For almost three decades, Gayatri Chakravorty Spivak has been ignoring the standardized "rules" of the academy and trespassing across disciplinary boundaries. Today she remains one of the foremost figures in the study of world literature and its cultural consequences. In this new book she declares the death of comparative literature as we know it and sounds an urgent call for a "new comparative literature," in which the discipline is given new life -- one that is not appropriated and determined by (...) the market.In the era of globalization, when mammoth projects of world literature in translation are being undertaken in the United States, how can we protect the multiplicity of languages and literatures at the university? Spivak demonstrates how critics interested in social justice should pay close attention to literary form and offers new interpretations of classics such as Joseph Conrad’s Heart of Darkness and Virginia Woolf’s A Room of One’s Own. Through close readings of texts not only in English, French, and German but also in Arabic and Bengali, Spivak practices what she preaches.Acclaim for Gayatri Chakravorty Spivak and her work:"[Spivak] pioneered the study in literary theory of non-Western women." -- Edward W. Said"She has probably done more long-term political good, in pioneering feminist and post-colonial studies within global academia, than almost any of her theoretical colleagues." -- Terry Eagleton"A celebrity in academia... create[s] a stir wherever she goes." -- The New York Times. (shrink)

World Literature in Theory provides a definitive exploration of the pressing questions facing those studying world literature today. Coverage is split into four parts which examine the origins and seminal formulations of world literature, world literature in the age of globalization, contemporary debates on world literature, and localized versions of world literature Contains more than 30 important theoretical essays by the most influential scholars, including Johann Wolfgang von Goethe, Hugo Meltzl, Edward Said, Franco Moretti, Jorge Luis Borges, and Gayatri Spivak (...) Includes substantive introductions to each essay, as well as an annotated bibliography for further reading Allows students to understand, articulate, and debate the most important issues in this rapidly changing field of study. (shrink)

Beginning with a widespread definition of Decadence as when individual parts flourish at the expense of the whole, Regenia Gagnier - a leading cultural historian of late nineteenth-century Britain - shows the full range of meanings of individualism at the height of its promise. From Darwin and Mill to the Fin de Siècle and beyond, Gagnier establishes the individual in relation to its theoretical and practical contexts: the couple and parent/child dyad; the workshop and community; the nation and state; cosmopolis (...) and world-citizenship. She concludes that the relation of individual to social or part to whole is better understood in terms of dynamic functions than fixed identities. Some highlights in this richly detailed study include: the evolutionary and developmental sciences of the individual; Herbert Spencer and the Individualists; Matthew Arnold and the Culturalists; the New Women, Female Aesthetes, and Socialist Individualists; poetry and the Philosophy of the Will; Gypsy Lorists and Cultural Philanthropy; Nietzsche’s Good Europeans and Late Victorian Cosmopolitans; the doctrine of mystical substitution of the one for the many. No one gives a fuller picture of the individual in modernity. (shrink)

Tracing the genealogy of Victorian Aestheticism back to the first great crisis of the Whig polity in the earlier eighteenth century, Dowling locates the source of the Victorians' utopian hopes for art in the "moral sense" theory of Anthony Ashley Cooper, third earl of Shaftesbury. Shaftesbury's theory of a universal moral sense, argues The Vulgarization of Art, became the transcendental basis for the new Whig polity that proposed itself as an alternative to older theories of natural law and divine right. (...) It would then sustain the Victorians' hope that their own nightmare landscape of commercial modernity and mass taste might be transformed by a universal pleasure in art and beauty. (shrink)