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Este artículo aborda el modo en que las estructuras patriarcales han silenciado el discurso poético de las mujeres en el siglo XX español, perpetuando los modelos seculares de la tradición. El punto de partida teórico muestra cómo se ha construido el canon literario a partir de la historia y la ideología dominante para promover su difusión a través del canon escolar reproducido en los materiales didácticos utilizados en la educación literaria. Una vez definido el problema de investigación, se aborda la nueva situación como consecuencia de la implantación legal de la LOMLOE en Andalucía, sugiriendo estrategias para crear itinerarios de lectura originales, pertinentes e innovadores para trabajar la realidad de la poesía del siglo XX de forma significativa, favoreciendo además la educación en valores como el respeto a la igualdad de género. El objetivo es integrar en el currículo de bachillerato a autoras significativas que, a pesar de su calidad y valor, han sido eclipsadas, aunque legítimamente deberían ser incluidas para componer un corpus textual válido que responda a la verdad de lo histórico-literario, buscando exclusivamente mejorar la formación de lectores. Abstract This article deals with the way in which patriarchal structures have silenced women's poetic discourse in spanish’s 20th century, perpetuating the secular models of tradition. The theoretical starting point shows how the literary canon has been constructed on the basis of history and the dominant ideology in order to promote its dissemination through the school canon reproduced in the didactic materials used in literary education. Once the research problem has been defined, the new situation is addressed as a result of the legal implementation of the LOMLOE in Andalucía, suggesting strategies to create original, relevant and innovative reading itineraries in order to work on the reality of 20th century poetry in a meaningful way, also favouring education in values such as respect for gender equality. The aim is to integrate into the baccalaureate curriculum significant female authors who, despite their quality and value, have been overshadowed even though they should legitimately be included in order to compose a valid textual corpus that responds to the truth of the historical-literary, seeking exclusively to improve the training of readers.

The Sephardic communities that were established in Italian territory as a result of the expulsion edicts of the Catholic Monarchs of Spain, despite the difficulties of exile in a new and unknown homeland, did not give up producing their own literature. It is a minority production within the canon of Italian literature and yet it tells us about those ante litteram “new Italians”. By studying the texts that have been preserved (unfortunately in a limited number), it is possible to delineate the Italo-Sephardic identity of a group on the margins of society, which for a long time had to live hiding that identity for fear of persecution.

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Copyright of Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper introduces the R&D research project titled The institution of the «Siglo de Oro». Construction processes in the periodical press (1801-1868) (SILEM III), part of the Spanish National Research Plan, which brings together forty researchers from Spanish and European universities to explore, through an interdisciplinary approach blending historical and literary perspectives, the significant role of the nineteenth-century periodical press in shaping one of the foundations of Spanish literary historiography: the «Golden Age». This concept was instrumental in the construction of the liberal nation, relying on literary history—a nascent disciplinary field at the time—and the press as vehicles for disseminating liberal-bourgeois ideologies. The study demonstrates this through a variety of case studies, aiming to provide a representative sample of the richness of our research field. It examines how the golden institution was disseminated during this period on a journalistic and nationalist model that always used romanticism as a mirror in which to look at itself and with which to compare itself.

The inadequate representation of Italian women writers in the Italian school curriculum has been a topic of concern over the last few years, raising questions about their exclusion from the literary school canon despite their contributions. Through an examination of the relationships between gender, literature, and education, altogether with the feminist critique work carried out since the 1970s, this paper seeks to explore digital learning environments that promote gender-related reflections in Italian secondary schools and to examine key factors that have contributed to the invisibility of Italian women writers in educational contexts. Through the specific quantitative analysis of the digital textbook Letteratura Oggi, tomes 3A and 3B, intended for the students of the Italian lyceum last year, this article addresses the presence of any improvements made for major equity between writers.

Flexible Canons: Czechs in the world: whither migration literature? --- In this paper, Brigid Haines’s remarks on the Eastern Turn of German-speaking literature will be considered in questioning the Czech literary canon concerning what is known as migration literature. Foremost among my working analyses will be terminological differences between migration literature, the poetics of nomadism, writing between worlds, as well as general observations on switching languages and multilingualism among Czech writers. Not least, the authors under study present the difficulties for literary scholars, at least those that operate with classification systems, in allocating works of national literature in whose language or under whose conditions they have not been written.

