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4) Susan Bassnett, “What is Comparative Literature Today?” Comparative Literature: A Critical Introduction. 1993.
1) Abstract:-
Sooner or later, anyone who claims to be working in comparative literature has to try and answer the inevitable question: What is it? The simplest answer is that comparative literature involves the study of texts across cultures, that it is interdisciplinary and that it is concerned with patterns of connection in literature across both time and space.
Susan Bassnett gives a critical understanding of Comparative literature. She says that there is no particular object for studying comparative literature. Another thing is, we cannot give a definite term for comparative literature.
Different authors of literature give various perspectives about comparative literature. The popular understanding of comparative literature means different cultures across the world.
2) Key Arguments:-
Critics at the end of the twentieth century, in the age of postmodernism, still wrestle with the same questions that were posed more than a century ago:
"What is the object of the study in comparative literature? How can a comparison be the objective of anything? If individual literature have a canon, what might a comparative canon be? How can be comparatist select what to compare? Is comparative literature a discipline? Or is it simply a field of study?"
→ Susan Bassnett argues that there are different terms used by different scholars for comparative literature studies. Therefore, we cannot put in a single compartment for comparative literature.
→ The second thing she argues is that the west students of 1960 claimed that comparative literature could be put in single boundaries for comparative literature study, but she says that there is no particular method used for claiming.
3) Main Analysis:-
The comparative literature has been developed through the progress of the world and through various cultures of different continents.
Different cultures of the continents have played a vital role in comparative literature studies, be it European, African, American and Eastern so on.
Matthew Arnold in his Inaugural lecture at Oxford in 1857 when said:
"Everywhere there is a connection, everywhere there is an illustration. No single event, no single literature is adequately comprehended except in relation to other events, to other literature."
→ Goethe termed Weltliteratur.Goethe noted that he liked to "keep informed about foreign productions and advised anyone else to do the same. It is becoming more and more obvious to me," he remarked, "that poetry is the common property of all mankind."
→ Benedetto Croce argued that comparative literature was a non-subject, contemptuously dismissing the suggestion that it might be seen as a separate discipline.
→ Wellek and Warren in their Theory of Literature, a book that was enormously significant in comparative literature when it first appeared in 1949, suggest that:
"Comparative Literature ...will make high demands on the linguistic proficiencies of our scholars. It asks for a widening of perspectives, suppression of local and provincial sentiments, not easy to achieve."
4) Conclusion:-
The comparative literature could not be brought under one umbrella unless it becomes a particular branch of the discipline of literature. There are a lot of efforts are being taken to study comparative literature through a common language that is done in translation, which is understood by all people.
→ Comparative Literature has traditionally claimed translation as a sub-category, but this assumption is now being questioned. The work of scholars such as Toury, Lefevere, Hermans, Lembert, and many others has shown that translation is especially at moments of great cultural change.
→ Evan Zohar argued that extensive translation activity takes place when a culture is in a period of translation: when it is expanding, when it needs renewal, when it is in a pre-revolutionary phase, then translation plays a vital part.
→ Comparative Literature has always claimed that translation is a subcategory, but as translation studies establish themselves firmly as a subject-based in the inter-cultural study and offer a methodology of some rigor, both in terms of theoretical and descriptive work, so comparative literature appears less like a discipline and more like a branch of something else.
Seen in this way, the problem of the crisis could then be put into perspective and the long, unresolved debate on whether comparative literature is or is not a discipline in its own right could finally and definitely be shelved.
5) Todd Presner, ‘Comparative Literature in the Age of Digital Humanities: On Possible Futures for a Discipline’ in Ali Behdad and Thomas eds. A Companion to Comparative Literature’ 2011, 193- 207
1) Abstract:-
After five hundred years of print and the massive transformations in society and culture that it unleashed, we are in the midst of another watershed moment in human history that is on par with the invention of the printing press or perhaps the discovery of the New World.
This article focuses on the questions like it is essential that humanists assert and insert themselves into the twenty-first-century cultural wars, which are largely being defined, fought, and won by corporate interests.
