On World Literature/s

Since the early 1990s, my department has placed world literature at the core of the English major--students here have to take 3 of 4 courses in an introductory genre-based world lit sequence--but since I've been teaching here we've never really sat down and systematically examined what we mean by "global literature," how we approach teaching it, and how we might improve on the goals and requirements of our major. That's going to change later today. We'll be building on an earlier Global Studies conference we co-organized and responding in particular to a few pieces from the University of Wisconsin-Madison's World Literature/s Research Workshop, 2007-2008:

• the introductory distinction proposed by the workshop organizers between World Literature and World Literatures:
  
  

  World Literature - in the singular - seems reserved for the repository of the timeless wisdom of the world, the best representation of the multitude of narrative forms and traditions around the world from the antiquity to the present. World Literatures - in the plural - however, is unreflectively used for contemporary literature written in and/or translated into English and other languages of European descent. Marketed as exemplars of the contemporariness of the world, such literary works make their way into the classroom through courses and series on “World Literatures.” The seemingly democratic plurality ascribed to the noun, however, does not guarantee this body of works the singularity reserved for the repertoire of “World Literature.” The contemporariness of “World Literatures” creates the impression of their being ephemeral; their multifaceted and purportedly chaotic ambition is often measured against the timeless and eternal value inscribed to representative works of a national or a linguistic canon assembled under the rubric “World Literature.”

  
  
  
• Franco Moretti's "Conjectures on World Literature" (2000) proposes a method for studying world literature: "Distant reading: where distance...is a condition of knowledge: it allows you to focus on units that are much smaller or much larger than the text: devices, themes, tropes--or genres and systems" (57). He takes as one example the "rise of the novel" around the world, and draws the following conclusion from it:
  
  

  if after 1750 the novel arises just about everywhere as a compromise between West European patterns and local reality--well, local reality was different in various places, just as western influence was also very uneven: much stronger in Southern Europe in 1800...than in West Africa around 1940. The forces in play kept changing, and so did the compromises that resulted from their interaction. (64)

  
  
  He suggests that this compromise is not just a matter of form and content alone, but something that expresses itself in the narrative voice itself, as well. And he concludes that tracing out national phylogenetic trees and global diffusionist waves are two competing approaches to analyzing world literature.
  
  
• David Damrosch's definition from What Is World Literature? (2003): "all literary works that circulate beyond their culture of origin, either in translation or in their original language" (4); "a mode of circulation and of reading" (5) that casts a work as both literary and worldly (6). By literary, he suggests inclusiveness in response to the debate over whether world literature consists of "an established body of classics, an evolving canon of masterpieces, or multiple windows on the world" (15), but points out problems with each, as well. By worldly, he argues that "works of world literature take on a new life as they move into the world at large, and to understand this new life we need to look closely at the ways the work becomes reframed in its translations and new cultural contexts" (24). Along the way, he offers advice on avoiding cultural and critical imperialism, presentism, literary ecotourism and cultural Disneyification, total immersion or airy vapidity, and other dangers of reception and production attendant upon translating, editing, and reading world literature. And he suggests that Moretti's choice between a tree or a wave viewpoint on world literature and between close and distant reading techniques is too stark.
  

More on this after our symposium. The Valve's Moretti book event and the online journal Words Without Borders make for interesting reading in the meantime.

Sisyphus for President!

Things are tough all over public higher ed, it appears. But Sisyphus over at Academic Cog has the answer. Who better to run the UC system than someone with on-the-ground experience in how it really works?

Come on, Blogoramaville--are you with her?

On Funding Public Higher Education, Part VII: New York State Budget Webquest

Rather than continue hijacking the comments thread at my IHE column, I'll simply point out here that the crisis in the New York State higher education budget, which pits SUNY vs. CUNY and public colleges and universities vs. privates, is coming to a boiling point.

