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Human Rights, Suffering and Aesthetics in Political Prison Literature is a collection of essays seeking to explore political prison literature from the vantage point of the beauty and symbolism of the writings. The essays deals with the experiences of political prisoners from countries as diverse as China, Egypt, Syria, Uruguay, Morocco, Romania, the United States and Canada with varying amounts of success.

Culture is one of the crucial factors behind the formation and articulation of identities. Overcoming the stereotype of 'base-superstructure' binary the neo-Marxists rightly pointed out the role of culture both as a reflection of the economic base as well as the potential arena of reproducing the ruling economic base through a daily basis meticulous mechanism known as hegemony. In order to challenge the ruling hegemony a counter cultural process is required, which encompasses all the dissenting and marginal voices prevailing in the society. This paper is going to deal with such a counter cultural attempt, which is commonly known as the progressive cultural movement to challenge the ruling hegemony in the context of Bengali literature and culture. The progressive cultural movement in Bengal started as a world-wide response to the war-ridden international political order at that time, when the fascist aggression was in its peak and the scope of democracy was threatened globally. The leading intellectuals like Henry Barbusse and Romain Rolland in Europe started to organize all the intellectuals under a broader democratic and progressive organizational umbrella against destruction of war. Thus, the League against War and Fascism was established and most notably Rabindranath Tagore became its President. Inspired from this ideological aura some of the Indian intellectuals in Britain founded an organization named All India Progressive Writers Association (AIPWA), which gradually expanded its root all over India including Bengal. In Bengal, where the cultural politics was already established in the wake of Swadeshi movement, the new ideological-cultural programme was well accepted among its intelligentsia. In this we context we have to keep in mind the role of the Communist Party in mobilizing the intellectuals, bringing them under a broader ideological platform, both in India as well as in other countries. The movement was committed towards the motto of bringing back people into the literature and culture. The voice of ...

This dissertation proposes a fundamental reassessment of guilt in twentieth-century American literature. I claim that guilt ought to be understood not so much in relation to the Holocaust or the history of U.S. race relations as in relation to the state. In readings of Mary McCarthy, Richard Wright, J. D. Salinger, Arthur Miller, and Saul Bellow, as well as the early Superman comics and fiction and criticism that invoke Fyoder Dostoevsky's work, this project demonstrates how authors of fiction and popular culture mobilize feelings of responsibility and guilt to symbolize anxieties over the diminished role of the state as a vehicle for public relief. As the federal government jettisoned burdens that it had borne since the Depression, the writers in question depict various mechanisms employed by individuals to absorb state burdens and to compensate for the reduced availability of state-backed relief. With renewed emphasis on existential categories such as guilt, freedom, and anxiety, I trace tensions at the core of mid-twentieth-century narratives that situate them squarely within the problematics of antistatism. The figure of the statesman emerges in the late thirties and early forties as the main inheritor of state burdens. Mary McCarthy's The Company She Keeps (1943), Jerry Siegel and Joe Shuster's early Superman comics (1938-1942), and Richard Wright's "The Man Who Lived Underground" (1942) can be read, I suggest in Chapters One and Two, as extended ruminations on how statesmen conceive their function of rendering aid to others as increasingly oppressive in direct correlation with the curtailment of federal relief initiatives. Chapter Three pauses to consider a strain of writing that celebrated antistatist sentiments by invoking (and thereby misreading) Fyodor Dostoevsky as a proponent of the guilty conscience. The first attempt of its kind to chronicle Dostoevsky's influence on an array of prominent American intellectuals, this chapter utilizes my knowledge of Russian to expose a dimension of Dostoevsky's work that is far less antistatist than his readers have presumed. Chapters Four and Five look at Arthur Miller's Death of a Salesman and Saul Bellow's Seize the Day and conclude that the celebration of antistatism found in the previous chapter did not last for long. In excavating latent discontents from Miller's and Bellow's work, I reveal a critique of antistatism implicit in guilty musings from the fifties that has gone unnoticed due to abiding Cold War biases.

