Authors:Rafael G. dos Santos, Scotty Enyart, José Carlos Bouso, Òscar Pares, and Jaime E. C. Hallak
Visual imagery is usually experienced by humans in memory processes, day-dreaming/mind-wandering, dreaming, imagination, and creativity. Some techniques, such as breathing exercises, imagery training, and
Der Beitrag verortet die aktuelle Debatte um das Verhältnis der Literatur zu deren Bildlichkeit als Rhetorizität und Materialität als Schrift historisch durch eine Lektüre von den Romanen Kaddisch für ein nicht geborenes Kind, Fiasko und Ich - ein anderer von Imre Kertész. Dabei wird von dem paradigmatischen Modernitätskonzept Walter Benjamins und der Mimesis- und Körperauffassung Adornos ausgegangen. Auf deren anthropologischer Basis werden mögliche Zugänge zum Holocaust als geschichtliches und ästhetisches Ereignis ermessen. In Kertész' Romanen wird das Verhältnis vom Gedächtnis und implizitem Mediendiskurs der Literatur im Zusammenspiel vom Gedächtnisbild, rhetorischem Bild und schriftlicher Materialität umrissen.
During the last decade or so, the literary writings that portray the lives of the wolves and their relationship with the humans
sprouted and prospered in China. These wolf writings all give very vivid and appealing portraits of wolves, their wild existence,
their character, their relationship with men, and their role in the ecosystem. They have shaped our understanding of and attitudes
towards animals and nature, which is of great value to the ongoing building of ecological civilization in China as well as
in the world. In general, the Chinese wolf literature has inevitably been influenced and inspired by the long and rich traditions
of the wolf myths and literature in the West, particularly those works of Jack London, Rudyard Kipling and other Western writers
since the end of the 19th century. With due attention paid to the influence of the Western wolf literature, this essay will
mainly analyze the three most important Chinese wolf novels—The Wolf Child, Remembering Wolves and The Wolf Totem, both separately and with reference to one another. It argues that the representations of wolves in them subvert the stereotypical
hostile images of wolf in traditional Chinese culture, bring about fresh reflections on the cultural and spiritual symptoms
of (post)modernity and globalization, and finally lead to a growing ecological consciousness and the call for balance between
humans and nonhumans.
Since world literature is represented in different languages, translation has played an important role in reconstructing such
world literatures in different languages and cultural backgrounds. In the past decades, the postcolonial literary attempts
have also proved that even in the same language, for instance, English, literary writing is still more and more diversifying,
hence the birth of international English literature studies. Thus the concept “world literature” is no longer determinate,
for it has evolved in the historical development of literature of all countries. Today’s literary historiography is thereby
pluralistically oriented: not only by means of nation-state, for instance, British literature and American literature, but
also by means of language, such as (international) English literature(s), and (international) Chinese literature(s). Walter
Benjamin, in dealing with the task of the (literary) translator, pertinently points out that translation endows a literary
work with “continued life” or “afterlife”, without which many literary works of world significance will remain dead or marginalized.
Inspired by Benjamin’s thinking of translation and Damrosch’s emphasis on the role played by translation in constructing world
literature, the author lays particular emphasis on the translation of literary works which may well help form such a world
literature. The reason why Chinese literature is little known to the world is largely for lack of excellent translation. The
author thereby calls for translating Chinese literature into some of the major world languages.
The unstable genre of Rousseau’s
set in motion a movement between biography and narration, testimony and poetic fiction in the wake of Montaigne. In his
, Rousseau builds up a space where he is composed by refraction and displacement. The autobiographical process of writing is a kind of dialectical process between the subject writing about himself and the grammatical person that pertains to language.
The author analyses two volumes of verse of Catherine Acholonu, a contemporary Nigerian poet: Nigeria in the Year 1999 and The Spring's Last Drop from two aspects.
The first main aspect of the poems she examines is the feeling of exile, being outcast from the homeland. "The texts diagnose
some of Nigeria's current socioeconomic and political problems which can apply to the experience of other Africans as well."
The second part of her analysis highlights violences suffered by women in the war and in the social life. The author discusses
the situation of being a woman under double oppression. The conclusion is: "Acholonu clarifies the nature of the disharmony
hurting contemporary society."