Here's some testimony from late January that's worth recalling today:

CUNY Chancellor Matthew Goldstein, Co-Chair, Commission on Higher Education

Alan Lubin, Executive Vice President, New York State United Teachers

Barbara Bowen, President, Professional Staff Caucus-CUNY (with related materials)

Fred Floss, then-Acting President, United University Professions

And for context, see the report of the American Association of State Colleges and Universities on the Top Ten State Policy Issues for Higher Education.

I wasn't planning to blog on this so soon, but I guess I won't have the luxury of perspective or reflection. More when I get back from a campus event!

April Fool's Day Came Early This Year

I was pretty familiar with the quality of Inside Higher Ed's commentariat before agreeing to write a column for them, but it appears I've been spared the worst of the usual dreck. I was hoping to pick up a few trolls here out of the whole deal, but no dice.

Thankfully, though, the few comments that did appear from L.L. and Buzz provided much-needed comic relief for the start of the post-spring break rush. It's hard to tell whether

a) they read the title and the blurb only and rushed to comment without reading my piece itself;
b) they misread my piece almost completely;
c) they really expect to influence any colleges or universities in the Billion Dollar Endowment Club that read my piece, see the light, and set up a committee to give out a few million dollars before the end of the semester; or
d) they're cleverly trying to illustrate the lack of value of their own public university degrees by demonstrating what little they got out of them.

Any other options I missed?

Dear New Readers via Inside Higher Ed

Yes, this blog is "chiefly about Hawthorne matters." Just not lately.

But I can say that Hawthorne would have appreciated the writing in the latest J-Drama that the Full Metal Archivist and I have been watching together on Veoh. So much of Bara no nai Hanaya reminds me of The Scarlet Letter--in particular, its plot compression and dramatic economy, its probing of the ethical tensions within and between different forms of love, its bending of the conventions of the romance to address the social tensions of its day--but it puts a dead mother in the place of the vacated seat of the patriarch. Come to think of it, if The Wire is tv's best modernist novel, then Bara no nai Hanaya may well make a case for the superiority of Hawthornean romance for television today. (How's that for a provocative thesis about the relative value of one show I haven't seen at all and another whose final episode I literally can't wait to be fansubbed? Who says evaluative criticism is dead?)

Once the semester is over, I promise to return to research blogging, which mostly means Hawthorne blogging. Looking over my posts from the first few months of CitizenSE's existence, I'm surprised--and delighted--at how many threads I left hanging. But until then, this will remain the academic/family life blog it has morphed into since our return from Japan last August. Feel free to look around the place and leave a comment, and thanks for dropping by.

On Viewing Japan from Afar and Up Close

Check out the most excellent analysis of "the Harajuku myth" by W. David Marx when you get a chance, along with Bardiac's blogging from Japan.

New readers here may be interested in my own unpacking of U.S. images of Japan from last summer, as well as my attempts at blogging our year in Japan and its aftermath. (Sorry for all the scrolling that clicking on most of these links involves.)

I'm struck at how apropos Melville's "Benito Cereno" is to all this, particularly its reversal of expectations that the closer view is the better view, its focus on the structure and consequences of Captain Delano's fantasies, and its subtle take-down of its particularly untrustworthy narrator. The fact is, there's no best perspective on Japan, whether near or far, from inside or outside. What matters is what comes from juxtaposing views and contextualizing acts of viewing. Including Japanese ones of outsiders. What happens after that is up to us.

Kid Lit Bleg: YouTube/Veoh Suggestions?

That language explosion I predicted a long time ago for imoto is now blowing up and onechan has been loving to "draw letters" in both English and Japanese for a couple of months now, so my usual practice of entertaining the girls with anime theme songs/AMVs and Japan-inflected music videos from YouTube is going to go on the back burner this summer. What I'm looking for now are kids' shows that delight in wordplay and storytelling, particularly ones we can watch for free on YouTube or Veoh.

So far the Full Metal Archivist has discovered a few episodes of an old favorite of hers when she first came to the States, Wishbone:



And I've noticed that there's a good amount of Between the Lions on teh U2bes:



Any other suggestions?