"Contents" -- "Contributors" -- "Introduction " -- "Works cited" -- "Part I Cultural and Historical Frontiers" -- "On Hercules' Threshold: Epistemic Pluralities and Oceanic Realignments in the Euro-Atlantic Space " -- "Cardinal (Re)Directions in Theory's Compass" -- "Whose Is the Mare Nostrum? Europe, the Mediterranean, and the Fluid Boundaries of Epistemic Ownership" -- "Redrawing the Literary Atlas: Borderline Euro-Atlantic Fictions" -- "Moorings" -- "Works Cited" -- "Imperial History and the Postnational Other " -- "The European Imperial Paradigm" -- "The Cultural Heimat" -- "The Integration of Culture and the Subjugated Other" -- "Works Cited" -- "Transatlantic Sovereignty and the Creation of the Modern Colonial Subject " -- "Dehumanizing Humanism" -- "Immoral Human Temporalities" -- "the Atlantic's Disjunctive Temporalities" -- "Works Cited" -- "Part II Literary and Aesthetic Exchanges" -- "From Granada to Havana: Federico García Lorca, the Avant-Garde, and Orientalism " -- "Orientalism, Andalusia, and the Avant-Garde" -- "The Avant-Garde from the South" -- "Cuba in Andalusia, Andalusia in Cuba" -- "Works Cited" -- "Mexican Muralism and the North American Anti-Aesthetics " -- "Works Cited" -- "Transatlantic Musical Crossover: Miguel Bosé in the U.S.A. and Bruce Springsteen in Spain " -- "Works Cited" -- "Part III Ideas in Circulation" -- "Traveling Objects in Flora Tristán's Pilgrimages of a Pariah and Frances Calderón's Life in Mexico " -- "Flora Tristán" -- "Frances Calderón de La Barca" -- "Works Cited" -- "The Discovery of the Mediterranean: Alfonso Reyes and the Spanish American Claim to Spanish Culture " -- "Works Cited" -- "Translocal Misreadings: Eugeni d'Ors in Latin America and Transatlantic Studies Today " -- "Eugeni d'Ors in a Transatlantic Philosophical Context"

This project examines the politics of knowledge production in Vietnam during the transition from socialist realism to post-socialist aesthetics and neoliberalism. I look at literary, filmic and visual culture productions that challenge and present alternatives to the construction of history in the discourses of Vietnamese nationalism, French colonialism and U.S. imperialism. I attend to the cultural violence that came out of the Vietnamese civil war and that continues to haunt the post-socialist society. I first focus on works produced by writers and filmmakers in the North to examine how they responded to the state vision of history-making. To recover the suppressed histories of those who fled Vietnam after 1975, I also examine diasporic Vietnamese films and visual culture that disrupt the unitary discourse of Vietnamese nationalism. Moving from the literary to the visual, I look at short stories, war novels, films, installation art and photography made from within the nation and from the diaspora. I examine how literature and films can be productive sites for the interrogation of nationalist historiography, and how they can be sites for the staging of a modern, heterosexual masculine subject through their elisions of women. I also look at visual culture that unsettle positivist trajectories by attending to the reversals, openings and closings, ruptures and fissures in history-making. This is a comparative, interdisciplinary, and multilingual study that brings together the fields of Asian Studies, U.S. Ethnic Studies, Feminist Studies, Cultural Studies, and Transnational Studies, and contributes to the body of research on postcolonial societies negotiating global capitalism

la teoría de la literatura se encuentra hoy ante el reto de definir un nuevo espacio para el estudio de la literatura en toda su plurivocidad. Por este motivo, se propone defender la apertura de la teoría de la literatura a las propuestas realizadas desde algunas posturas del giro político en la estética y la teoría. Nuestra hipótesis es que el diálogo entre estas disciplinas ayudaría a comprender y a responder-endiálogo a una cuestión que ha recorrido, desde la entrada en juego de las vanguardias históricas, la estética y la teoría literaria contemporáneas, a saber: la dialéctica entre autonomía literaria y la literatura en la comunidad. ; theory of literature is nowadays confronted with the challenge of defining a new space for studying literature in all its plurivocity. therefore, I propose to defend the opening of/from theory of literature toward the realized proposals from some propositions of the political turn in aesthetics and theory. My hypothesis is that the dialogue between these disciplines will help to understand and respond a recurring question within the dialogue, from the introduction of the historical avant-garde, aesthetics, and contemporary literary theory, to knowledge: dialectics between literary autonomy and literature in the community.

Was ist ein Werk? So verschieden die Gegenstände auch sind, die wir als Werke zu bezeichnen pflegen – literarische und musikalische Werke zum Beispiel, aber auch Erfindungen oder Gegenstände der Alltagskultur –, in ontologischer Hinsicht weisen sie wesentliche Gemeinsamkeiten auf. Worin diese Gemeinsamkeiten bestehen, welche Arten von Werken es gibt und worin deren jeweilige Eigenheit besteht, klärt dieses Buch. Ohne die Kategorie der Autorschaft, so zeigt sich dabei, lässt sich gar nicht verstehen, was ein Werk gegenüber anderen Entitäten auszeichnet.