Pascale Casanova

El presente artículo analiza el funcionamiento de las dinámicas paratextuales y mercantiles, y las representaciones de autor, en el campo literario de las estéticas latinoamericanas contemporáneas, centrándose en el caso del escritor mexicano Álvaro Enrigue. Desde distintas aproximaciones teóricas, se abordan tanto las escrituras "ilegibles" o "herméticas" del continente (Steiner, Prieto, Garramuño, Libertella), a las que se ha vinculado a Enrigue, como las diferentes estrategias posicionales, crediticias, y de postura autorial (Bourdieu, Casanova, Escalante, Viala, Meizoz) desplegadas en el espacio social en el que se inserta ese discurso literario. Así, partiendo de la lectura contrastiva de la obra enrigueana, el artíulo se nuclea en torno a dos ejes o imágenes de autor: la "novela de culto", en un primer momento y, posteriormente, el "escritor pobre", con el objetivo de reconstruir y analizar las causas y procedimientos de la recepción de la obra del autor mexicano. Palabras clave: Álvaro Enrigue, literatura latinoamericana contemporánea, ilegibilidad, postura autorial, campo literario.

Pascale Casanova's notion of the "world republic of letters" systematically transcends national boundaries, as well as the opposition between internalist structural analyses and externalist political reductions, arguing that individual works of literature acquire their meaning only against the background of this transnational literary field with its own, irreducibly literary forms of domination. Yet, I will argue, Casanova's work is not yet sufficiently transnational and not sufficiently historicizing; specifically, it overlooks non-Western cosmopolitan traditions and premodern vernacularization processes. As a case study, I will discuss the vernacularization of Georgian, Kurdish, and Armenian within the Persianate cosmopolitan, and on the consecration of national epics in these languages. These examples suggest an approach to the literary field that allows for greater geographical width and historical depth; it also invites us to look for more radical historical variability in the concept of literature itself.

Ao discutir as relações entre espaço, gênero e prestígio na vida literária, o artigo examina a maneira como os locais públicos e privados incidiram na escolha discursiva dos escritores, promovendo audiência no universo simbólico das letras. Enfatiza-se como polos dialéticos primordiais os cafés e os salões, situados na esfera pública, bem como outros espaços como sacadas de jornais e praças públicas; visa-se ainda o espaço privado, como as residências (ou salas), palco para a formação das chamadas igrejinhas literárias, cujos encontros entre intelectuais foram construídos a partir de um perfil de cordialidade. Parte-se da abordagem de Pascale Nova (2002) e Robert Darnton (1989), acerca da formação do prestígio no universo literário, em aplicação aos textos de Lincoln Souza (1961), Brito Broca (1979) e Humberto de Campos (1954), comentadores e observadores da vida literária brasileira, especialmente na primeira metade do século XX. ABSTRACT: When discussing relationships between space, genre and prestige in literary life, this article examines the way in which public and private places influence the choice of discourse for writers, promoting an audience with the symbolic universe of language. Emphasis has been given to cafés and salons as primordial dialectic centers being that they are located in the public sphere, as well as other spaces such as newspaper stands and public squares. This study also looks at private places, such as residences (or meeting rooms), being a stage for the formation of the so-called literary churches, whose meetings among intellectuals were constructed from a profile of cordiality. It began with the approach from Pascale Nova (2002) and Robert Darnton (1989), regarding the formation of prestige in the literary universe, applying texts from Lincoln Souza (1961), Brito Broca (1979) and Humberto de Campos (1954), who were commentators and observers of Brazilian literary life, especially in the first half of the twenty-second century.

Goethes Konzept der Weltliteratur - Pascale Casanovas Interpretation von Goethes Weltliteratur.- Fritz Strichs Forschung zu Goethes Weltliteratur- Erich Auerbachs 'Philologie der Weltliteratur'- Edward Said und Auerbach Weltliteratur-Konzept- Pascale Casanova und das Konzept einer 'world fiction'

El artículo introduce los aportes de la perspectiva transnacional en los estudios sobre fenómenos culturales, en particular la literatura y las artes visuales. Reseña dos textos centrales que proponen esta escala de análisis. La república mundial de las letras, de Pascale Casanova, publicado en español en 2001y L´espace culturel transnational, de Anna Boschetti, de 2010. A partir de ambos planteos, puede repensarse con un nuevo enfoque la clásica división entre centros y periferias que ha marcado la interpretación de la producción artística y literaria en nuestra región.