In the contemporary world, Decoloniality is both a way of thinking and a practice which contributes in a significant and direct manner to the long struggle of indigenous peoples to free themselves from the colonial order, and to regain their own cultures and ancient territories. Among the many facets of this struggle in Latin America, the native artistic expressions stand out as part of the cultural revitalization movement. This article analyses briefly the theoretical, historical, and ideological contexts of this decolonial movement, focusing on the emergence of a Mayan literature, and with its spirit aimed to transgress the hegemonic literary canon. [ABSTRACT FROM AUTHOR]

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The present paper proposes a theoretical approach related to the critical reception of the Romanian literary avant-garde after 2000, a literary phenomenon in‑between marginalization and recovery tendencies. Starting from interwar critical studies from Romania (E. Lovinescu, G. Călinescu, etc.), with predominantly negative perspectives regarding the critical reception of the avant-garde, we will observe how certain clichés of the reception of the phenomenon, seen as “extremist”, as marginal, were perpetuated, with the “barrier” of the apparently impossible literary canonization. After 2000, however, literary studies discuss the historicization of the avant-garde phenomenon, which therefore became canonical in Romanian literary history. However, several elements of the “niche” avant-garde remained in the subsidiary, in the “shadow”. This is what we call the marginal(ized), the secondary avant-garde, which includes a series of less known and researched avant-garde writers, but who contributed to the complex shaping of the avant-garde imaginary. We will analyse several types of works published after 2000, in order to highlight the complexity of the avant-garde, under constant recovery: literary anthologies (Ion Pop, Nicolae Bârna), avant-garde dictionaries (Lucian Pricop, Dan Grigorescu), several critical studies after 2000 (Ion Bogdan Lefter, Ovidiu Morar, Emilia Drogoreanu, Paul Cernat, Dan Gulea, Emanuel Modoc, Delia Ungureanu, Daniel Clinci, Petre Răileanu, Gabriela Glăvan, Ion Pop, etc.). Many of them focus on the recovery trends of some forgotten writers, with the possibility of their inclusion in the central, canonical avant-garde, while other studies pursue new research methodologies, such as the avant-garde seen in a transnational context, in world literature context, etc. An issue that we develop in the context of this extended future research, which is also highlighted upon in the present work, is that of post-Urmuz epigonism within Romanian literary avant-garde, a fact that explains the placement of many writers in the sphere of critical marginalization. Thus, many texts by less researched writers are forgotten, being always associated with the central avant-garde models, especially Urmuz, but also Tristan Tzara or other influential writers within the central avant‑garde groups. It is precisely this problem that made us analyse the way in which the writers who are part of the marginal dimension of the avant-garde are recovered through contemporary literary studies from Romania.

In this paper, Brigid Haines's remarks on the Eastern Turn of German-speaking literature will be considered in questioning the Czech literary canon concerning what is known as migration literature. Foremost among my working analyses will be terminological differences between migration literature, the poetics of nomadism, writing between worlds, as well as general observations on switching languages and multilingualism among Czech writers. Not least, the authors under study present the difficulties for literary scholars, at least those that operate with classification systems, in allocating works of national literature in whose language or under whose conditions they have not been written. [ABSTRACT FROM AUTHOR]

The novel The Gadfly (1897) enjoyed enormous popularity in the Soviet Union, China, and other socialist countries in the twentieth century. The novel was first canonized in the Soviet Union, listed as an extracurricular reading for middle school students, and then canonized in China in the 1950s and early 1960s. Instead of inviting open-ended interpretations, the authorities endorse a politicized interpretation of the novel, portraying the Catholic hero "Gadfly" as a romantic revolutionary fighting for national independence. In contrast to its immediate success in socialist countries, the novel is hardly known and even largely forgotten in the West. This essay looks into the translation, circulation, and reception of the novel in the Soviet Union and China, particularly the political power structures inherent in the processes of its canonization in these socialist countries. Despite the political effort to elevate it to the status of a literary canon in the socialist bloc, the novel never entered a canon of world literature as such, which, I argue, should be tested out by its intrinsic literary values and appreciated by worldwide communities of enlightened readers, free from heavy-handed political interventions and ideological manipulation. [ABSTRACT FROM AUTHOR]

