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This book is open access and available on www.bloomsburycollections.com. It is funded by Nottingham Trent University. What do we mean when we talk of 'world' literature? What does a global, even a planetary view reveal to us about literature, culture and being? In Orbital Poetics Philip Leonard explores conceptions of the world through the history of writing, theory and culture from an orbital perspective. Starting with literary and theoretical writing on satellites, orbit and terrestrial ground from the ancient world to the 21st century, the book casts a revealing new light on what it means to consider literature and culture on a global scale. Along the way, Leonard draws on a wide range of thinkers, writers and texts: from Dante and Goethe to contemporary electronic literature; Haruki Murakami and Tom McCarthy by way of philosophers and theorists including Agamben, Derrida and Heidegger; as well as astronaut photography and popular culture texts, such as novels by Buzz Aldrin and Tess Gerritsen and Alfonso Cuarón's film Gravity.
Poetry and astronomy often travel together in the political sphere, from Milton's meeting with Galileo under house arrest to NASA's practice of launching poems into space. Anchored in the post-war period but drawing on a long history of poetry and science, Lyric Poetry and Space Exploration from Einstein to the Present charts the surprising connection between poetry and extra-terrestrial space. In an era defined by the vast scales of globalization, environmental disaster, and space travel, poets bring the small scales of lyric intimacy to bear on cosmic immensity. While outer space might seem the domain of more popular genres, lyric poetry has ancient and enduring associations with cosmic inquiry that have made it central to post-war space culture. As the Cold War played out in space, American institutions and media - from NASA to Star Trek - enlisted poetry to present space exploration as a peaceful mission on behalf of humankind. Meanwhile, poets from across the globe have turned to the cosmos to contest American imperialism, challenging conventional ideas about lyric poetry in the process. Poets including Elizabeth Bishop, Adrienne Rich, Seamus Heaney, Derek Walcott, Agha Shahid Ali, and Tracy K. Smith invoke the extra-terrestrial to interrogate national histories alongside their craft. Dazzled by the aesthetics of astronomy but wary of its imperial uses, poets employ astronomical figures and methods to imagine how we might care for both ourselves and others on a shared planet.
This book provides a history of the way in which literature not only reflects, but actively shapes processes of globalization and our notions of global phenomena. It takes in a broad sweep of history, from antiquity, through to the era of imperialism and on to the present day. Whilst its primary focus is our own historical conjuncture, it looks at how earlier periods have shaped this by tracking key concepts that are imbricated with the concept of globalization, from translation, to empire, to pandemics and environmental collapse. Drawing on these older themes and concerns, it then traces the germ of the relation between global phenomena and literary studies into the 20th and 21st centuries, exploring key issues and frames of study such as contemporary slavery, the digital, world literature and the Anthropocene.
What can Finland’s greatest and supposedly least translatable novel tell us about translation and world literature?
Poetry And Poetics Are Integrally Related. The Former Is An Art Based On Emotions, Whereas The Latter Is A Science Evaluating Poetry. So Long Their Common Mode Of Treatment Has Been To Excite In The Mind The Emotions Appropriate To The Subject-Matter. But Science And Art Are Not Identical. The Former Uses The Discursive Mode; And The Latter The Presentational Mode. While Science Is Truth, The Art Is Adjectively True , I.E. It Does Not Conflict With The Truth.The Book Critique Of Poetics Is An Extremely Bold And Far Reaching Attempt At A Comprehensive Theory Of Poetry. It Starts With A Sound-Sense Continuum And Ends With Quantum Poetics. The Path Of Evolution Is Marked By The Poetic Process, The Flow Of Rasa, The Flight Of Pegasus, The Dance Of Resonons, The Doctrine Of Suggestion, Rx For Rhetoric, The Logic Of Signs And Symbols, The Poetic Imagery, The Miracle Of Communication, The Concept Of Criticism, Style And Stylistics, The Law Of Inspiration And Catharsis, The Limits Of Art, The Philosophy Of Beauty, East And West In Poetics, And The Theory Of Literature. And This Has Been Treated In A Global Perspective, Which Harmonizes Both East And West In Poetics. A Balance Has Also Been Struck Between The Two Approaches To The Study Of Literature Extrinsic And Intrinsic. The Former Is Characterized By Psychology-Society And Other Arts Whereas The Latter By Style And Stylistics, Image And Metaphor, Rhetoric And Suggestion, Beauty And The Like. A New Theory Of Literature Has Been Derived From These. This Is Born In A Continuum Of Sound And Sense, Of Space And Time. It Provides An Organ Of Evaluating The Past, Present And Future Works Of Literature. In This Context Quantum Poetics Marks The End Of The Evolutionary Process.
