Themes

/Themes

Alongside genres and periods, another way to analyse world literary exchanges, institutions, and network is through a focus on specific themes.

MULOSIGE Reading List: Re-Orienting Modernism, Mapping East-East Exchanges

By |2019-05-30T09:03:15+01:00May 30th, 2019|Categories: Digital Humanities and Archiving, Maghreb, Members, MULOSIGE Syllabi, Poetry, Themes|Tags: , , , , , , |

Assistant Professor Levi Thompson (University of Colorado, Boulder) offers a reading list to re-orient conceptions of modernism, drawing on East-East exchanges.

Dernières nouvelles du colonialisme: legitimising collective memory in the face of legislative amnesia

By |2019-04-12T14:17:09+01:00January 21st, 2019|Categories: Education and Taste, Horn of Africa, Reading, Themes, Translations|Tags: , , , , , , , , , , , , , |

Isadora Hutcheson-Lovett argues that "Dernières nouvelles du colonialisme" pushes back against French legislative power; demonstrating collective transnational memory in the face of France's metropolitan amnesia.

Re-imagining Histories through Farthest Field: An Indian Story of the Second World War (Raghu Karnad)

By |2019-04-12T14:24:59+01:00July 25th, 2018|Categories: Education and Taste, Literary Criticism, North India, Reading, Themes|Tags: , , , , , , , , , , , , |

Are nations created by their histories? Raghu Karnad's book 'Farthest Field' problematizes British and Indian memorialisations of WWII.

Approaches to Global Intellectual History: Jürgen Osterhammel

By |2019-04-12T14:38:20+01:00July 4th, 2017|Categories: Education and Taste, Interventions, Themes, Time Periods|Tags: , , , , , , , |

Jürgen Osterhammel discusses Eurocentrism and the status of world history in the German academy

The Code of History and non-Western Pasts: does historiography travel?

By |2019-04-12T14:42:19+01:00October 12th, 2016|Categories: Podcast, Themes|Tags: , , , , |

Professor Sanjay Seth (Goldsmiths) argues that history-writing is not the recreation of a past that is always-already there, lying mute and waiting for the historian to give it voice, but is instead a code or genre or technology, one which constructs the past in ways that make it amenable to representation through the code of history.