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• Acknowledgements
• 1:
• Introducing the Global South
• 2:
• Creolization
• 3: Indigenization
• 4:
• Africanization
• 5:
• Diasporic disruptions
• 6: Afterword: Insurgent Cosmopolitanism in the South Notes Bibliography Index.
• (source: Nielsen Book Data)

Contemporary adaptations of Shakespeare's plays have brought into sharp focus the legacies of slavery, racism and colonial dispossession that still haunt the global South. Looking sideways across the Atlantic and Indian Oceans to nontraditional centres of Shakespeare practice, Shakespeare in the Global South explores the solidarities generated by contemporary adaptations and their stories of displacement and survival. The book takes its lead from innovative theatre practice in Mauritius, North India, Brazil, post-apartheid South Africa and the diasporic urban spaces of the global North, to assess the lessons for cultural theory emerging from the new works. Using the `global South' as a critical frame, Sandra Young reflects on the vocabulary scholars have found productive in grappling with the impact of the new iterations of Shakespeare's work, through terms such as `creolization', `indigenization', `localization', `Africanization' and `diaspora'. Shakespeare's presence in the global South invites us to go beyond familiar orthodoxies and to recognize the surprising affinities felt across oceans of difference in time and space that allow Shakespeare's inventiveness to be a part of the enchanting subversions at play in contemporary theatre's global currents.
(source: Nielsen Book Data)

• The triumphant discourse of global feminism : should other women be known? / Marnia Lazreg
• An affair to remember : scripted performances in the "Nasreen affair" / Bishnupriya Ghosh
• Palestinian women and the politics of reception / Therese Saliba and Jeanne Kattan
• Race, gender, and the politics of reception of Latin American testimonios / Eva Paulino Bueno
• Packaging "Huda" : Sha'rawi's memoirs in the United States reception environment / Mohja Kahf
• Identity and community in autobiographies of Algerian women in France / Patricia Geesey
• "Sharp contrasts of all colours" : the legacy of Toru Dutt / Alpana Sharma Knippling
• Grim fairy tales : taking a risk, reading imaginary maps / Jennifer Wenzel
• Trajectories of change : the politics of reading postcolonial women's texts in the undergraduate classroom / Sally McWilliams
• Coming to America : reflections on hair and memory loss / Ella Shohat.

This book explores the problems of reading and writing about women and their texts in an increasingly global context of production and reception. The ten essays contained in this volume examine the reception, both academic and popular of women writers from India, Bangladesh, Egypt, Algeria, Ghana, Brazil, Bolivia, Guatemala Iraq, Israel and Australia. The essays focus on what happens to these writers' poetry, fiction, biography, autobiography and even to the authors themselves as they move between the third and first worlds.
(source: Nielsen Book Data)

Short stories and fiction excerpts from Iran, Iraq, North Korea, Syria, Cuba, Sudan, and other countries from whom the government would rather we didn't hear. ""Not knowing what the rest of the world is thinking and writing is both dangerous and boring.""--Alane Mason, founding editor, Words Without Borders During the Cold War, writers behind the Iron Curtain--Solzhenitsyn, Kundera, Milosz--were translated and published in the United States, providing an invaluable window on the Soviet regime's effects on daily life and humanizing the individuals living under its conditions. Yet U.S. Treasury Department regulations made it almost impossible for Americans to gain access to writings from "evil" countries such as Iran and Cuba until recently. Penalties for translating such works or for "enhancing their value" by editing them included stiff fines and potential jail time for the publisher. With relaxation in 2005 of the Treasury regulations (in response to pressure from the literary and scientific publishing communities that culminated in a lawsuit), it is now possible, for the first time in many years, to read in English works from these disfavored nations. The New Press and Words Without Borders are proud to be among the first to offer American readers contemporary literature of "enemy nations." "Literature from the Axis of Evil" includes thirty-five works of fiction from seven countries, most of which have never before been translated into English.
(source: Nielsen Book Data)

• Introduction The Dictionary
• Appendix I: List of Authors by Region and Country
• Appendix II: Chronological List of Authors
• Appendix III: Resources for Research
• Appendix IV: Anthologies
• Appendix V: Criticism Index.
• (source: Nielsen Book Data)