The paper examines the process of national and world canonization of Alexander Sergeyevich Pushkin and Milorad Pavić, as well as the efforts to decanonize these writers and revalue their works from the point of view of reductive political reception and to treat them as paraliterary givers of legitimacy to hegemonic national politics. Such tendentious and simplified evaluations of the representative writers' of two Slavic literatures largely arise from the image of the Yugoslav and (post)Soviet crises starting at the end of the 1980s, as well as from geopolitical efforts to rearrange the mentioned areas politically, culturally and nationally. Such reductive interpretations as imposed by the prevailing part of the Western political and media discourse - the key feature of which is the thesis about Serbian and Russian responsibility for war conflicts and the disintegration of socialist Yugoslavia and the Soviet Union - conditioned not only a malicious attitude towards the constitutive factors of Serbian and Russian political existence, but also the manifestation of a discriminatory attitude towards the culture of sanctioned 'political opponents'.

The canon of verisimilitude is a widely discussed concept, aiming at establishing the fictional pact ever since Aristotle’s Poetics. Multiple experiences of time seem to unsettle the logic of this fictional pact. To highlight the disjunctive chrono-methodology and its implications in reformulating a well-established canon, I choose the concept of uchronia –developed and discussed theoretically and literarily by two American writers of Jewish origin, Philip Roth and Nicole Krauss. The two developed alternative legacies and counterfactual histories of Franz Kafka: He either escapes to Palestine or gets immersed into an accomplished love relationship with Dora Dymant during the last year of his life. Thus, the “u-chronic” writers unsettle Kafka’s canonical legacy left to Max Brod, the official detainer of his post-mortem history.

A central topic of the Romanian post-1989 literary life, the problem of revisions of the literary canon triggered a fierce debate between rival intellectual groups, a confrontation having as one its main goals the obtaining or, on the contrary, the preservation and consolidation of symbolic power within the national cultural field. Positioned in the epicenter of this "battle" – in his capacity as creator, together with Nicolae Manolescu, of the literary canon of the sixties –, Eugen Simion made his position known through two types of actions. On the one hand, through articles and interviews in which, recognizing the reality and necessity of periodic re-adjustments of literary structures and hierarchies, he strongly supported the imperative of having, as a fundamental principle in the process of revising the canon, the aesthetic criterion. On the other hand, by initiating and carrying out the monumental General Dictionary of Romanian Literature. A true canon of Romanian literature, "from its origins to the present day", GDRL illustrates, more than any polemic or theoretical approach, the vision of the critic E. Simion on Romanian literature in its totality and organicity.

This article explores a number of factors that have shaped the understanding of the role of women prose writers in Estonian literary history and in contemporary cultural consciousness. Little attention has been paid to the works of women prose writers in literary history, and the cultural consciousness contains myths and stereotypes about women authors which upon closer examination prove unfounded. According to the common perception, women’s strong suit is poetry, whereas in the realm of prose, the creative output of male authors is afforded greater importance. This perspective has sometimes been used to justify the limited attention given to the works of women prose writers. However, the role of women prose writers in Estonian literary history can also be seen from a different angle by asking whether they should indeed be consigned to a more modest place in literary history compared to male authors and what the reasons for this might be. The creative output of women prose writers has highlighted themes and perspectives that do not always align with what is considered “important”, especially in the context of the national narrative, which emphasises the national subject and is implicitly male-oriented. The visibility of women authors in the cultural field is also shaped by the literary institution and its participants, as well as the literary canon, which has included few women. Geopolitical factors, i.e. different social systems, also influence the cultural consciousness. The Soviet period, in particular, shaped entrenched perceptions of authors through ideological pressure, the effects of which can still be felt. Since the works of women prose writers from the first half of the 20th century have not been extensively studied, the exploration of the reasons behind the marginalization of women prose writers remains largely ahead.

