifically evoke her two "extimate" diaries: Journal du dehors, published in 1993 (translation : Exteriors, Seven Stories Press, 1996), and its sequel, La Vie extérieure, published in 2000 (Things seen, University of Nebraska Press, 2010), both of which hijack the consecrated form of the diary.Deepening this distinctive literary approach, based on the art of reconciling opposites, Annie Ernaux proposes a new label in the form of an oxymoron, that of "collective" or "impersonal" autobiography, to qualify the specific narrative project of Les Années, published in 2008 (translation : The Years, Seven Stories Press, 2017), which many commentators present as her "life's work", her "masterpiece". Far away from the reception of her previous books, the near-unanimity of the critical praise - which, once again, no doubt disoriented by the form of the text, calls up in no particular order a number of illustrious, albeit not very coherent, filiations (from Beauvoir to Proust, via Maupassant and Pérec, not forgetting Genêt, Leiris, Nizan, Pavese, Chekhov and Woolf. ) - is combined with immediate public success (around 115,000 copies sold after six reprints). I have sought to understand the modalities ...

Numéro coordonné par Émilie Brière, Mélanie Lamarre et Dominique Viart ; National audience ; At the end of Une femme, a narrative published in 1988 recounting the life of her mother (translation : A Woman' Story, Seven Stories Press, 1991), Annie Ernaux states: "This is not a biography, nor a novel of course", but a work deliberately situated "below literature, [.] somewhere between literature, sociology and history". To qualify the self-reflexive texts she has published since 1974 in the Blanche collection at Gallimard, the writer refuses any pre-established generic classification and prefers to speak of "forms". The quest for a "right" form for her texts being at the very heart of her indissociably literary, social and political reflection, she has come to invent the labels of "transpersonal narratives" or "ethnotexts" to specifically evoke her two "extimate" diaries: Journal du dehors, published in 1993 (translation : Exteriors, Seven Stories Press, 1996), and its sequel, La Vie extérieure, published in 2000 (Things seen, University of Nebraska Press, 2010), both of which hijack the consecrated form of the diary.Deepening this distinctive literary approach, based on the art of reconciling opposites, Annie Ernaux proposes a new label in the form of an oxymoron, that of "collective" or "impersonal" autobiography, to qualify the specific narrative project of Les Années, published in 2008 (translation : The Years, Seven Stories Press, 2017), which many commentators present as her "life's work", her "masterpiece". Far away from the reception of her previous books, the near-unanimity of the critical praise - which, once again, no doubt disoriented by the form of the text, calls up in no particular order a number of illustrious, albeit not very coherent, filiations (from Beauvoir to Proust, via Maupassant and Pérec, not forgetting Genêt, Leiris, Nizan, Pavese, Chekhov and Woolf. ) - is combined with immediate public success (around 115,000 copies sold after six reprints). I have sought to understand the modalities ...

Numéro coordonné par Émilie Brière, Mélanie Lamarre et Dominique Viart ; National audience ; At the end of Une femme, a narrative published in 1988 recounting the life of her mother (translation : A Woman' Story, Seven Stories Press, 1991), Annie Ernaux states: "This is not a biography, nor a novel of course", but a work deliberately situated "below literature, [.] somewhere between literature, sociology and history". To qualify the self-reflexive texts she has published since 1974 in the Blanche collection at Gallimard, the writer refuses any pre-established generic classification and prefers to speak of "forms". The quest for a "right" form for her texts being at the very heart of her indissociably literary, social and political reflection, she has come to invent the labels of "transpersonal narratives" or "ethnotexts" to specifically evoke her two "extimate" diaries: Journal du dehors, published in 1993 (translation : Exteriors, Seven Stories Press, 1996), and its sequel, La Vie extérieure, published in 2000 (Things seen, University of Nebraska Press, 2010), both of which hijack the consecrated form of the diary.Deepening this distinctive literary approach, based on the art of reconciling opposites, Annie Ernaux proposes a new label in the form of an oxymoron, that of "collective" or "impersonal" autobiography, to qualify the specific narrative project of Les Années, published in 2008 (translation : The Years, Seven Stories Press, 2017), which many commentators present as her "life's work", her "masterpiece". Far away from the reception of her previous books, the near-unanimity of the critical praise - which, once again, no doubt disoriented by the form of the text, calls up in no particular order a number of illustrious, albeit not very coherent, filiations (from Beauvoir to Proust, via Maupassant and Pérec, not forgetting Genêt, Leiris, Nizan, Pavese, Chekhov and Woolf. ) - is combined with immediate public success (around 115,000 copies sold after six reprints). I have sought to understand the modalities ...

