@article{Wiemann2021,
  author    = {Wiemann, Dirk},
  title     = {Being Taught Something World-Sized},
  series = {The Work of World Literature},
  journal   = {The Work of World Literature},
  editor    = {Robinson, Benjamin Lewis},
  publisher = {ICI Press},
  address   = {Berlin},
  issn      = {2627-728X},
  doi       = {10.37050/ci-19_07},
  pages     = {149 -- 172},
  year      = {2021},
  abstract  = {This paper reads 'The Detainee's Tale as told to Ali Smith' (2016) as an exemplary demonstration of the work of world literature. Smith's story articulates an ethics of reading that is grounded in the recipient's openness to the singular, unpredictable, and unverifiable text of the other. More specifically, Smith's account enables the very event that it painstakingly stages: the encounter with alterity and newness, which is both the theme of the narrative and the effect of the text on the reader. At the same time, however, the text urges to move from an ethics of literature understood as the responsible reception of the other by an individual reader to a more explicitly convivial and political ethics of commitment beyond the scene of reading.},
  language  = {en}
}
@incollection{Wiemann2021,
  author    = {Wiemann, Dirk},
  title     = {Being Taught Something World-Sized},
  series = {The Work of World Literature},
  volume    = {2021},
  booktitle = {The Work of World Literature},
  publisher = {ICI Berlin Press},
  address   = {Berlin},
  isbn      = {978-3-96558-011-4},
  issn      = {2627-728X},
  doi       = {10.37050/ci-19_07},
  pages     = {149 -- 172},
  year      = {2021},
  abstract  = {This paper reads 'The Detainee's Tale as told to Ali Smith' (2016) as an exemplary demonstration of the work of world literature. Smith's story articulates an ethics of reading that is grounded in the recipient's openness to the singular, unpredictable, and unverifiable text of the other. More specifically, Smith's account enables the very event that it painstakingly stages: the encounter with alterity and newness, which is both the theme of the narrative and the effect of the text on the reader. At the same time, however, the text urges to move from an ethics of literature understood as the responsible reception of the other by an individual reader to a more explicitly convivial and political ethics of commitment beyond the scene of reading.},
  language  = {en}
}
@article{Pittel2021,
  author    = {Pittel, Harald},
  title     = {Fin du globe},
  series = {Thesis eleven : critical theory and historical sociology},
  volume    = {162},
  journal   = {Thesis eleven : critical theory and historical sociology},
  number    = {1},
  publisher = {Sage},
  address   = {London},
  issn      = {0725-5136},
  doi       = {10.1177/0725513621994702},
  pages     = {121 -- 136},
  year      = {2021},
  abstract  = {This essay argues that Oscar Wilde noticeably contributed to the emerging discourse about world literature, even though his views in this regard have to be unearthed from the margins of his works, from his early and unpublished American lectures and 'between the lines' of his major critical essays. Wilde's implicit ideas around world literature can be understood as being closely related to his broader endeavour of redirecting and revaluing the pejorative discourse around 'decadence' in art and literature. More specifically, the arch-aesthete preferred to use the word 'romance' rather than 'decadence' (a term he hardly used at all in his writings), signalling a sensitivity attuned to what he called the 'love of things impossible'. This reconceptualization of the decadent outlook was to inspire a critical ideal of literature which relied on creatively activating the other as Other, culminating in a vision of intersubjective, transcultural and unlimited literary communication. Wilde's thought can be more specifically understood as anticipating central tenets of Gayatri Chakravorty Spivak's evocations of the planetary, thus preparing the way for an alterity-oriented understanding of literary cosmopolitanism.},
  language  = {en}
}
@article{Gasser2019,
  author    = {Gasser, Lucy},
  title     = {Towards Eurasia},
  series = {Postcolonial Studies},
  volume    = {22},
  journal   = {Postcolonial Studies},
  number    = {2},
  publisher = {Routledge, Taylor \& Francis Group},
  address   = {Abingdon},
  issn      = {1368-8790},
  doi       = {10.1080/13688790.2019.1608798},
  pages     = {188 -- 202},
  year      = {2019},
  abstract  = {In order to heed the call in world literature studies to work against disciplinary Eurocentrism by refiguring both what constitutes world literature and how this is read, in this article I propose world literature as an archive of world-making practices and as an impulse for the articulation of alternative methodological approaches. This takes world literature from the postcolonial South as, following Pheng Cheah, instantiating a modality of world literature in which the need for imagining worlds with alternative centres to those determined by coloniality is particularly acute. A response to this is facilitated and illustrated by a reading of Bengali poet Rabindranath Tagore's Letters from Russia (1930), and South African writer/activist Alex La Guma's A Soviet Journey (1978). By drawing forward connections between the postcolonial South and the former Soviet Union, this complicates traditional colonial arrangements of the colonial 'centre' as cradle of civilisation and culture, as well as postcolonial scholarship's cumulative fetishisation of 'Europe', by allowing a reshuffling of the co-ordinates determining 'centres' and 'peripheries' and a more nuanced grasp of 'Europe' simultaneously. These imaginative journeys destabilise 'Europe' as closed category and call forth Eurasia as a more appropriate categorical-cartographical framework for thinking this space and the connections and (hi)story-telling it stages and fosters.},
  language  = {en}
}