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By Ali Behdad, Dominic Thomas (editors)

A spouse to Comparative Literature provides a set of greater than thirty unique essays from tested and rising students, which discover the background, present kingdom, and way forward for comparative literature.Features over thirty unique essays from major overseas individuals offers a severe evaluation of the prestige of literary and cross-cultural inquiry Addresses the historical past, present kingdom, and way forward for comparative literature Chapters deal with such subject matters because the dating among translation and transnationalism, literary conception 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 reports, and different experimental techniques to literature and tradition

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2003). The Puppet and the Dwarf: The Perverse Core of Christianity. Cambridge: MIT Press. Žižek, Slavoj. (1999). The Ticklish Subject: The Absent Centre of Political Ontology. New York: Verso. 2 Why Compare? ) ten year reports on the discipline, I addressed the nature of this Association’s recurring series of reports as embodying a logic of indiscipline that afflicts not only this field of study but also, more generally, the humanities (Ferris). I fully intended not to return to the subject since it seemed to me then that this logic had become so entrenched that Comparative Literature was no longer capable of discerning the questions posed by its critical practice.

In this passage, Aristotle claims a comparative relation between the image and what exists in the world in order to establish the ubiquity of the mimetic intention he wishes to proclaim on behalf of literature: “The reason why we enjoy seeing likenesses [eikonas] is that, as we look, we learn and infer what each is, for instance, this because of that [hóti hoûtos hekeînos]” (Aristotle, 1927: 48b, ll. 15−18). Comparison is here a form of knowledge that is rooted in likenesses, in the fact that there is or could be someone or something to which the image of a person or thing refers.

4 As I have argued, the choice of a scene about divine mercy is critical here. As Auerbach shows by following the elliptical and withheld style of the Biblical story, the nature of divine mercy remains entirely mysterious to the human characters involved and, by implication, to the reader. For him, therefore, the Hebraic narrative style lays claim to a powerful kind of truth – the sacred – that cannot be conflated with historical realism. The ineffability of this claim to truth is what distinguishes the Judeo-Christian manner of storytelling from that of the pagans.

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