scholarly journals Welt (World)

2021 ◽  
Vol 1 (2) ◽  
Author(s):  
John Noyes

Goethe uses the word Welt (world) repeatedly in his writings, especially in his poetry, both singularly and in compounds, to establish a rich constellation of nature, divinity, and subjectivity, managed discursively at the intersection of economics, science, and literature. The most widely discussed example is Weltliteratur (world literature), but his understanding of Welt is equally evident in such compounds as Weltgeschichte (world history), Weltseele (world soul), Weltgeist (world spirit), Weltensumpf (world morass), Weltregiment (world regime), Weltwirrwesen (tumultuous world essence), Weltenschöpfer (world creator), Weltbürger (world citizen), Weltfrömmigkeit (world piety), and many more. I will focus in this lexicon entry on Goethe’s cosmological and phenomenological understandings of Welt, with the aim of showing how he enables the latter by his treatment of the former. Welt is such a widespread concept that it is not possible to do justice to all aspects of its use. As a result, the main textual references used in this entry are Faust, the Wilhelm Meister novels, and the poem “Auf dem See” (1775/89; On the Lake).

2020 ◽  
Vol 32 (1-2) ◽  
pp. 31-48
Author(s):  
Travis Workman

This article discusses Édouard Glissant’s theory of Relation as a minor philosophy of world that breaks from the spatialization of time and the anthropological cosmopolitanism of Enlightenment thought and Cold War area studies. The first part connects two dominant Cold War area studies discourses—modernization theory and cultural anthropology—to Immanuel Kant’s Anthropology and Michel Foucault’s reading of it, showing how area studies discourses participate in an old Enlightenment problem of what Foucault calls the “anthropological illusion.” The article then connects Glissant’s criticism of generalization and his idea of the “world” to the critique of area studies, showing how the spatiotemporality of Glissant’s Relation disarticulates the area studies framework and its mode of racializing the poetics of world history, world literature, and world culture.


2019 ◽  
pp. 13-33
Author(s):  
I. O. Shaytanov

The article focuses on the conception, transformation, and operation of the term ‘world literature’, including its historical origins and modern problematics. When meaning is problematized, and the reality of world history is radically revised, the changes cannot but affect the derivative phenomenon of world literature, where historical challenges give rise to the need for reconstruction of its very concept and clarification of its components (language, culture, nation, and territory), as well as of the nature of their connection. The author distinguishes between world, or global, literature, on the one hand, and globalization, multiculturalism, and other concepts, on the other. He argues that cultural references in a ‘post-national’ world are doomed, and that world literature, rather than neutralizing cultural differences, should identify and define them, also by comparison.


PMLA ◽  
2012 ◽  
Vol 127 (2) ◽  
pp. 342-348 ◽  
Author(s):  
Ato Quayson

After being exiled from nazi germany and completing the extraordinary mimesis in istanbul in 1946, erich auerbach wrote from Princeton University in 1952, “Literary criticism now participates in a practical seminar on world history. … Our philological home is the earth: it can no longer be the nation.” Auerbach, who must be reckoned one of the great synthesists and literary historians of the twentieth century, was expressing a sentiment that will be familiar to anyone who has thought about world literature from a postcolonial perspective. While postcolonial literary studies may have helped define the parameters of the practical seminar on world history, its full implications are still somewhat obscured by the arguments about periodicity that are often taken as a terminological necessity in applications of the term postcolonial. This is the burden imposed by the temporalizing post-. However, closer scrutiny of the postcolonial suggests that it contains mutually reinforcing periodizing and spatial functions. Many of the most common ideas that circulate in the field, such as colonial encounter, neocolonialism, nationalism and postnationalism, hegemony, transnationalism, diasporas, and globalization, are organized around often unacknowledged spatial motifs. The concept of space that implicitly structures usages of postcolonialism is far from inert: there is an active dimension of spatializing in them that helps shape the field's distinctiveness. This is because even when the term is deployed exclusively for periodizing purposes, as in showing that the medieval period or Russia today is amenable to a postcolonial analysis, the nature of what is highlighted insistently invokes spatial practices. Once the spatial logic of postcolonialism is brought to the foreground, the complexity of its critical diagnostic as applied in the practical seminar on world history becomes clearer.


