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By Ali Behdad, Dominic Thomas

A significant other to Comparative Literature offers a suite of greater than thirty unique essays from proven and rising students, which discover the historical past, present nation, and way forward for comparative literature.
• positive factors over thirty unique essays from major foreign members
• presents a severe evaluate of the prestige of literary and cross-cultural inquiry
• Addresses the heritage, present kingdom, and way forward for comparative literature
• Chapters deal with such themes because the dating among translation and transnationalism, literary thought and rising media, the way forward for nationwide literatures in an period of globalization, gender and cultural formation throughout time, East-West cultural encounters, postcolonial and diaspora experiences, and different experimental techniques to literature and tradition.

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3 Since Mimesis and The Order of Things were published within two decades of each other (1946 and 1966, respectively), and since both may be described as postwar reconfigurations of the status of Western knowledge, their disparate conclusions about the human are worth a closer examination. Being a philologist by training, Auerbach focused primarily on style, even though style, much like categories to which the contemporary critical reader is more accustomed, such as race, class, and gender, is first and foremost about the hierarchical arrangement (that is, the politics) of social differentiation.

For comparativists, the question posed by tolerance is perhaps not so much the additional languages that should be learned (since that is a disciplinary given) as it is the condition of monolingualism: how are we to include, rather than exclude, monolingualism within the comparative study of literature? And, in a discipline that is explicitly committed to translingualism and translation, how could the principle of tolerance help us rethink the tendency to fetishize and privilege linguistic nativism, wherein native speakers’ linguistic abilities and skills tend to be presumed to be naturally superior to those of non-native speakers?

But, is this questioning even possible now for the humanities? And, if not, what happens to Comparative Literature which has long thrived on this project that links theoretical doubt to cultural and critical significance? In this current climate, has the “crisis” of Comparative Literature now been revealed as only useful within this field? When generalized to the humanities, does this sense of recurrent crisis as the ground of self-definition expose the weakness that now makes Comparative Literature (as well as the humanities) become the opportunistic target of crises not of its own making?

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