Contemporary Entangled Elegy (original) (raw)
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Available in Open Access through this link: https://brill.com/view/journals/jwl/8/1/jwl.8.issue-1.xml Contemporary Entangled Elegy Adele Bardazzi , Roberto Binetti , and Jonathan Culler The Elegiac Transnational. Mourning Chinese Poetry Nick Admussen “Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli Adele Bardazzi Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood David Sherman Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death Ivanna Sang Een Yi Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy Roberto Binetti The Poetics of Pain. Lament and Elegy in Modern Greek Literature Gail Holst-Warhaft Mourning Women. Two Modern Takes on Arabic Elegy Emily Drumsta “A Global Web of Elegies” Jahan Ramazani
Available in Open Access through this link: https://brill.com/view/journals/jwl/8/1/jwl.8.issue-1.xml Special Issue Elegy Today: Resistance, Revision, Re-Mapping’ Ed. by Adele Bardazzi, Roberto Binetti, and Jonathan Culler Journal of World Literature 8:1 (2023) Contemporary Entangled Elegy Adele Bardazzi , Roberto Binetti , and Jonathan Culler The Elegiac Transnational. Mourning Chinese Poetry Nick Admussen “Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli Adele Bardazzi Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood David Sherman Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death Ivanna Sang Een Yi Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy Roberto Binetti The Poetics of Pain. Lament and Elegy in Modern Greek Literature Gail Holst-Warhaft Mourning Women. Two Modern Takes on Arabic Elegy Emily Drumsta “A Global Web of Elegies” Jahan Ramazani
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This collection of nine papers explores the possibilities of a poetics which, after three decades of postmodernist experiments, wishes to refocus on the social and political dimension of the creative enterprise. In the latter years of the twentieth century, poetics has seen a variety of styles and modalities that have both called into question the very nature and need of poetry, and put forth a number of hypotheses. Among these we can list performance art, hybridity with pop and rap music, parody and collage, multilingualism, and an apparently acritical recycling of older or traditional forms. The lyric tradition seems to have continued unperturbed, especially in university settings. What seems to have disappeared from the scene is a poetics of the public sphere, one which is more in tune with broader movements that grew from the smoking debris of the Twin Towers in 2001. In a way, suddenly even postmodernism collapsed. Within a few short years, new poetics emerge (clearly some had been in gestation for decades), such as immigrant poetry, hyphenated poetry, poetry in translation, prose poems, computer-generated textualities, memorialism, technoallegories, and in general political poetry after the void left behind by the Beat generation and European committed writings of the 1970s and the 1980s. The questions the critic and the philosopher ask themselves are: what is the meaning of this transition? What carries over, what is gone for good? And what prospects lie before us? This collection addresses the necessity, in the context of this problematic set of issues, of whether new critical models need to be devised in order to better recognize, describe and relaunch a poetics for the twenty–first century.
Arrested Motion and Future-Mourning: Hybridity and Creativity
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Melancholy seems always to have had a bad press. In this essay I explore the ways in which the expression of negativity, ambivalence and dissonance in melancholy influenced and shaped my writing. Much of this melancholia stemmed from transplantation and dissonance and from the need to make oneself heard in a host country whose blindness to alterity ran parallel to an identitarian politics framed by exclusion. When a nation is unable to mourn its history, writers tend to be paralysed, being unable to detach themselves from a nation-building canon. I investigate melancholia as a productive agent in employing critique to produce countertraditions and to offer resistance to dominant ideologies. I focus on writing in order to explore distinctive moments when melancholia, expressed in forms ranging from dissimulation to irony, played a decisive role in my writing career.
N ear the beginning of THREE POEMS (1972), JOHN ASHBERY writes, I'm sorry-in staring too long out over this elaborate view one begins to forget that one is looking inside, taking in the familiar interior which has always been there, reciting the only alphabet one knows. To escape in either direction is impossible outside the frost of a dream, and it is just this major enchantment that gave us life to begin with, life for each other. Therefore I hold you. But life holds us, and is unknow-