Numéro coordonné par Émilie Brière, Mélanie Lamarre et Dominique Viart ; National audience ; At the end of Une femme, a narrative published in 1988 recounting the life of her mother (translation : A Woman' Story, Seven Stories Press, 1991), Annie Ernaux states: "This is not a biography, nor a novel of course", but a work deliberately situated "below literature, [.] somewhere between literature, sociology and history". To qualify the self-reflexive texts she has published since 1974 in the Blanche collection at Gallimard, the writer refuses any pre-established generic classification and prefers to speak of "forms". The quest for a "right" form for her texts being at the very heart of her indissociably literary, social and political reflection, she has come to invent the labels of "transpersonal narratives" or "ethnotexts" to specifically evoke her two "extimate" diaries: Journal du dehors, published in 1993 (translation : Exteriors, Seven Stories Press, 1996), and its sequel, La Vie extérieure, published in 2000 (Things seen, University of Nebraska Press, 2010), both of which hijack the consecrated form of the diary.Deepening this distinctive literary approach, based on the art of reconciling opposites, Annie Ernaux proposes a new label in the form of an oxymoron, that of "collective" or "impersonal" autobiography, to qualify the specific narrative project of Les Années, published in 2008 (translation : The Years, Seven Stories Press, 2017), which many commentators present as her "life's work", her "masterpiece". Far away from the reception of her previous books, the near-unanimity of the critical praise - which, once again, no doubt disoriented by the form of the text, calls up in no particular order a number of illustrious, albeit not very coherent, filiations (from Beauvoir to Proust, via Maupassant and Pérec, not forgetting Genêt, Leiris, Nizan, Pavese, Chekhov and Woolf. ) - is combined with immediate public success (around 115,000 copies sold after six reprints). I have sought to understand the modalities ...

This dissertation argues that the category of the literary emerged in colonial Senegal through the exclusion of some indigenous textual cultures and the translation of others. In readings of Mariama Bâ, Ousmane Sembène, Cheikh Aliou Ndao, Maam Yunus Dieng and others, I examine how postcolonial Senegalese authors working in French and Wolof have responded to this legacy. Through analyses of a variety of 19th-20th century texts, this dissertation explores how the Senegalese literary field has been crosscut by a series of struggles over how to define proper reading and authorship, and what the shape of a future literary public might be. I argue that Senegalese writers working at the interstices of French and Wolof have engaged with a variety of crises of authorship and audience by addressing their work to a public that is yet to come.The dissertation begins in the 19th century with a reading of works by an influential 19th-century métis intellectual, the Abbé David Boilat, in whose scholarly activities one can perceive the discursive preconditions of a future francophone literary field. From there, the dissertation turns to the early 20th century, when literary studies were introduced into the French colonial curriculum as a discipline for cultivating new and putatively modern modes of authorship and reading. The focus then shifts to the 1960s-70s, where I explore the postcolonial politics of language and the emergence of modern Wolof literature and film in Cheikh Aliou Ndao's Buur Tilleen (1967) and Ousmane Sembène's Mandabi (1968). I then investigate how the circulation of Senegalese literature as World literature echoes the ideals of colonial literary study. Here, I reconsider the reception history of Mariama Bâ's Une si longue lettre (1980), contrasting the terms in which that novel became internationally acclaimed with how it has been reworked by a Wolof writer, Maam Yunus Dieng. Finally, in a Coda, I query how the `work' of Wolof literature has been transformed in the age of structural adjustment - through readings of Boubacar Boris Diop's Doomi Golo (2003) and Cheikh Aliou Ndao's Mbaam Aakimoo (1997).

Few philosophical topics are as intertwined with gender questions as the topic of love, which moved center-stage in the diverse literary and philosophical productions of the Renaissance. Situated in the rich cultural environment of Cinquecento, Italy, Tullia d'Aragona's Dialogo della Infinita d'Amore offers not only a unique contribution to Renaissance theories of love, but also forces a reexamination of the aims and methods of communication, and provokes a reflection on philosophy's very own (male) self-conception.

Abstract
This study explores the socio-economic legacies and critique of nation-building found in the work of Jose Joaquin Fernandez de Lizardi (1776-1827). In the nineteenth century, the Latin American elite struggled to disassociate itself from a suffocating colonial machine; they sought their own identity, and writing became a way to express their frustration. As in other parts of Latin America, Mexican intellectuals protested fossilisation via Cervantes's Don Quijote. Using the Spanish author's text as a blueprint, Lizardi's Don Catrín de la fachenda depicted a turbulent society that was in the process of abandoning a decaying colonial order. Don Quijote's characters engaged in power struggles and were involved in a variety of forms of social antagonism. Lizardi juxtaposed and superimposed these on an American geographical and socio-economic space where there was much dissension around the nation's direction. The social and economic rules of Mexico (and Latin America) today can be said to be already present in the social exchanges in Don Catrín. It was in this context that Don Quijote was "Mexicanised" by Lizardi and thereby made to participate in local reflections on liberty, patriotism, capitalism, and citizenship. Cervantes's text thus took on a socio-political meaning in the narrative of Latin America's past and present.