This reference volume serves as a companion to Third World women's literatures in English and in English translation by presenting entries on works, writers, and themes. Entries are chosen to present a balance of well-known writers and emerging ones, contemporary as well as historical writers, and representative selections of genres, literary styles, and themes. What plays have been written by women in the developing world? What books have been written by Sri Lankan or Brazilian women? Which works address themes of feminism or exile or politics in the Third World? These are the types of questions that can now be answered through Fister's companion to Third World women's literatures in English and English translation. Organized alphabetically, this reference volume presents entries on works, writers, and themes. Entries are chosen to present a balance of well-known writers and emerging ones, contemporary as well as historical writers, and representative selections of genres, literary styles, and themes. By providing information about and leads to works by and about Third World women, an important and largely marginalized literature, Fister has created a unique reference tool that will help teachers, scholars, and librarians, both public and academic, expand their definitions of the literary, making the voices of Third World women available in the same format in which many companions to Western literature do. An important book for all public and college-level libraries.
(source: Nielsen Book Data)

• Acknowledgments Preface: Transcultural Graffiti Part One: Positions
• 1 Classrooms in transcultural texts - Transcultural texts in the classroom
• 2 Postcolonial `bricolage' Part Two: Translation
• 3 Genetic Translation: Boell's translation of Patrick White
• 4 Cesaire's Bard: From Shakespeare's Tempest to Cesaire's Une Tempete
• 5 Teaching Nomadism: Inter/Cultural Studies in the Context of Translation Studies Part Three: Autobiography
• 6 Triangulating the Self: Turner Hospital, Hoffman and Sante
• 7 Bura Part Four: Indigenous Studies
• 8 Listening to Indigenous Voices: The Ethics of Reading in the Teaching of Australian Indigenous Oral Narrative Part Five: Teaching
• 9 `(Mis)Taking the Chair': The Text of Pedagogy and the Postcolonial Reader
• 10 Writing the Disaster: New York Poets on 9/11 Conclusion: What is your name? Bibliography.
• (source: Nielsen Book Data)

Transcultural Graffiti reads a range of texts - prose, poetry, drama - in several European languages as exemplars of diasporic writing. The book scrutinizes contemporary transcultural literary creation for the manner in which it gives hints about the teaching of literary studies in our postcolonial, globalizing era. Transcultural Graffiti suggest that cultural work, in particular transcultural work, assembles and collates material from various cultures in their moment of meeting. The teaching of such cultural collage in the classroom should equip students with the means to reflect upon and engage in cultural `bricolage' themselves in the present day. The texts read - from Cesaire's adaptation of Shakespeare's Tempest, via the diaspora fictions of Marica Bodrozic or David Dabydeen, to the post-9/11 poetry of New York poets - are understood as `graffiti'-like inscriptions, the result of fleeting encounters in a swiftly changing public world. Such texts provide impulses for a performative `risk' pedagogy capable of modelling the ways in which our constitutive individual and social narratives are constructed, deconstructed and reconstructed today.
(source: Nielsen Book Data)

• 1. Acknowledgements
• 2. Foreword by Rajeshwari Sundar Rajan
• 3. Introduction 'Southern Postcolonialisms: The Global South and the 'New' Literary Representations' by Sumanyu Satpathy Part I: Canons of the New
• 4. A balance of Stories: The Making of a Discipline by Sue Thomas
• 5. English in an Uneven World: Literature in English Transition by Meenakshi Mukherjee
• 6. The toger that Pounced: The African Writers Series (1962-2003) by Robert Fraser
• 7. Indian Ocean Testimonies: Narrative and Governmentality between South Africa and India by Isabel Hofmeyer
• 8. Rushdie's Indian Literature and Ours by Sumanyu Satpathy
• 9. O.V. Vijayan
• The Echo of the Cupola (Literatures-New Literatures) by Divya Dwivedi Part II: Pedagogies from the Postcolony
• 10. The New English Literatures and the Globalization of Tertiary Education by Dieter Riemenschneider
• 11. Getting In and Out of the Dark Room: Canadian Texts as Neutral Ground for Self-Expression and Empathy in Conflicts by Danielle Schaub
• 12. Pedagogy of Indian Partition Literature in the Light of Trauma Theory by Beerendra Pandey
• 13. Decolonizing the Classroom: In Search of 'New' Pedagogies for 'New' Literatures? by Brinda Bose, Vaibhav I. Parel and Akhil Katyal Part III: Gendered Citizenships in Transnational Times
• 14. Policing Transgression, Disciplining Taslima: State Censorship in Postcolonial Bangladesh by Manmay Zafar
• 15. Bread, Blood, and Bones: Democratic Socialism and Jamaican Drama by Kanika Batra
• 16. 'Between Two Worlds': A Narrative of the Split Self by Kay Souter
• 17. National Mythologies and Secret Histories: Faultlines in the Bark Hut in Some Recent Australian Fiction by Carol Merli
• 18. Bibliography
• 19. Index.
• (source: Nielsen Book Data)