Disciplines from literary studies to environmentalism have recently undergone a spectacular reorientation that has refocused entire fields, methodologies, and vocabularies on the world and its sister terms such as globe, planet, and earth. The Bloomsbury Handbook of World Theory examines what “world” means and what it accomplishes in different zones of academic study. The contributors raise questions such as: What happens when “world” is appended to a particular form of humanistic or scientific inquiry? How exactly does “worlding” bear on the theoretical operating system and the history of that field? What is the theory or theoretical model that allows “world” to function in a meaningful way in coordination with that knowledge domain? With contributions from 38 leading theorists from a vast range of fields, including queer studies, religion, and pop culture, this is the first large reference work to consider the profound effect, both within and outside the academy, of the worlding of discourse in the 21st century.
This volume shows how British literature recorded contemporaneous historical change. It traces the emergence and evolution of literary trends from 1980-2000.
Above the land and its horizon lies the celestial sphere, that great dome of the sky which governs light and darkness, critical to life itself, yet its influence is often neglected in the archaeological narrative. Visualising Skyscapes captures a growing interest in the emerging field of skyscape archaeology. This powerful and innovative book returns the sky to its rightful place as a central consideration in archaeological thought and can be regarded as a handbook for further research. Bookended by a foreword by archaeologist Gabriel Cooney and an afterword by astronomer Andrew Newsam, its contents have a wide-reaching relevance for the fields of archaeology, anthropology, ethnography, archaeoastronomy, astronomy, heritage and cultural studies. The volume balances six chapters on theory and methodology which elaborate on the history and practice of the field with six other chapters focused on case studies from around the world. Visualising Skyscapes captures the growing interest in the multidisciplinary study of skyscapes and will be of interest to academics, students and the general public, as well as having international appeal. It is topical, timely and relevant to current debates and will hopefully stimulate further interest in this exciting and relatively new area of investigation. The contributions showcase the work of distinguished academics in the field and the chapters are all enhanced by numerous photographs and images.
This book celebrates experimental translation, taking a series of exploratory looks at the hypercyborg translator, the collage translator, the smuggler translator, and the heteronymous translator. The idea isn’t to legislate traditional translations out of existence, or to “win” some kind of literary competition with the source text, but an exuberant participation in literary creativity. Turns out there are other things you can do with a great written work, and there is considerable pleasure to be had from both the doing and the reading of such things. This book will be of interest to literary translation studies researchers, as well as scholars and practitioners of experimental creative writing and avant-garde art, postgraduate translation students and professional (literary) translators.
Can poetry act as an aesthetic amplification device, akin to a microscope, through which we can sense minute or nearly imperceptible phenomena such as the folding of molecules into their three-dimensional shapes, the transformations that make up the life cycle of a silkworm, or the vaporous movements that constitute the ever-shifting edges of clouds? We tend to think of these subjects as reserved for science, but, as Ada Smailbegović argues, twentieth- and twenty-first-century writers have intermingled scientific methodologies with poetic form to reveal unfolding processes of change. Their works can be envisioned as laboratories within which the methodologies of experimentation, natural historical description, and taxonomic classification allow poetic language to register the rhythms and durations of material transformation. Poetics of Liveliness moves across scales to explore the realms of molecules, fibers, tissues, and clouds. It investigates works such as Christian Bök’s insertion of a poetic text into the DNA code of living bacteria in order to generate a new poem in the shape of a protein molecule, Jen Bervin’s considerations of silk fibers and their use in biomedicine, Gertrude Stein’s examination of brain tissues in medical school and its subsequent influence on her literary taxonomies of character, and Lisa Robertson’s studies of nineteenth-century meteorology and the soft architecture of clouds. In their attempt to understand physical processes unfolding within lively material worlds, Smailbegović contends, these poets have developed a distinctive materialist poetics. Structured as a poetic cosmology akin to Lucretius’s “On the Nature of Things,” which begins at the atomic level and expands out to the vastness of the universe, Poetics of Liveliness provides an innovative and surprising vision of the relationship between science and poetry.