The presented article is devoted, on the one hand, to the general problem of the literary process in an archaic society on the example of the genesis of waka poetry; on the other hand, it directly refers to the archaism of the so-called long song (nagauta or chōka). The article raises the question of the transformation of that pre-aesthetic primitive song into archaic poetry. Describing the possible ways of genesis of the primitive song, the author, agreeing with the principle of accumulation of poetic lines, proposed by Bowra-Konishi, notes the need for a deeper comprehension of the Archaic period of Japanese (Yamato) literature. Stating the necessity to distinguish a primitive song from an archaic one, the author operates with the concept of a developed “aesthetic feeling” as a necessary criterion for the transformation of the primitive song, based on parallelism. Unlike primitive poetry, which performed merely the utilitarian function, archaic poetry started to meet not only ritual, but also aesthetic needs of an ancient human. In addition, the article examines the role of writing as a necessary condition for the death of primitive song and the formation of the canon. In addition, the text presents a critical characteristic of the main body of archaic poetry, including long songs, which are relatively few in number. Based on a sample analysis of the presented texts (poetic fragments from Kojiki, Nihonshoki, long songs from Man’yōshū and Naniwaza-uta from mokkan tablets), the author provides a classification-periodization of the genesis of the archaic form of nagauta/chōka (a narrative chronicle speech-stressing long song, a non-narrative non-epic long song, and a long song created by a specific author and having a developed system of imagery. Emphasizing the chronicles’ long song, its structural heterogeneity, the author builds a hypothesis of its genesis opposite to the accumulative principle of Bowra-Konishi, consisting in the principle of reductionism from the long epic form of a primitive song. The limit of this reduction is justified by the aesthetic “capacity” of the poetic form in the transitional period of the non-written method of versification. Keywords: nagauta (long song), archaic poetry, non-book culture, literary canon, reductionism, literary process.

The article analyzes how literary awards influence the shaping of a children's and young adult literary canon in Spain. 71 award-winning titles from the first twenty years of the 21st century were examined, and it was found that the canon is characterized by being aimed at a young audience, focused on realistic and mystery novels, and represents all the official languages of the State. Literary awards are considered shapers of the canon in children's and young adult literature, as they add cultural value to books, influence selection and purchase, and attract readers. The importance of awards as a factor in the canonization of a work is highlighted, although it is recognized that an award-winning book is not always synonymous with quality. The creation of a canon of award-winning children's and young adult books is proposed, which includes novels with institutional awards aimed at readers over 10 years old, with themes of real life, mystery, and fantasy. [Extracted from the article]

This article presents a brief history of intellectuals reflection upon the role of a minority writer within a canon that excludes or oppresses them. Then, it raises questions regarding the role of the critic facing this situation and also how the critic themselves, when member of a minority, can engage with such a canon. [ABSTRACT FROM AUTHOR]

This article presents an argument about the reasons for the exclusion of Spanish women and their literary production in relation with the rest of the Group of '27 literary canon. In order to evidence the marginalization of these authors and demonstrate their absence in the cultural Spanish landscape, the article begins with an explanation of the historical and sociopolitical context of Spain during the early decades of the 20th century. Afterward, this paper presents a conceptualization of literary canon as a starting point to approach the polemic associated with the --commonly referred to as-- Generation of '27 as well as the configuration of poetry as a characteristic genre in comparison to the other literary work, and the role that critics and history played in the conformation of the canon of the '27 movement. Finally, it is concluded that women were not part of the modernization attempts in Spain at the beginning of the 20th century for different reasons: relegation of them to the domestic sphere, the high representation of men in the Group of '27, the significant role of anthologies and magazines in shaping the canon, and the repression caused by the dictatorship of the Franco regime. [ABSTRACT FROM AUTHOR]

Copyright of Estudis Romànics is the property of Institut d'Estudis Catalans and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The text concerns the application of concepts and terms created within queer studies to a Polish context, especially in literary studies. The issue discussed by participants in the debate on the possibility of assimilating queer studies into the Polish cultural tradition is the question of the differences between the ground on which it was created and Polish political and social conditions. After 1989, and later after the publication of Michał Witkowski's Lubiewo (2003), many texts describing the experience of non-heteronormativity were written in Poland. Equally important was the parallel discussion around queer studies and various conceptions of queer itself. No matter how controversial these issues remain, the volume of "The Problems of Literary Genres" ["Zagadnienia Rodzajów Literackich"] is a testimony to the usefulness of using the conceptual apparatus of queer studies to analyze specific works of Polish literature -- both the newest ones and those created in the first decades of the 20th century. This usefulness comes down not only to the reinterpretation of canonical works of Polish literature but also enables the analysis of texts that were created as an expression of the queer sensitivity of their authors. [ABSTRACT FROM AUTHOR]