"Southern Postcolonialisms" is an anthology of critical essays on new literary representations from the Global South that seeks to re-invent/re-orient the ideological, disciplinary, aesthetic, and pedagogical thrust of Postcolonial Studies in accordance with the new and shifting politico-economic realities/transactions between the North and the South, as well as within the Global South, in an era of globalization. Since the emergence of Postcolonial Theory in the 1980s, the shape of the world has changed dramatically. Old Cold War boundaries have shifted in the wake of the collapse of communism, Globalization, on an unprecedented scale, has dramatically changed the meaning of time and space. The rise of the US as a new imperial power has profound implications for the world order. In the South, new emerging markets have challenged the older division of industrial 'first world' and non-industrial 'third world'.In most parts of the world, the academy is struggling to keep up with these developments. One result has been a major transnational turn in the humanities and social sciences. Terms like 'world history', 'globalization', 'glocalization' and 'transnationalism' now dominate academic agendas worldwide. These changing circumstances raise far-reaching questions. What does the new emerging world order mean for established models of postcolonial theory? Is postcolonialism as a field of study being overtaken by models of globalization and transnationalism? What implications do the new configurations in the South have for postcolonial theory? This volume, drawn from a major literary conference at Delhi University, provides a set of perspectives on these questions. With a majority of contributions by scholars from the South, these research articles have a dual focus - they revisit older debates on postcolonial theory, while suggesting new perspectives and directions.
(source: Nielsen Book Data)

• Introduction: The papier-mâché parrot
• Writing aporia: aesthetics and politics in the dictator novel of the global South
• Tabula rasa: Juan Manuel de Rosas and the emergence of the dictator as a literary figure
• Fathers of the fatherlands: writing, politics, and literary form at the end of the Latin American "boom"
• Mesaventures: the politics and poetics of the dictator novel in the African postcolony
• The dictator in the corpolony: on the dictator novel in the time of transition
• Afterword: Moving outward and forward.

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Liteary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. The Dictator Novel positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel Garcia Marquez, Ngugi wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, Jose Marmol, Esteban Echeverria, Ousmane Sembene , Chinua Achebe, Aminata Sow Fall, Henri Lopes, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South.
(source: Nielsen Book Data)

• Introduction: The papier-mache parrot
• Writing aporia: aesthetics and politics in the dictator novel of the global South
• Tabula rasa: Juan Manuel de Rosas and the emergence of the dictator as a literary figure
• Fathers of the fatherlands: writing, politics, and literary form at the end of the Latin American "boom"
• Mesaventures: the politics and poetics of the dictator novel in the African postcolony
• The dictator in the corpolony: on the dictator novel in the time of transition
• Afterword: Moving outward and forward

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Liteary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. The Dictator Novel positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel Garcia Marquez, Ngugi wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, Jose Marmol, Esteban Echeverria, Ousmane Sembene , Chinua Achebe, Aminata Sow Fall, Henri Lopes, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South.
(source: Nielsen Book Data)