Booksellers, authors, and academics have been talking about world literature since Goethe made the term fashionable in the early nineteenth century. Yet amidst all the talk of books that ‘circulate’ and literature as a kind of ‘universal property’ that can function as a ‘window on the world’, how do we account for the people who live in real places, and who write, translate, market, and read the texts that travel on these global journeys? This handbook breaks new ground by showing how to bring together the real-world contexts of authorship with the literary worlds of fiction through the concept of the world author. ‘World authorship’ is a practical update on Michel Foucault’s ‘author function’ that significantly expands the network of people and practices involved with literature and is at the same time more grounded in the study of actual literary texts. The concept is set out in detail in a rigorous introduction followed by twenty-five keyword chapters that cover all core aspects of world authorship, from ‘Beginnings’ to ‘Voice’, and have been written by professionals who work right across the sector. In its entirety, the handbook illuminates how literature is made and shared in different parts of the world and at different times of world history. At the heart of all contributions, however, is one key question: where is the human element in world literature? Established authors, translators, publishers, prize judges, and festival coordinators as well as academics from a range of different disciplinary backgrounds collectively give us the answer.


Author(s):  
Harriet Foley ◽  
Matt Lagerberg

2021 ◽  
pp. 395-413
Author(s):  
Małgorzata Mikołajczak

The article discusses the research proposal presented in Światowa historia literatury polskiej. Interpretacje [World History of Polish Literature. Interpretations], edited by Magdalena Popiel, Tomasz Bilczewski and Stanley Bill. Mikołajczak contrasts the research concept of world literature with the dominant approaches to the world literature in the area of contemporary literary studies and the traditional model of the history of literature. She reflects on the situation of Polish literature in the world, taking into account the ways in which Polish works circulate in other cultural circles, the possibilities and limitations of translation as well as shifts within the canon. She also indicates the opportunities that open up for Polish literature in the global context.


Author(s):  
Zaruhi Hayryan ◽  
Luiza Gasparyan

The history of Russian-Armenian literary relationships is one of the brightest and most significant events of the time. It undoubtedly enhanced the mutual cultural heritage and left a profound mark on the worldview, moral and aesthetic values of Armenian and Russian writers, translators, and literary critics. Since the beginning of the 20th-century Armenian culture, mainly Armenian literature, aroused great interest among such outstanding classics, as M. Gorky, V. Bryusov, A. Blok, O. Mandelstam, A. Bely, A. Akhmatova and others who not only appreciated its aesthetic and stylistic texture but also embarked on the laborious work of translating its best achievements into Russian. In this sense, the anthology "The Poetry of Armenia from Ancient Times to the Present" in 1916 can be considered a significant cultural event. It was edited by Valery Bryusov, who also wrote the introductory part of the work. The publication was carried out with M. Gorky's direct assistance and support. It should be noted that many Russian translations done by V. Bryusov and A. Blok are still brilliant samples of the artistic heritage of translation. The present work focuses on the evaluations and interpretations of Russian critics (V. Bryusov, Y. Veselovsky) of the creative heritage of Gh. Alishan, his poetic individuality and the influence on the development of the literary process of that time. It also reveals the role of Russian poets, translators and literary critics in promoting the publication and popularization of Bryusov's anthology as a significant cultural event of the time. The section of the anthology "Poetry of Western Armenians" includes the most famous poems of Gh. Alishan, M. Peshiktashlyan, P. Duryan, Sipil, L. Shant, and others are parallelly illustrated by the excellent translations of V. Bryusov, S. Shervinsky, V. Khodasevich, K. Balmont, S. Bobrov and others. The scientific research has shown that among Russian poets and translators, Bryusov was one of the first interested in Gh. Alishan's literary works and his bright poetic individuality. It can be explained by the fact that Alishan was a well-known representative of Western Armenian poetry and a comprehensive creator of his time, a man with encyclopedic knowledge. In addition, he was a historian, philosopher, translator, philosopher, geographer who devoted his whole life to science and enlightenment. Bryusov was also a gifted man. He had a poetic talent; he contributed to improving the Russian dialect, elevating it to a new, higher level. Consequently, there are many common features between Bryusov and Alishan. These are the breadth of the intellectual range, brilliant knowledge of languages and world literature, devotion to scientific activities, profound love for their Motherland, its cultural values and the highest level of humanism. Undoubtedly, they were outstanding figures of their era who made a significant contribution to the development of culture, science and literature. This article is an attempt at a comprehensive study of the principles of the Russian translation theory used in the translation of Armenian literature, with particular reference to the poem "Hrazdan", an extract from Gh. Alishan's patriotic lyrics. The proficiency of Russian translators and the revelation of Armenian linguistic and national characteristics helped them interpret the linguo-stylistic peculiarities of the original and recreate their equivalent counterparts.


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