Old Margins and New Centers Anciennes Marges et Nouveaux Centres: The European Literary Heritage in an Age of Globalization l'Heritage Litteraire Europeen dans Une Ere de Globalisation(9 Nouvelle Poetique Comparatiste - New Comparative Poetics)

This critical anthology seeks to reassess the complex cultural and literary negotiations taking place between Europe and its margins in an increasingly globalized age. The somewhat paradoxical title of this volume playfully reverses traditional views of the relationship between Europe and its Others, reflecting the awareness that former European cultural centers could become tomorrow's new literary margins. This collection reevaluates the enduring impact of European cultural and literary traditions on various postcolonial and contemporary literatures, not only in world regions that used to be called the new margins of Europe but also in the former center, i.e. Europe itself. As the contributions gathered in this book suggest, the current relationship between European culture and its previous Others is no longer marked by unilateral opposition. Cette anthologie critique tente de redefinir la complexite des negociations culturelles et litteraires entre l'Europe et ses marges a une epoque de globalisation grandissante. Dans un esprit ludique, le titre quelque peu paradoxal de ce volume renverse les conceptions traditionnelles de la relation entre l'Europe et ses Autres , suggerant de la sorte que les anciens centres culturels de l'Europe pourraient bien devenir les nouvelles marges litteraires du futur. Ce collectif evalue sous un angle neuf la perennite de l'impact des traditions litteraires et culturelles europeennes sur diverses litteratures postcoloniales et contemporaines, non seulement dans des regions du monde autrefois considerees comme les marges de l'Europe, mais egalement en Europe, le centre culturel de jadis. Comme l'indiquent les textes reunis dans cet ouvrage, la relation actuelle entre l'Europe et ses anciens Autres n'est plus caracterisee par une opposition unilaterale.

Table of Contents:
Contents/Contenu : Marc Maufort: Old Margins and New Centers: The Legacy of European Literatures in an Age of Globalization - Haun Saussy : Zhuangzi, ce decentre, et l'ouverture de la litterature chinoise sur l'ailleurs - Gerald Gillespie: Internal Liminalities, Transcultural Complexities: Expanding Frontiers for Comparative Literature - Anders Pettersson/Theo D'Haen: Towards a Non-Eurocentric World History of Literature - Hans Bertens: Same Old Centers, Same Old Margins - Steven Shankman: Reading for Peace: Iliad 24. 477-84 - Vladimir Biti: The Divided Legacy of the Enlightenment: Herder's Cosmopolitanism as Suppressed Eurocentrism - Hubert Roland : Images, transferts et historiographie de la litterature : A qui appartient le romantisme ? - John Burt Foster: Doubting the West: Negotiations with Eurocentrism in Dostoevsky's The Gambler and Tolstoy's Anna Karenina - Stephane Michaud : L'Europe comme fabrique de la difference - Steven P. Sondrup: On the Margin of the Margin - Dorota Walczak : Le Nouveau poeme multiculturel de Julia Hartwig et de Tadeusz Rozewicz : deux approches differentes d'une ere globale - Randolph D. Pope: A Writer for a Globalized Age: Roberto Bolano and 2666 - K. Alfons Knauth : Le pourtour de Babel : esquisse du babelisme litteraire en Amerique latine - Laurence Denooz : Le patrimoine europeen, vecteur des revendications nationalistes arabes : Le Nouveau Faust de 'Ali Ahmad Bakatir (1910-69) - Christophe Den Tandt: A New Local Color? Mapping the Strategies of Realism at the Turn of the Twenty-first Century - Thomas Figueira/Dorothy M. Figueira: Travels with Herodotus: At Home and Abroad - Miceala Symington: Did the Irish Become White? Writing the Great Famine - Post-colonial and Post-post-colonial Paradigms - Stephanie Loriaux : La litterature allochtone neerlandaise : trait d'union culturel d'une societe en construction - Isabelle Meuret: A Tale of Mutual Fascination: Salman Rushdie's The Enchantress of Florence - Franca Bellarsi: Mythical Margins in the Poetic Expression of the Nothingness/Somethingness of the Canadian Prairie - Sylvie Vranckx: The Ambivalence of Cultural Syncreticity in Highway's Kiss of the Fur Queen and Van Camp's The Lesser Blessed - Caroline De Wagter: Old Margins, New Centres: (W)righting History in August Wilson's Radio Golf and Tomson Highway's Ernestine Shuswap Gets Her Trout - David O'Donnell: Beyond Post-Colonialism? Transactions of Power and Marginalisation in Contemporary Australasian Drama.

About the Author :
Marc Maufort is Professor of English, American and postcolonial literatures at the Universite Libre de Bruxelles, Belgium, and currently serving as European Secretary of the International Comparative Literature Association (ICLA). He has recently authored a book entitled Labyrinth of Hybridities: Avatars of O'Neillian Realism in Multi-ethnic American Drama (1972-2003) (2010). Caroline De Wagter obtained her PhD in Modern Languages and Literatures at the Universite Libre de Bruxelles, Belgium. She has co-edited Signatures of the Past: Cultural Memory in Contemporary Anglophone North American Drama (2008) and is currently working on her forthcoming book, Mouths on fire with songs: Negotiating Multiethnic Identities on the Contemporary North American Stage (2012). Marc Maufort est professeur de litteratures anglaise, americaine et postcoloniales a l'Universite Libre de Bruxelles (Belgique). Il est actuelllement le Secretaire europeen de l'Association internationale de litterature comparee (AILC). Il vient de publier un ouvrage sur le theatre americain intitule Labyrinth of Hybridities: Avatars of O'Neillian Realism in Multi-ethnic American Drama (1972-2003) (2010). Caroline De Wagter detient un doctorat en Langues et litteratures de l'Universite Libre de Bruxelles (Belgique). Elle a collabore a l'edition scientifique du collectif Signatures of the Past: Cultural Memory in Contemporary Anglophone North American Drama (2008). Elle termine actuellement un livre intitule Mouths on fire with songs: Negotiating Multi-ethnic Identities on the Contemporary North American Stage (2012).