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with electronic literature will be crucial to the way that we will come to think of the “literary,” Joseph Tabbi | On Reading 300 Works of Electronic Literature 490 and while I can see the kinds of tension and anxieties that result from import- ing structures from literary analysis into electronic domains, I can also see the value of many of its tools, for example, its reflexivity, its attention to questions of history and culture, and its theories of language and genre. All of these are valuable in thinking about the emergence of new forms. There’s no doubt

, where the battle over rationality be- comes a decisive issue. Despite differences in local politics, what the advocates seem to maintain as the end result is a common language, key words and a united way of selecting and retrieving evidence from Islamic heritage and Western philosophy. The Islamizers unite in their aversion to secularism as an imported “Western” notion. If knowl- edge, according to Al-Attas should be “de-westernized”, in Egypt ^Abdel Wahab El-Missiri’s literary analysis of Geoffrey Chaucer’s “The Frankeleyn’s Tale” and Bertold Brecht’s “The exception

. Quite significantly, meeting these standards is seen as a prerequisite for belonging. In contrast to that, Joseph is illit- erate and represents non‐traditional ‘education’, untrained thinking, and the will to redefine standards in a way which is more accommodating. This becomes obvi- ous for instance when the narrator is visibly proud of his skill in literary analysis. He asserts that he has “great skill not only in spotting an important image, but in connecting it up with other images in the text” and that he had been taught to do so by his English teacher (I 70

umfassenden Wirkung demnach nicht erklärt werden, wie ja auch das umfassende Verständnis eines gutes Witzes mit einem gewissen Humorverständnis zu tun hat, einer charakterli- chen Anlage sozusagen oder, um einen heutzutage im Bildungsbetrieb un- bequemen Ausdruck heranzuziehen, der Begabung. Wallace erläutert dies folgendermaßen: This is a lot like the teacher’s feeling at running a Kafka story through the gears of your standard undergrad-course literary analysis – plot to chart, symbols to decode, etc. Kafka, of course, would be in a unique position to appreciate

,” published in 2000, Franco Moretti argues that “because literature around us is now unmistakably a planetary system,” comparative literary analysis requires a new method, if it is to fulfill its responsibility in the face of “hundreds of languages and literatures.”227 At the beginning of the new millennium, in the context of what might be called a narrative of literary globalization, Moretti advocates “distant reading” as a method that would do justice to the abundance of literatures that he considers impossible to cope with otherwise. Distant reading, Moretti

category (or somewhere in the vicinity) of fiction. ‘THAT VAST DESIRE FOR THE UNKNOWN’: QUESTIONING THE TEXT So, what kind of questions can this text answer? Can a literary analysis of the text ‘solve’ the question of Barbin’s sex, and maybe even determine hir ‘true’ sex? Surely not. However, the text presents itself in a way as if this were possible. From the very beginning of the text, Barbin tries to establish her reliability by pointing out her religious upbringing, “Houses that were truly pious, hearts that were pure and true, presided over my

remains one of the crucial challenges for literary analysis. Space and spatiality, though prominently featured particularly in U.S.-American fiction, have been out in the open for everyone to see, only that they have been overlooked as story-influencing elements. U.S.-American narratives are frequently inspired by the spatial concepts and categories underlying them, making American literature the most viable tool to examine spatial narrativity. This project positions itself at the crossroads of U.S.-American cultural and literary studies, attempting to fulfill a

note of the author (cf. Saunders, Love Me 111f.). The play undeniably deals with states of depression and contemplations on suicide and can in this regard in fact be perceived as a dramatic realisation of a ‘suicide note’ which, according to the Merriam Webster Dictionary, denotes “a note or letter explaining why one killed oneself” (“suicide note” n.p.). Yet if one is to evaluate the contemplation of sui- cide as the main theme, it seems nevertheless mandatory within the realm of a literary analysis to regard this thematic focal point first and foremost as the con

(RE-)FRAMING THE EGYPTIAN BELLY DANCER | 273 means of expression as well as the subject of literary analysis for the author. It is thus transformed from a mere topic to an interpretive lens through which the reader follows Kaldas’s story. The potential of literature to facilitate the changing of perspectives continues to be highlighted throughout the account, with particular emphasis on the author’s experience in the college classroom. “When I teach immigrant literature in the United States,” she explains, “the focus is on the lives of those who immigrate

-Apartheid Criticism is important to show from the outset of the body of the post-apartheid narrative how Relation is composed and set as a trap in which the reader unavoidably falls. More precisely, in this sub-section, I deal with how Relation is textua-lized or “mis en texte”. Inspired by the cinematic notion of staging Yves Reuter carves the idea of “mise en texte” in order to draw the attention of the literary critic on the surface of narrative which functionally sculpts the fiction and the story. Reuter deems the surface of the text relevant in literary analysis because: The