In this essay, we examine how the popular genres of the fairy tale and the merveilleux influenced Françoise de Graffigny's writing of Lettres d'une Péruvienne (Letters from a Peruvian Woman). We demonstrate how the author incorporates elements of the wonderous in her descriptions and themes, especially in Letter 35. In a comparison of the fairy tale that Graffigny herself wrote, La Princesse Azerolle, ou l'excès de la constance (Princess Azerolle, or the Excess of Constancy), to her famous novel, we uncover the thematic elements that appear in both. Finally, we speculate as to why scholars have overlooked the inspiration of the fairy tale in favor of the novel's Enlightenment associations. [ABSTRACT FROM AUTHOR]

The following study proposes to deconstruct the mythologising of Forugh Farrokhzad (1934/5-1967), a poet known mostly as Iran's Sylvia Plath. This kind of analogy is based on interpretative and cultural preconceptions that connect women's poetry with personal experience and amount the poetic voice to the empirical reality. Beyond that biographical obsession, reified through the export of confessionalism, comparing the two writers also implies appropriation of Forugh Farrokhzad to a Western cultural and literary field. By analysing a few poems, taking a close look at her interviews, and examining the historical context, I shall try to demonstrate that Farrokhzad is actually split between two worlds. Therefore, to associate her with Sylvia Plath can be read as an example of what Fatemeh Keshavarz, a researcher on Persian literature, calls the New Orientalist narrative. [ABSTRACT FROM AUTHOR]

The canon of verisimilitude is a widely discussed concept, aiming at establishing the fictional pact ever since Aristotle's Poetics. Multiple experiences of time seem to unsettle the logic of this fictional pact. To highlight the disjunctive chrono-methodology and its implications in reformulating a well-established canon, I choose the concept of uchronia -developed and discussed theoretically and literarily by two American writers of Jewish origin, Philip Roth and Nicole Krauss. The two developed alternative legacies and counterfactual histories of Franz Kafka: He either escapes to Palestine or gets immersed into an accomplished love relationship with Dora Dymant during the last year of his life. Thus, the "u-chronic" writers unsettle Kafka's canonical legacy left to Max Brod, the official detainer of his post-mortem history. [ABSTRACT FROM AUTHOR]

A central topic of the Romanian post-1989 literary life, the problem of revisions of the literary canon triggered a fierce debate between rival intellectual groups, a confrontation having as one its main goals the obtaining or, on the contrary, the preservation and consolidation of symbolic power within the national cultural field. Positioned in the epicenter of this "battle" - in his capacity as creator, together with Nicolae Manolescu, of the literary canon of the sixties-, Eugen Simion made his position known through two types of actions. On the one hand, through articles and interviews in which, recognizing the reality and necessity of periodic readjustments of literary structures and hierarchies, he strongly supported the imperative of having, as a fundamental principle in the process of revising the canon, the aesthetic criterion. On the other hand, by initiating and carrying out the monumental General Dictionary of Romanian Literature. A true canon of Romanian literature, "from its origins to the present day", GDRL illustrates, more than any polemic or theoretical approach, the vision of the critic E. Simion on Romanian literature in its totality and organicity. [ABSTRACT FROM AUTHOR]

Western culture and literature have been moulded, in their main aesthetic conceptions and creative practices, by Aristotle’s principles. Starting from his seminal text Poetics, ancient, medieval, and modern (from Renaissance to the twentieth century) aesthetics, poetics, rhetorical and grammatical theories have reiterated, amplified, adapted and reshaped the concepts of imitation (mimesis), subject (mythos), meaning (dianoia), order (taxis), unity of the whole and harmony of the parts, etc. On this basis, they demanded that literary works should have - as a prerequisite of aesthetic value and artistic success - a structure, a unitary composition, a centred form, a logos, a cogito, a synopsis or any other formal pattern. This brought about the exclusion from the canon of the works failing to complain with these criteria. In this paper I retrace the Aristotelian tradition, from Horace, Cicero and Quintilian to Beda and Dante, from Minturno and Scaliger to du Bellay and Boileau, from Sydney, Dryden and Pope to Mathew Arnold, the Chicago School and Northrop Frye. [ABSTRACT FROM AUTHOR]

