By Emily Apter
Against global Literature: at the Politics of Untranslatability argues for a rethinking of comparative literature targeting the issues that emerge while large-scale paradigms of literary reports forget about the politics of the 'Untranslatable'--the realm of these phrases which are regularly retranslated, mistranslated, transferred from language to language, or specifically proof against substitution.
In where of 'World Literature'--a dominant paradigm within the humanities, one grounded in market-driven notions of clarity and common appeal--Apter proposes a plurality of 'world literatures' orientated round philosophical thoughts and geopolitical strain issues. The historical past and idea of the language that constructs global Literature is seriously tested with a unique concentrate on Weltliteratur, literary global platforms, narrative ecosystems, language borders and checkpoints, theologies of translation, and planetary devolution in a ebook set to revolutionize the self-discipline of comparative literature.
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Additional info for Against World Literature: On the Politics of Untranslatability
Only joy at feeling he was in harmony with the words: ‘Later, he. . ’”9 In this end of the book, it’s thus a certain relation to language which ends by at once confirming and denying the end, solitude, the possibility of speaking. Before this last page, Blanchot’s book presents itself as a monologue cut into two unequal parts. In the first part, there is an “I,” a “he,” and a “she” who find themselves in a sort of asylum. After the break between the two parts, the word “event” appears, but the reader no longer knows who is speaking, nor to whom, nor of whom, nor of what event.
Where the poet Percy Shelley, apropos of the French Revolution, spoke of an inadequacy, a “defect of correspondence between the knowledge existing in society and the improvement or gradual abolition of political institutions,”7 Mary Shelley sees not a defect of correspondence but a lack of relation between acquired knowledge and the scene of action. But the Plague is not only that which stops us from drawing lessons from human events. For it enters the plot at a very precise and significant moment of the novel.
P. vii; emphasis mine) Barbara Johnson As this passage makes clear, readers of Mary Shelley’s novel had frequently expressed the feeling that a young girl’s fascination with the idea of monstrousness was somehow monstrous in itself. When Mary ends her introduction to the reedition of her novel with the words, “And now, once again, I bid my hideous progeny go forth and prosper,” the reader begins to suspect that there may perhaps be meaningful parallels between Victor’s creation of his monster and Mary’s creation of her book.