Studies in Comparative Literature and Intellectual History – serie

In seven essays, this book offers a tour de force through those seven disciplines in the humanities that lately underwent a fundamental transformation. In order to apply “exact” scientific methods, these disciplines turned away from their very subjects— the understanding of the relationship or a dialogue that underlies the phenomena they are supposed to investigate. The revisionist approach in this book, based on Mikhail Bakhtin’s work, traces the search for common and specific grounds of the humanities, beginning with psychologism through hermeneutics and semiotics up to the present state of self-annihilation. As an alternative, the book seeks to define humanities as the examination of relationships, which offers an array of refreshing perspectives on each field discussed.

Translations in Travels from Dostoevsky's Siberia, gathered from archives and appearing in English for the first time, offer a fresh look at Dostoevsky's House of the Dead from the perspective of his fellow inmates and Siberians who were imprisoned, tortured, and exiled by the regime of Nicholas I. Drawing on archival resources and illustrations, introductory essays immerse the reader in the experience of the political prisoners who must navigate the criminal environment of verbal, physical, and sexual abuse by negotiating with inmates and authorities alike. These eyewitness accounts introduce the reader to Dostoevsky's unfortunates—condemned to share his experience of Russia's carceral system with its interrogations, denunciations, and hostile spaces—whose psychoses become the writer's obsession in his celebrated crime novels.

Translations in Travels from Dostoevsky's Siberia, gathered from archives and appearing in English for the first time, offer a fresh look at Dostoevsky's House of the Dead from the perspective of his fellow inmates and Siberians who were imprisoned, tortured, and exiled by the regime of Nicholas I. Drawing on archival resources and illustrations, introductory essays immerse the reader in the experience of the political prisoners who must navigate the criminal environment of verbal, physical, and sexual abuse by negotiating with inmates and authorities alike. These eyewitness accounts introduce the reader to Dostoevsky's unfortunates—condemned to share his experience of Russia's carceral system with its interrogations, denunciations, and hostile spaces—whose psychoses become the writer's obsession in his celebrated crime novels.

This study is a theoretical reconsideration of the concept of the “tragic” combined with detailed analyses of Japanese literary texts. Inspired by contemporary critical discourse (especially the works by such thinkers as Theodor Adorno, Fredric Jameson and Raymond Williams), the author challenges both exotic and postmodern representation of Japanese culture as “the other” of the West. By examining the social backgrounds of artists’ endeavors to create new literary forms, the author unveils a rich tradition of tragic literature that, unlike the dominant local tradition of naturalism, has registered the unbridgeable gap between universal ideals and social values at a particular historical moment.

The focus of this study in comparative criticism is close analysis of Dostoevsky’s first literary publication—his 1844 translation of the first edition of Balzac’s Eugе́nie Grandet (1834)—and the stylistic choices that he made as a young writer while working on Balzac’s novel. Through the prism of close reading, the author analyzes Dostoevsky’s literary debut in the context of his future mature aesthetic style and poetics. Comparing the original and the translation side by side, this book focuses on the omissions, additions and substitutions that Dostoevsky brought into the text. It demonstrates how young Dostoevsky’s free translation of Eugénie Grandet predicts the creation of his own literary characters, themes, and other aspects of his literary output that are now recognized as Dostoevsky’s signature style. It investigates the changes that Dostoevsky made while working on Balzac’s text and analyzes the complex transplantation of Balzac’s imagery, motifs, and character portraiture from Eugénie Grandet into Dostoevsky’s own writing later on.

After more than a century of genocides and in the midst of a global pandemic, this book focuses on the critique of biopolitics (the government of life through individuals and the general population) and the counterdevelopment of biopoetics (an aesthetics of life elaborating a self as a practice of freedom) realized in texts by Virginia Woolf, Michel Foucault, and Michael Ondaatje. Their world fiction produces transhistorical, transnational experiences offered to the reader for collective responsibility in these critical times. Their books function as heterotopias: spaces and processes that recall and confront regimes of recognized truths to dismantle fixed identities and actualize possibilities for becoming other. Higgins and Leps define and explore a slant, biopoetic perspective that is feminist, materialist, anti-racist, and anti-war.