• General Introduction-- PART ONE: GENERAL APPROACHES-- I QUESTIONING THE CANON-- Introduction--
• 1. Repossessing the Past: The Case for an Open Literary History--
• 2. Canon and Period--
• 3. Literature and the Rise of English--
• 4. Women Poets--
• 5. Literary Theory and the Black Tradition-- II INTERPRETATION-- Introduction--
• 1. The Babel of Interpretations--
• 2. Interpreting the Variorium--
• 3. Who Cares About the Text?--
• 4. Literary History as a Challenge to Literary Theory--
• 5. The Interpreter's Freud-- III COMMITMENT-- Introduction--
• 1. To Cambridge Women--
• 2. Writing, Reading, and the Public--
• 3. Commitment--
• 4. Right and Wrong Political Uses of Literature-- PART TWO: THEMES AND ISSUES-- I FORM AND GENRE-- Introduction--
• 1. Story and Narrative--
• 2. Semiotics of Theatrical Performance--
• 3. The Signs of Drama-- Close Reading-- II MODERNISMS-- Introduction--
• 1. Remarks on Poetry--
• 2. Order in Narrative--
• 3. Towards a Semiotics of Literature--
• 4. The Ideology of Modernism--
• 5. Modernism and the Metropolis--
• 6. Gender and Modernism-- III LITERATURE AND NATION-- Introduction--
• 1. Beyond a Boundary--
• 2. Woman and Nationalism--
• 3. The Intimate Enemy--
• 4. The National Longing for Form--
• 5. Imaginary Homelands-- IV LITERATURE AND IDEOLOGY-- Introduction--
• 1. A Short Organum for the Theatre--
• 2. Marxist Criticism--
• 3. The Text Says What It Does Not Say--
• 4. The Death of the Author--
• 5. What is an Author?-- V LITERATURE AND GENDER-- Introduction--
• 1. Woman and the Other--
• 2. Language and Gender--
• 3. Laugh of the Medusa--
• 4. Rootedness: The Ancestor as Foundation--
• 5. Introduction to Between Men--
• 6. Subjects of Sex/Gender/Desire-- VI END OF EMPIRE-- Introduction--
• 1. The Discourse of the Orient--
• 2. Englands of the Mind--
• 3. Behind the Cliches of Contemporary Theatre--
• 4. From the Victorian Nyanza to the Sheraton San Salvador-- VII FROM COMMONWEALTH TO POST-COLONIAL-- Introduction--
• 1. On National Culture--
• 2. Colonialist Criticism--
• 3. History of the Voice--
• 4. Post-Colonial Reconstruction--
• 5. The Angel of Progress--
• 6. When Was The Post-Colonial?-- VIII LITERATURE AND HISTORY-- Introduction--
• 1. Theses on the Philosophy of History--
• 2. History and Fiction--
• 3. Introduction to Metahistory--
• 4. The Text, the Poem, and the Problem of Historical Method--
• 5. The Keening Muse--
• 6. The Hollow Miracle--
• 7. Literary History and Literary Modernity-- IX LITERATURE AND VALUE-- Introduction--
• 1. What is a Classic--
• 2. The Exile of Evaluation.
• (source: Nielsen Book Data)

This text offers a unique combination of British, European, American and Post-Colonial perspectives on literary study from the 1920s to the present day. Carefully introduced and arranged to highlight the development of debates, it is designed to engage newcomers to the field with some of the main themes and issues that will concern them as readers of modern literary texts of all genres. The book provides material that is exciting, original, and above all accessible, rather than simply representative of a certain critical approach. It includes the views of leading critics such as Terry Eagleton, Henry Louis Gates Jr., Umberto Eco and Paul de Man, as well as the originating voices of writers such as Bertolt Brecht, Jean-Paul Sartre, Toni Morrison and Salman Rushdie. In the second edition, there is an increased focus on questions of gender and identity and on recent debates, such as 'Literature and Nation' and 'Literature and Value'. The reach and relevance of the book has been extended, taking a more international voice, focusing on American and European writers and critics.
(source: Nielsen Book Data)

