@misc{Ette2011,
  author    = {Ette, Ottmar},
  title     = {Urbanity and literature},
  series = {European Review},
  journal   = {European Review},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-413767},
  pages     = {17},
  year      = {2011},
  abstract  = {Transarea studies focus upon spaces as created by the movements that criss-cross them. From this point of view, from its very beginnings, literature is closely interrelated with a vectorial (and much less with a purely spatial) conception of history - and with urbanity, which plays a decisive role in Gilgamesh's travels through a (narrative) cosmos centered upon the city of Uruk. This article explores the city as a transareal space of movement in three examples of literature, with no fixed abode, around the turn of the millennium, i.e. Assia Djebar's Les Nuits de Strasbourg, Emine Sevgi Oezdamar's Istanbul-Berlin Trilogy, and Cecile Wajsbrot's L'ile aux musees. These three writers project, in a very specific way, cities in motion as anagrammatic and fractal structures.},
  language  = {en}
}
@misc{Ette2016,
  author    = {Ette, Ottmar},
  title     = {Magic screens},
  series = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe},
  journal   = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe},
  number    = {156},
  issn      = {1866-8380},
  doi       = {10.25932/publishup-41366},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-413669},
  pages     = {12},
  year      = {2016},
  abstract  = {Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Capac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way. (1) Two painters boasted that very same Inca descent - they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an institution of excellent renown and prestige, and whose economic downfall and artistic marginalization was vividly described by the French traveller Paul Mancoy in 1837.(2) While, during the 18th century, Cuzco school paintings were still much cherished and sought after, by the beginning of the following century the elite of Lima regarded them as behind the times and provincial, committed to an 'indigenous' painting style. The artists from up-country - such was the reproach - could not keep up with the modern forms of seeing and creating, as exemplified by European paragons. Yet, just how 'provincial', truly, was this art?},
  language  = {en}
}
@misc{Ette2017,
  author    = {Ette, Ottmar},
  title     = {Khal Torabully},
  series = {Journal of the African Literature Association},
  journal   = {Journal of the African Literature Association},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-412609},
  pages     = {9},
  year      = {2017},
  abstract  = {Khal Torabully creates poetry and a poetics for those forgotten by history, a theorem and theory which construct a tangible and sensual landscape, allowing for an empathetically shared experience and expressing the dramatic climax of the third phase of accelerated globalization: a project that would be unthinkable without the cultural theory we now have at our disposal in the present surge of globalization. In his poetic and theoretical texts, he has paid a literary tribute to the Coolies, usually from India, but also China and many other countries. Given Torabully's Mauritian roots, but also the worldwide migration of the Coolies themselves, the world of Coolitude is culturally and linguistically extremely diverse, making the act of translation very relevant and giving it multiple meanings. Literature brings these forgotten lives back to life and allows us to share this experience thanks to its aesthetic force. It traces the movements, which sketch trajectories functioning to this day as palimpsest-like vectors of our own paths and trajectories. The author of Chair Corail, Fragments Coolies breaks the chain of mutual exclusions, replacing it with a type of writing belonging to a wider array of expressive modes which in diasporic situations unleash polylogical and archipelagic imaginaries.},
  language  = {en}
}