Orlando, Virginia Woolf's 1928 novel, has been skillfully analysed for a century, with a great focus on its gender representations and fantastical historical narrative. We have chosen to centre our research on a particular moment before the protagonist's self-imposed exile and gender change, in which he and his lover, Sasha, escape the court's trappings and wander into a performance of Othello. We argue that the choice of the play is relevant in multiple ways. Firstly, it showcases Woolf's dedication to referencing the literary canon and illustrating the protagonist's immature relationship with literature. Secondly, it is important because it specifically engages with nineteenth century literary criticism, Shakespearean criticism and performance, and its connections with white supremacy. Finally, it is pertinent due to the centrality of public discourse around interracial relationships in the early twentieth century, and how the character of Othello signifies a danger to British decency and the maintenance of heteropatriarchal relationship norms. [ABSTRACT FROM AUTHOR]

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Copyright of Philological Review (00151807) is the property of University of Belgrade, Faculty of Philology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper dwells on the rather outdated Romanian curriculum in the study of Romanian language and literature and its purpose is to raise awareness of the names of salient female writers that are missing from the curriculum. We consider that feminism is a dual process which operates both on a social and educational level of society. The structure of society is reflecting on the structure of education where sexism is currently being perpetuated through the absence of female writers in the literary canon. Our research is didactic because we want to improve the curriculum and it is also a longitudinal research, since we propose to highlight the theoretical framework of the research during a year. The fields of research are education, philology and sociology. The methods chosen are: the survey method, the psychopedagogical experimental method, the sociometric methods, as well as the examination of curriculum documents and of other school documents. [ABSTRACT FROM AUTHOR]

The article examines the efforts to define and typologize Bulgarian “alternative” literature, which is usually associated with oppositional behavior and is frequently found in the writings of repressed authors, political emigrants, and underappreciated writers, as well as in the manifestations of “samizdat”. The approach put forth here broadens the chronological range of the phenomena under consideration, searches for linkages and conflicts between them and the literary canon, literary stratification, and differentiation of the readers, and also concentrates on texts that defy conventional literary status. Different sorts of these “alternative” texts are identified, some of which are connected to folklore subgenres that lack prestige and reader preferences for works that literary criticism treats negatively. [ABSTRACT FROM AUTHOR]

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Copyright of Cahiers de Littérature Orale is the property of INALCO: Institut National des Langues et Civilisations Orientales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In such regions of the East Asian cultural sphere as China, Korea and Japan, the canonization of Du Fu was a relatively lengthy process. It was achieved mainly because of strong support from three different cohorts: the first cohort is the Chinese literary giants who expressed strong commendations of Du Fu, the second cohort is the Japanese scholars who conducted rigorous evaluation of Du Fu’s poetry within academic frameworks, and the third cohort is the Korean royals who directly contributed to the rise of Du Fu’s poetry. The first two cohorts are unofficial, while the latter one is official but not without amicable interactions with the masses. Korean literature was in tune with the character of Du Fu’s poetry because it displayed a strong tendency towards politics; Japanese literature, on the other hand, was somewhat not, for it hardly included coverage on issues of social politics. Du Fu was given the highest literary recognition in both Korea and Japan for his poetic prowess, and his poetry was used by the state in both regions to serve different purposes; this goes to demonstrate that the two countries made their own culturally-driven decisions when accepting the influence of Chinese culture. It is a norm in East Asian literature for literary canons, whether old or new, to coexist, regardless of type or level, and such a norm is particular to the admission of literary works into literary canons within the East Asian cultural sphere.