• Part 1 Questioning the "Canon": repossesing the past - the case for an open literary history, M.Butler-- canon and period, F.Kermode-- literature and the rise of the English, T.Eagleton-- women poets, S.M.Gilbert and S.Gubar-- Yeats and decolonization, E.Said.
• Part 2 Interpretation: Freud and literature, L.Trilling-- the babel of interpretations, E.D.Hirsch, Jr-- interpreting the "Variorum", S.Fish-- who cares about the text?, R.Scholes-- literary history as a challenge to literary theory, H.R.Jauss.
• Part 3 Literature and commitment: to Cambridge women, V.Woolf-- writing, reading, and the public, J.P.Sartre-- commitment, T.Adorno-- right and wrong political uses of literature, I.Calvino.
• Part 4 Form and genre: story and narrative, S.Chatman-- semiotics of theatrical performance, U.Eco-- the signs of drama, M.Esslin-- close reading, J.Barrell.
• Part 5 Modernism: remarks on poetry, P.Valery-- order in narrative, G.Genette-- towards a semiotics of literature, R.Scholes-- the ideology of modernism, G.Lukacs-- metropolitan perceptions and the emergence of modernism, R.Williams.
• Part 6 Englishness: good days, N.Cardus-- notes on the English character, E.M.Forster-- memorable speech, W.H.Auden-- the lion and the Unicorn, G.Orwell-- the English - custom and character, A.Briggs-- woman and nationalism, V.Woolf.
• Part 7 Literature and ideology: situation of the writer in 1947, J.P.Sartre-- Marxist criticism, T.Eagleton-- the text says what it does not say, P.Macherey-- on literature as an ideological form, E.Balibar and P.Macherey-- the death of the author, R.Barthes.
• Part 8 End of empire: the discourse of the orient, E.Said-- the geography of "A Passage to India", S.Suleri-- Englands of the mind, S.Heaney-- behind the cliches of contemporary theatre, J.McGrath.
• Part 9 New writings in English: on national culture, F.Fanon-- colonialist criticism, C.Achebe-- decolonizing African literature, Chinweizu/Jemie/Madubuike-- value judgements on art and the question of macho attitudes - the case of D.Walcott, E.Fido-- drama and the African world-view, W.Soyinka-- post-colonial reconstructions - literature, meaning, value, Ashcroft/ Griffiths/Tiffin.
• Part 10 Language and gender: woman and the other, S.de Beauvoir-- language and gender, C.Kaplan-- the laugh of the Medusa, H.Cixous-- rootedness - the ancestor as foundation, T.Morrison.
• (source: Nielsen Book Data)

• CONTRIBUTORS/AUTHORS: Marilyn Butler, Frank Kermode, Terry Eagleton, Sandra M. Gilbert, Edward Said, Lionel Trilling, E. D. Hirsch, Stanley Fish, Robert Scholes, Hans Robert Jauss, Virginia Woolf, Jean-Paul Sartre, Theodor Adorno, Italo Calvino, Seymour Chatman, Umberto Eco, Martin Esslin, John Barrell, Paul Valery, Gerard Genette, Georg Lukacs, Raymond Williams, Neville Cardus, E. M. Forster, W. H. Auden, George Orwell, Asa Briggs, Pierre Macherey, Etienne Balibar, Roland Barthes, Sara Suleri, Seamus Heaney, John McGrath, Frantz Fanon, Chinua Achebe, Elaine Fido, Wole Soyinka, Simone de Beauvoir, Cora Kaplan, Helene Cixous, Toni Morrison, Laurence Lerner, Hayden White, George Steiner, Joseph Brodsky, Czeslaw Milosz, Walter Benjamin.
• (source: Nielsen Book Data)

This book offers a unique combination of English, European, feminist and "new writing" or "Commonwealth" perspectives upon literary studies from the 1920s to the 1980s. It is designed to enable students to gain an understanding of the main theoretical issues involved in the study of modern literary texts - chiefly but not exclusively in English. It includes the views of leading critics and theorists such as Marilyn Butler, Frank Kermode, Helene Cixous and Edward Said, as well as the originating voices of Wole Soyinka, Toni Morrison, Seamus Heaney and Virginia Woolf, and focuses on major critical topics including genre, interpretation, history and criticism, gender, race and the notion of "Englishness". This approach derives from a perceived change in what constitutes "English Literature" in a period of British imperial decline and the rise of a radical, questioning/critical and literary practice at home and abroad. The more abstract and abstruse/contemporary critics are eschewed in favour of extracts of sufficient length, force and clarity to offer relative newcomers the opportunity of engaging with a wide range of current issues. The book provides both an informed critical awareness of the debates likely to dominate discussions of literature in the 1990s as well as a major contribution to these debates.
(source: Nielsen Book Data)