By David Damrosch
International Literature in concept presents a definitive exploration of the urgent questions dealing with these learning international literature at the present time. * insurance is divided into 4 elements which study the origins and seminal formulations of worldwide literature, global literature within the age of globalization, modern debates on global literature, and localized models of worldwide literature * comprises greater than 30 very important theoretical essays via the main influential students, together with Johann Wolfgang von Goethe, Hugo Meltzl, Edward stated, Franco Moretti, Jorge Luis Borges, and Gayatri Spivak * contains considerable introductions to every essay, in addition to an annotated bibliography for additional interpreting * permits scholars to appreciate, articulate, and debate an important concerns during this speedily altering box of analysis
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18-40. © Louisiana State University Press. World Literature in Theory, First Edition. Edited by David Damrosch. & Sons, Ltd. Published 2014 by John Wiley & Sons, Ltd. © 2014 John Wiley The Emergence ofWeltliteratur 23 When Goethe began to issue his pronouncements on Weltliteratur in the 1820s, the dreams of a united Germany which had helped stoke the fIres of resistance to Napoleon earlier in the nineteenth century were but a distant memory. Germany was not one unified country at this time; unification did not occur until 1871.
Instead of giving free rein to polyglottism and reaping the fruits in the future (fruits that it would certainly bring), every nation today insists on the strictest monoglottism, by considering its own language superior or even destined to rule supreme. This is a childish competition whose result will flnally be that aIl of them remain - inferior. The brilliant Dora d'Istria, in the foreword to her fine book La Poésie des Ottomans [the second edition appeared quite recently] confirms our opinion by exclaiming impatiently: Nous vivons en eff(:t dans une époque fort peu littéraire, et l'Europe livrée aux haines des partis, aux luttes des races, aux querelles des sectes, aux rivalités des classes, n'attache qu'une médiocre importance aux questions qui semblaient, il y a quelques années, capables d'occuper tous les esprits cultivés.
While these circumstances allowed Goethe to sense the onset of Weltliteratur, he of course recognized that the constellation of a truly transnationalliterature, marked by thematic, stylistic, and even linguistic features drawn from the world and not anchored primarily in the traditions of individual nation-states, was at best, as Wellek puts it, "a distant ideaI:'21 In spite ofhis conflation of "World-Literature" with "European literature;' and in spite of a belief that early works of Egyptian, Indian, and Chine se literature could only be viewed as "curiosities;' lacking the potential to enhance the modern European's ethical and aesthetic acculturation ("Bildung") (9:602),22 Goethe's own poetic effort to approximate the ideal of hybridity in world literature is most evident in the Westostlicher Divan, inspired by his reading of the medieval Persian poet Hafiz.