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The emergence of Maya writers bursts with original, novel, and transgressing proposals, within the contemporary political context of recognition of cultural rights and vindications from First Nations peoples. Such emergence has awakened a growing interest among diverse publics. Among them, literary critics stand at a special place, as many of them have tried to define such emergence and locate it as a particular category within the national or regional literary sphere. Contrary to that assimilationistic approach, this paper argues that through their literary works Maya writers are involved in a larger artistic indigenous movement that pursues not a place in the national literature, but that aims to question and redefine the hegemonic literary canon itself. [ABSTRACT FROM AUTHOR]

The Iraqi writer Muḥammad Khuḍayyir has in recent years published numerous fictional sketches and articles online. One of the factors that has led to this late flurry of production has been the perilous state of Iraqi culture, especially after 2003. Khuḍayyir has reacted to the threats to the Iraqi cultural memory by writing articles in which he pays imaginative homage to the writers of previous generations (like Mahdī ʿĪsā al-Ṣaqr). The imagery Khuḍayyir uses in his articles is a crucial part of the innovative way in which he tries to preserve a 'memory of literature'. However, in his fictional sketches, Khuḍayyir evokes a poetics of fire which expresses his scepticism as to whether a recovery of the literature of the past can have real purchase in the current Iraqi cultural landscape. Khuḍayyir's use of the internet to disseminate his cultural narratives confirms the ambivalent cultural space he chooses to inhabit. [ABSTRACT FROM AUTHOR]

According to Hermans (1999:42), the polysystem theory approach (hereafter PST) promotes the functional and goal-oriented approach to translation. Such an approach means that the emphasis is on the search for explanations that are primarily aimed at the target culture. Shuttleworth (2009:200) explains that PST (as set out by Even-Zohar and other experts) is not a complete, waterproof package, but rather a starting point for further study. If the model is approached in this way, it will constantly add value to investigations of a theoretical as well as a descriptive nature. When looking at crime fiction, the impact of translations can be examined as part of the suspense fiction/thriller subsystem, especially in the case of Deon Meyer whose works have been translated into more than 27 different languages. For purposes of this article, we have made use of Deon Meyer's Koors and Fever to illustrate the value and importance of text positioning within a larger system -- more specifically, the American literary polysystem and the South African (Afrikaans) literary polysystem. Thus, the larger social context within which both these texts were created, but also received, is unlocked. The primary research method in this study is a systems theory analysis. Considering the data used, it is also deemed a reception study and uses a paratextual analysis to analyse the data. Fever's position in the American literary polysystem is determined using the paratext, namely reviews by literary critics and online reviews by the public, as well as examining aspects in and around the novels. Looking at Fever's paratext, the novel functions as translated suspense fiction within the American suspense fiction subsystem. Fever has been received mostly positively according to the online reviews by critics and the general readership, and the position that Fever subsequently occupies in this system is mainly due to its positive reception. Furthermore, the reason why Fever is accepted into this particular system may most possibly be due to the fact that Meyer won one of the USA's top book prizes, the American Barry Prize for Best Thriller for Thirteen Hours (Malan, 2011; also Meyer, 2019) already in 2011, and has therefore already entered the American literary polysystem. Awarding Meyer with this prize shows that Meyer's translated English novels also form part of the American suspense fiction polysystem and serve as a good indication that his novels are no longer on the periphery of this system, but that his work is increasingly becoming part of the American context and that it also enjoys international recognition. The preceding points do not yet include the aspects of the discussion related to the peritext. What is important here is the quote from Stephen King that is used on the front page, namely "Reminiscent of The Stand and The Passage. Great stuff." However, there is no indication (on the cover at least) that this novel is a type of post-apocalyptic novel and if the reader knows Meyer's other works, they may expect a typical crime novel. The American publishers decided to put Stephen King's quote on the front page and it is placed there strategically, because it gives the reader an indication of what they can expect. The Passage by Justin Cronin is described by The Guardian (2010) as a post-apocalyptic vampire story and The Stand by Stephen King is described by Amazon (2011) as Stephen King's apocalyptic outlook on a world overwhelmed by a plague. If the reader is acquainted with these books, this quote will provide him with some insight into what to expect in Meyer's Fever. The information provided by the paratext of the novel, Fever, is twofold. The first is that the novel is a translation (although it is not explicitly mentioned) and that the polysystem is receptive to translations from the source language, which is Afrikaans. The second is that, although Meyer is a crime fiction writer, this novel is also part of the literary polysystem that includes apocalyptic / post-apocalyptic novels. In the discussion of the findings, it is shown that Meyer's novel occupies a central position in the aforementioned subsystem and may be an indication of the type of translation strategies used. The discussion of "repertoremes" and "textemes" emphasises the repertoire of a specific author or text. These repertoremes form a unique network of relationships in a text (Toury, 2012:304). The unique network of relationships can be seen in the way a novel is classified according to genre, but also includes typical linguistic and narrative elements and the process of translation can influence this network of relationships. The translator may decide to use more conventional repertoires, or more innovative repertoires -- especially if these texts are closer to the centre of the literary system (Even-Zohar, 1990). When the genre or structure of Fever is considered, it seems that a more conventional repertoire was used (possibly the strong memory of The Stand), but when the text's narrative and linguistic elements are considered, a more innovative repertoire was used. The choices made by the translator about certain (South) African words that are included in the translation (and for which a glossary is provided), are relevant here, but also the fact that the translated novel takes place in South Africa, and not, for example, in America. It seems that, although crime fiction is typically not considered as "canonised literature", it can indeed be considered that it takes a more central position in the literary system and change current schools of thought regarding crime fiction. [ABSTRACT FROM AUTHOR]

