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| 1 |
ID:
164397
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| Summary/Abstract |
This article examines the ways in which Bidūn (stateless) poets negotiate and contest their placement within dominant narratives of national literary history in Kuwait. The article offers an analytical overview of the dominant modalities in which national literary history in Kuwait has been conceived as it relates to questions of national beginnings, periodization and the placement of stateless poets. Read against the existing modalities, the article analyzes the Bidūn poet Saʿdiyya Mufarriḥ’s The Cameleers of Clouds and Estrangement (2007) as a revisionist account of national literary history that opposes the exclusion of Bidūn writers. This is achieved by an emphasis on the inclusivity of literary and cultural affiliation over the exclusivity of limiting notions of official national belonging. A critical analysis of the arena of national literary history writing in Kuwait aims to offer a novel perspective on how notions of national belonging are being renegotiated from the margins.
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| 2 |
ID:
187770
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| Summary/Abstract |
This article delves into the pre-Nakba literary scene of the 1930s and 1940s by way of its literary periodicals. Following the work of Hanna Abu Hanna and Ishaq Musa al-Husseini, the article posits periodicals as a primary, albeit understudied, site of Palestinian literary production. Prior to the Nakba, the Palestinian literary landscape experienced a small-scale local nahda in the form of adab maqalat (periodical literature) rather than adab mu’allafat (monograph/book-form literature). However, due to the ruptures of 1948, this formative period of adab maqalat has been unexplored and remains disconnected from Palestinian literary histories. In the context of a larger project that reconnects fragmented “black hole” periods of Palestinian literary history, this article takes a step toward sketching the major elements of Palestine’s literary landscape before the Nakba.
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| 3 |
ID:
042837
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Mysore
/ Ramachandriah, N S
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1972
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| Publication |
New Delhi, National Book Trust, 1972.
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| Description |
v, 196p.hbk
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Copies: C:1/I:0,R:0,Q:0
Circulation
| Accession# | Call# | Current Location | Status | Policy | Location |
| 008428 | 954.87/RAM 008428 | Main | On Shelf | General | |
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| 4 |
ID:
112388
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| Publication |
2012.
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| Summary/Abstract |
Tatiana Gabroussenko's Soldiers on the Cultural Front is the second book in English after 16 years to deal with North Korean literature. Written as a literary history with a strong focus on biography and policy, the study explains that Soviet Stalinist socialist realism was successfully implanted in North Korea from 1945 to 1960. Soldiers on the Cultural Front, however, neglects the 'theoretical problems of literary studies.' The consequence is that subjective value-judgments, extra-literary specialization determinism, and naive induction intrude upon the subject matter, reconfirming that North Korean literary studies in English is still not a well-developed or theoretically self-aware field.
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| 5 |
ID:
162463
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| Summary/Abstract |
The term ‘vernacular modernism’ came into being amidst proliferating conceptual frameworks to explain the diverse paradigms of modernity as a global process. More specifically, ‘vernacular modernism’ as a category of analysis emerged in an effort to democratise the term ‘modern’ with respect to non-metropolitan cultural formations. However, this conceptual category does not necessarily encompass the complex elements of all non-metropolitan vernacular cultural formations; rather, it offers a complementary gesture towards a universal history of modernity. Historicising a debate on modernism in Assamese literary culture in the late nineteenth and early twentieth centuries, this paper grapples with the problematic that ‘vernacular modernism’ as a conceptual category represents.
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| 6 |
ID:
190732
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| Summary/Abstract |
The paper explores what a (re)organisation of the existing histories of Bangla literature from Dalit literary perspectives can offer. Towards this end, it examines some of the early questions on the formation of literary standards and how that remained directly connected with caste hierarchies. It turns briefly towards late eighteenth and early nineteenth century Calcutta as a discursive-material site to explore symptomatically how such organising of dominant literary standards works its way through various forms of exclusion. When seen from the perspective of these exclusions, what does the question of Dalit literature offer in transforming the very idea of ‘literariness’? Also, what can the vernacular literatures offer in the reception of Dalit literatures in their multiplicity while resisting the tendencies of homogenising their volatility? Addressing such concerns, the paper turns towards a conceptualisation of Bangla Dalit literature as offering a poetics for multiple forms of dwelling.
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| 7 |
ID:
154101
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| Summary/Abstract |
Episodic approaches may point in the direction of general trends by examining the ideological presuppositions of dominant literary discourses. However, they necessarily reduce the aesthetic complexity of literary movements and fail to critically consider poets whose vision may not directly speak to common literary trends. Poets such as Bizhan Jalāli (d. 1999) have been rendered standalone figures whose visions of poetic modernism are understood only in the context of their “non-adherence” to the dominant literary discourse of their time or are overlooked altogether. This essay examines how the literary life and reception of Bizhan Jalāli intersect with the intellectual and aesthetic underpinnings of committed circles in the 1960s and 1970s. The twists and turns of Jalāli’s poetics do not speak directly but rather laterally to committed articulations of modernism. The article returns Jalāli to his literary milieu by analyzing the way his work has been received by poets, anthologists and critics. As the contours of literary commitment drastically change in the 1980s and 1990s, another image of Jalāli emerges: once marginalized for his “non-commitment,” he is championed as an “apolitical” poet.
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