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Olga M. Davidson applies comparative literary approaches to classical Persian traditions of composing and performing poetry and song. She focuses on the eleventh-century ce epic Shahnama and its relationship to other genres embedded in it, including forms of verbal art originally composed without the aid of writing, such as women's laments.
This volume is a translation of selections of L'Oeil vivant (1961 and 70). Annotation copyright Book News, Inc. Portland, Or.
The importance of the rich corpus of “Masters Literature” that developed in early China since the fifth century BCE has long been recognized. But just what are these texts? Scholars have often approached them as philosophy, but these writings have also been studied as literature, history, and anthropological, religious, and paleographic records. How should we translate these texts for our times? This book explores these questions through close readings of seven examples of Masters Literature and asks what proponents of a “Chinese philosophy” gained by creating a Chinese equivalent of philosophy and what we might gain by approaching these texts through other disciplines, questions, and concerns. What happens when we remove the accrued disciplinary and conceptual baggage from the Masters Texts? What neglected problems, concepts, and strategies come to light? And can those concepts and strategies help us see the history of philosophy in a different light and engender new approaches to philosophical and intellectual inquiry? By historicizing the notion of Chinese philosophy, we can, the author contends, answer not only the question of whether there is a Chinese philosophy but also the more interesting question of the future of philosophical thought around the world.
During the first half of the 20th century, Japan was the dominant military & political force in East Asia. This study explores the transculturations of Japanese literature amongst the Chinese, Koreans, Taiwanese & Manchurians whose lives had come within the sphere of the Japanese Empire.
This book provides you with all the tools you need to write an excellent academic article and get it published.
What do Chinese literature and film inspired by the Cultural Revolution (1966–1976) have in common with media of the May Fourth movement (1918–1930)? This book demonstrates several shared aims: to liberate narrative arts from aesthetic orthodoxies, to draw on foreign sources for inspiration, and to free individuals from social conformity.
World literature was long defined in North America as an established canon of European masterpieces, but an emerging global perspective has challenged both this European focus and the very category of "the masterpiece." The first book to look broadly at the contemporary scope and purposes of world literature, What Is World Literature? probes the uses and abuses of world literature in a rapidly changing world. 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 literature moves into an elliptical space created between the source and receiving cultures, shaped by both but circumscribed by neither alone. Established classics and new discoveries alike participate in this mode of circulation, but they can be seriously mishandled in the process. From the rediscovered Epic of Gilgamesh in the nineteenth century to Rigoberta Menchú's writing today, foreign works have often been distorted by the immediate needs of their own editors and translators. 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.
'A New History of German Literature' offers some 200 essays on events in German literary history.
Savage Exchange explores the politics of representation during the Han dynasty (206 BCE–220 CE) at a pivotal moment when China was asserting imperialist power on the Eurasian continent and expanding its local and long-distance (“Silk Road”) markets. Tamara T. Chin explains why rival political groups introduced new literary forms with which to represent these expanded markets. To promote a radically quantitative approach to the market, some thinkers developed innovative forms of fiction and genre. In opposition, traditionalists reasserted the authority of classical texts and advocated a return to the historical, ethics-centered, marriage-based, agricultural economy that these texts described. The discussion of frontiers and markets thus became part of a larger debate over the relationship between the world and the written word. These Han debates helped to shape the ways in which we now define and appreciate early Chinese literature and produced the foundational texts of Chinese economic thought. Each chapter in the book examines a key genre or symbolic practice (philosophy, fu-rhapsody, historiography, money, kinship) through which different groups sought to reshape the political economy. By juxtaposing well-known texts with recently excavated literary and visual materials, Chin elaborates a new literary and cultural approach to Chinese economic thought. Co-Winner, 2016 Harry Levin Prize, American Comparative Literature Association; Honorable Mention, 2016 Joseph Levenson Book Prize, Pre-1900 Category, China and Inner Asia Council of the Association for Asian Studies