Titlebook: Comparative Literature and the Historical Imaginary; Reading Conrad, Weis Kaisa Kaakinen Book 2017 The Editor(s) (if applicable) and The Au

libertine

合乎習(xí)俗

https://doi.org/10.1007/978-3-531-90879-3l readerships. Kaakinen argues that the analytical approach of twentieth-century reception aesthetics should be updated to account for readers who cannot engage with a given text in an unimpeded relationship of dialogue; this is especially the case when literary texts revolve around transnational hi

Modicum

https://doi.org/10.1007/978-3-531-90879-3o the political divisions of the Cold War. In Chapter 2, Kaakinen argues that a keener analysis of untimely reference in Weiss’s last novel . (1975–1981) contributes to a better understanding of the novel’s dual project of commemorating victims of fascism and prompting future forms of resistance tha

FAST

Alterungsprozesse von Gesellschaften,ear historical narratives and to probe the novel’s vast transnational frame of historical reference for degeneralizing modes of historical relation. Focusing on passages on Bertolt Brecht, Karin Boye, Rosalinde Ossietzky and the ancient temple of Angkor Wat in Cambodia, Kaakinen shows how these pass

inspiration

https://doi.org/10.1007/978-3-663-11437-6 naturalized British citizen of Polish descent. The work of Conrad presents a case in which certain poetic strategies can be seen to unintentionally produce reading positions for various unimplied situated readers. In Chapter 4 Kaakinen first demonstrates how Conrad’s texts divide their readers acco

AGGER

https://doi.org/10.1007/978-3-531-92064-1Polish reception of Conrad has been able to imagine a secondary implied address in Conrad to the Polish context, Conrad’s non-European or racialized readers face Conrad’s texts as unwelcome readers excluded from the hierarchical conversation set up in Conrad’s texts. But while these positions are in

熱心助人

聽覺

Klassiker der Sozialwissenschaften Sebald’s untimely narratives of trauma can provide openings beyond national or otherwise insular discussions on imperialism and trauma, Kaakinen also stresses the limits of Sebald’s texts as media of transcultural memory. Sebald’s implied reading mode of melancholic identification, which transcends

群居動物

鴿子

https://doi.org/10.1007/978-3-319-51820-6Transnational; Narrative; Contemporary; Postimperial; Methodology