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World Literature: a Reader Free FREE WORLD LITERATURE: A READER PDF Theo D'Haen,Cesar Dominguez,Mads Rosendahl Thomsen | 400 pages | 10 Jul 2012 | Taylor & Francis Ltd | 9780415602990 | English | London, United Kingdom World Literature: A Reader by Theo D'haen Start your FREE month now! World Literature: A Reader brings together thirty essential readings which display the theoretical foundations of the subject, as well as showing its conceptual development over a two hundred year period. The editors offer readers the ideal introduction to the theories and debates surrounding the impact of this crucial area on the modern literary landscape. 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 World Literature: A Reader to ancient and foreign literature, this book offers a variety of "modes of entry" to reading these texts. The author, a leading authority in World Literature: A Reader 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 World Literature: A Reader 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 World Literature: A Reader 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 World Literature: A Reader How to Read World Literature, Second Edition is an excellent text for undergraduate and postgraduate courses in World Literature. It is also a fascinating and informative read for all readers with an interest in foreign and ancient literature and the history of civilization. Through such reading, the reader in fact participates in creating true 'world literature'. This is a somewhat unorthodox World Literature: A Reader of world literature, conventionally defined as 'great literature' shelved World Literature: A Reader a majestic, canonical library. In the opening article sparking off the theme of this collection, Eysteinsson asks: "Which text does the concept of world literature refer to? It can hardly allude exclusively to the original, which the majority of the works readers may never get to know. On the other hand, it hardly refers to the various translations as seen apart from the original. It seems to have a crucial bearing on the border between the two, and on the very idea that the work merits the move across this linguistic and cultural border, to reside in more than two languages". Picking up on this question at issue, all the essays in this collection throw light on the problematic mechanics of cultural encounters when 'reading the world' in literary translation, i. What do we mean by "world"? What constitutes "literature"? Who should decide? Reading World Literature is a cumulative study of the concept and evolving practices of "world literature. Twelve original essays by distinguished specialists run World Literature: A Reader gamut from close readings of specific texts to problems of translation theory and reader response. The sequence of essays develops from re-examinations of traditional canonical pieces through explorations of less familiar works to discussions of reading itself as a "literacy" dependent on worldview. Reading World Literature will open challenging new vistas for a wide audience in the humanities, from traditionalists to avant-garde specialists in literary theory, cultural studies, and area studies. Danish Literature as World Literature introduces key figures from years of Danish literature and their impact on world literature. It includes chapters devoted to post literature on beat and systemic poetry as well as the Scandinavia noir vogue that includes both crime fiction and cinema and is enjoying worldwide popularity. Coverage is split into four parts which examine the origins and seminal formulations of world literature, world literature in the age of globalization, contemporary debates on world literature, and localized versions of world literature Contains more than 30 important theoretical essays by the most influential scholars, including Johann Wolfgang von Goethe, Hugo Meltzl, Edward Said, Franco Moretti, Jorge Luis Borges, and Gayatri Spivak Includes substantive introductions to each essay, as well as an annotated bibliography for further reading Allows students to understand, articulate, and debate the most important issues in this rapidly changing field of study. In case studies ranging from the Sumerians to the Aztecs and from medieval mysticism to postmodern metafiction, David Damrosch looks at the ways works change as they move from national to global contexts. Presenting world literature not as a canon of texts but as a mode of circulation and of reading, Damrosch argues that world literature is work that gains in translation. When it is effectively presented, a work of world World Literature: A Reader moves into an elliptical space created between the source and receiving cultures, shaped by both but circumscribed by neither alone. Established World Literature: A Reader and new discoveries alike participate in this mode of circulation, but they can be seriously mishandled in the process. Eloquently written, argued largely by example, and replete with insightful close readings, this book is both an essay in definition and a series of cautionary tales. This book provides a corrective to readings of his novels as exclusively "postmodern" or as unproblematically representative of Chilean or Latin American reality. Toggle navigation Menu. Search for:. [PDF] World Literature Reader Download Full Book Free World literature is used to refer to the total of the world's national literature and the circulation of works into the wider world beyond their country of origin. In the past, it primarily referred to the masterpieces of Western European literature ; however, world literature today is increasingly seen in an international context. Now, readers have access to a wide range of global works in various translations. Many scholars assert that what makes a work considered world literature is its circulation beyond its country of origin. For example, Damrosch World Literature: A Reader, "A work enters into world literature by a double process: first, by being read as literature; second, by circulating out into a broader world beyond its linguistic and cultural point of origin". Johann Wolfgang Goethe used the concept of Weltliteratur in several of his essays in the early decades of the nineteenth century to describe the international circulation and reception of literary works in Europe, including works of non-Western origin. The concept achieved wide currency after his disciple Johann Peter Eckermann published a collection of conversations with Goethe in He made a famous statement in Januarypredicting that world literature would replace the national literature as the major mode of literary creativity in the future:. I am more and World Literature: A Reader convinced that poetry is the universal possession of mankind, revealing itself everywhere and at all times in hundreds and hundreds of men. I therefore like to look about me in foreign nations, and advise everyone to do the same. National literature is now a rather unmeaning World Literature: A Reader the epoch of world literature is at hand, and everyone must strive to hasten its approach. World Literature: A Reader a fundamentally economic understanding of world literature as a process of trade and exchange, Karl Marx and Friedrich Engels used the term in their Communist Manifesto to describe the "cosmopolitan character" of bourgeois literary production, asserting that:. In place of the old wants, satisfied by the productions of the country, we find new wants, requiring for their satisfaction the products of distant lands and climates. And as in material, so also in intellectual production. The intellectual creations of individual nations become common property. National one-sidedness and narrow-mindedness become more and more impossible, and from the numerous national and local literatures, there arises a world literature. Martin Puchner has stated that Goethe had a keen sense of world literature as driven by a new world market in literature. While Marx and Engels followed Goethe in viewing world literature as a modern or future phenomenon, in the Irish scholar H. Posnett argued that world literature first arose in ancient empires, such as the Roman Empire, long before the rise of the modern national literature. Today, world literature is understood to encompass classical works from all periods, including contemporary literature that is written for a global audience. In the postwar era, the study of comparative and world literature was revived in the United States. Comparative literature was seen at the graduate level while world literature was taught as a first-year general education
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