A doxa of the literary institution consists in associating the reading of a classic to a timeless and universal pleasure. But this conception clashes with the real experience of reading a classic text, whose framework, most often school and university, implies a reading framed in time and in its finalities. Based on the results of a research conducted among high school students who read Madame Bovary as part of the literary section curriculum (baccalauréat littéraire), the article therefore examines the forms of pleasure and displeasure that reading a classic takes on today, in relation to the temporal framework that is specific to it.

One of the leading problems of modern Russian literary criticism is the development of grounds for describing the modern literary process as a complex interaction of new communicative conditions for the existence of artistic literature, new forms of its production and consumption. Since the sphere of literary studies has been searching for universal laws for describing artistic creativity for more than two centuries, and the poetics of literature was formed within the framework of various methodological schools, that are in a state of intense discussion, there are a number of approaches that put fundamentally different meanings into the same concept. The analysis of the accepted approaches in the description of the term “literary process” in Russian literary criticism, traditional conventions in the presentation of the literary process that have developed in Russian literary criticism under the influence of global and local trends, leads to the conclusion that the study of the literary process as a theoretical problem has come to the point of the need to create a new work of a generalizing type, which is associated with the actualization and reactualization of a number of methods.

This article aims to discuss and elaborate on the concepts of 'global author' and 'global authorship' by focusing on works by Salman Rushdie and Elena Ferrante. We intend to establish the foundations and principles that turn a writer into a global author, reflect on the importance of these writers' taking part in the contemporary scene that debates their work, and think about the canon within a globalized literary context. On a more specific note, we seek to point out what conditions place Salman Rushdie and Elena Ferrante in this category. Our hypothesis is that global authors must be living authors whose persona and work circulate through the transnational literary universe and who participate actively in the discussions around their work and demonstrate their global relevance by means of public interventions and mass media discussions. In so doing, we challenge the notion that a world literary canon, based exclusively on authors' literary quality, can still be sustained in a global setting. In this context, Salman Rushdie, with the release in 1988 of his The satanic verses, and Elena Ferrante, with her Neapolitan tetralogy, can be approached, apart from their literary merits, as authors and agents within the ideological and political themes of the globalized contemporary world, which are necessary credentials to attain the status of global authors. [ABSTRACT FROM AUTHOR]

This article aims to reflect on the formation of the Brazilian literary canon and discuss the concept of Black literature in view of the work of the Brazilian Black writer Conceição Evaristo. The canon is surrounded by a bubble of a-historicity, however, its formation is directly linked to the structure of the country's society (REIS, 1992), which is racist, classist and cisheterossexist. Thus, it is perceived that this is composed mainly of white men. In this sense, Black literature shatters the mask of silence, since it breaks with the colonizing perspective taken on the Black people through literary production. [ABSTRACT FROM AUTHOR]

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