After five hundred years of print and the massive transformations in society and culture that it unleashed, we are in the midst of another watershed moment in human history that is on par with the invention of the printing press or perhaps the discovery of the New World.
This article focuses on the questions like it is essential that humanists assert and insert themselves into the twenty-first-century cultural wars, which are largely being defined, fought, and won by corporate interests.
2) Key Arguments:-
Nicholas Negroponte once asserted in his wildly optimistic book Being Digital (Negroponte, 1995 ), for they always have an underbelly: mobile phones, social networking technologies, and perhaps even the hundred-dollar computer, will not only be used to enhance education, spread democracy, and enable global communication but will likely be used to perpetrate violence and even orchestrate genocide in much the same way that the radio and the railway did in the last century (despite the belief that both would somehow liberate humanity and join us all together in a happy, interconnected world that never existed before)
Paul Gilroy analyzed in his study of “ the fatal junction of the concept of nationality with the concept of culture ” along the “ Black Atlantic, ” voyages of discovery, enlightenment, and progress also meant, at every moment, voyages of conquest, enslavement, and destruction. Indeed, this is why many discussions of technology cannot be separated from a discussion about formations of power and instrumentalized authority.
N. Katherine Hayles, I find myself wondering – as we ponder various possible futures for Comparative Literature in the second decade of the twenty-first century – how to rouse ourselves from the “ somnolence [of] five hundred years of print ” (Hayles, 2002: p. 29). Of course, there is nothing neutral, objective, or necessary about the medium of print; rather it is a medium that has a long and complex history connected to the formation of academic disciplines, institutions, epistemologies, and ideologies, not to mention conceptions of authorship and scholarly research.
Darnton’s assessment seriously that we are now in the fifth decade of the fourth information age in the history of humankind, it seems to me that we ought to try to understand not only the contours of the discipline of Comparative Literature – and for that matter, the Humanities as a whole – from the perspective of information - and media-specific analysis, but that we also ought to come to terms with the epistemic disjunction between our digital age and everything that came before it.
Walter Benjamin did in The Arcades Project (1928 – 40; 1999), it is necessary, I believe, to interrogate both the media and methodologies for the study of literature, culture, and society.
The “ problem ” of Comparative Literature is to figure out how to take seriously the range of new authoring, annotation, and sharing platforms that have transformed global cultural production.
3) Main Analysis:-
- Comparative Media Studies:-
Body of written or pictorial material interconnected in such a complex way that it could not conveniently be presented or represented on paper [ … ] Such a system could grow indefinitely, gradually including more and more of the world’s written knowledge.
Lev Manovich and Noah Wardrip - Fruin, the field of “ cultural analytics ” has emerged over the past five years to bring the tools of high - end computational analysis and data visualization to dissect large-scale cultural datasets.
Lev Manovich and Noah Wardrip - Fruin, the field of “ cultural analytics ” has emerged over the past five years to bring the tools of high - end computational analysis and data visualization to dissect large-scale cultural datasets.
- Comparative Data Studies:-
Lev Manovich and Noah Wardrip - Fruin, the field of “ cultural analytics ” has emerged over the past five years to bring the tools of high - end computational analysis and data visualization to dissect large-scale cultural datasets.
Jerome McGann argues with regard to the first in his elegant analysis of “ radiant textuality, ” the differences between the codex and the electronic versions of the Oxford English Dictionary.
- Comparative Authorship and Platform Studies:-
4) Conclusion:-
This article mainly focuses on this twenty-first century in terms of digital humanities how we are doing comparative studies. After discussing various arguments, we come to know that to date, it has more than three million content pages, more than three hundred million edits, over ten million registered users, and articles in forty - seven languages (Wikipedia Statistics). This is a massive achievement for eight years of work. Wikipedia represents a dynamic, flexible, and open-ended network for knowledge creation and distribution that underscores process, collaboration, access, interactivity, and creativity, with an editing model and versioning system that documents every contingent decision made by every contributing author. At this moment in its short life, Wikipedia is already the most comprehensive, representative, and pervasive participatory platform for knowledge production ever created by humankind. In my opinion, that is worth some pause and reflection, perhaps even by scholars in a future disciplinary incarnation of Comparative Literature.
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