Das Konzept der 'Weltliteratur' im Kontext der Entwicklungsphasen Goethes und des Übersetzungs-Booms; die weltbürgerliche Dimension der deutschen Klassik; Goethes Strategien nach Pascale Casanova; das  der literaturkriitische Blick von aussen; die transnationale Kommunikation der Schriftsteller;

Recent theorists of World Literature such Pascale Casanova (2004) and Franco Moretti (2000 and 2003) approach World Literature not as an object (such as a canon) but as a methodology. Aside from demonstrating the shortcomings of these models, Latin American literary critics have framed these theories as instances of European epistemological coloniality. However, this argument has been conflictingly developed while also critiquing these theories’ apparent devaluation of the well-established methods of cultural studies and particularly close-reading, similarly Western methodologies. I argue that theory and methodology, whether consciously or unknowingly applied—the later too often being the case—, act as literary interfaces (the interaction between the critic and the text) which mediate our interpretation of the text. These critiques as well as the heuristic value given to literature in Latinamericanist cultural studies can be re-thought within and from Casanova’s perspective on the literature-world, that is, by proposing the existence a concentric academic-literature-world with a similar set of structures, inequalities, and stakes at play. By engaging with these critiques I argue that World Literature methodologies (while acknowledging their limitations) should not be disregarded but be tested as new tools in the interpretation of texts, authors, and contexts.

Recent theorists of World Literature such Pascale Casanova (2004) and Franco Moretti (2000 and 2003) approach World Literature not as an object (such as a canon) but as a methodology. Aside from demonstrating the shortcomings of these models, Latin American literary critics have framed these theories as instances of European epistemological coloniality. However, this argument has been conflictingly developed while also critiquing these theories’ apparent devaluation of the well-established methods of cultural studies and particularly close-reading, similarly Western methodologies. I argue that theory and methodology, whether consciously or unknowingly applied—the later too often being the case—, mediate our interpretation of the text. These critiques as well as the heuristic value given to literature in Latinamericanist cultural studies can be re-thought within and from Casanova’s perspective on the literature-world, that is, by proposing the existence of a concentric academic-literature-world with a similar set of structures, inequalities, and stakes at play. By engaging with these critiques I argue that World Literature methodologies (while acknowledging their limitations) should not be disregarded but be tested as new informative tools in the interpretation of texts, authors, literary contexts, and even the academy.

La literatura como producto lingüístico con intención estética se convirtió en un lugar de encuentro, de covergencia, de tensión entre procesos de autonomíoa literaria y formación de identitad nacional. Prendemos investigar en qué medida este proceso se tiene en cuenta y se explica a través del concepto del campo literario, tal como le formuló Pierre Bourdieu. Se tienen en cuenta seis pasos: primero se presenta el concepto de campo y de 'habitus', después se analiza la literatura como parte de una ciencia social general, an continuación las invariantes del concepto del campo, la especifidad de lo literario en relación con el concepto de campo así como el alcance istórico de este concepto y una última parte hace referencia a la pregunta del alcance del concepto de campo en el marco de problemática períferia-centro.

Emerging out of La Zona de Contacto (The Contact Zone), the youth-oriented pop culture literary supplement of the right-wing Chilean newspaper El Mercurio, the short story anthology of emerging Chilean narrators Cuentos con walkman (Fuguet and Gómez, Planeta, 1993) made waves within Chilean literary space. Much like the supplement itself, the anthology received both praise and critique, further encouraging its popularity, multiple editions and eventual incorporation into secondary school reading lists. The short stories, which chronicle the experiences of contemporary youth in the neoliberal and globalised Chile of the late twentieth century, will be analysed as a text with a variety of literary intentions including a literarisation of the city of Santiago and the increasingly hybrid understanding of cultural identity. To understand these intentions I draw on Pascal Casanova’s world literature methodology, appropriating macro and micro levels of analysis of both the Chilean literary space and its place within Spanish American literary space, as well as analysing the position-takings of Alberto Fuguet and Sergio Gómez who were the editors of the supplement, its writing workshops, and the anthology.

References:
Casanova, Pascale (2004 [1999]) The World Republic of Letters, (trans. M.B. DeBevoise). Cambridge Massachusetts: Harvard University Press.

Fuguet, Alberto and Gómez, Sergio (eds.) (1993) Cuentos con walkman. Santiago: Planeta Biblioteca del Sur.

Why everyone knows Claro Recto’s name in the Philippines but almost nobody has ever read his works? Following Pascale Casanova’s work The World Republic of Letters and some of Pierre Bourdieu postulates, the article draws the complex linguistic reality in the Philippines at the beginning of 20th century and traces back the origins of the current literary canon of Philippine literature and its contemporary position both nationally and internationally. It also discusses how markers of literary prestige were swapped by markers of political and patriotic prestige to determine a canon in terms of the author’s contribution to the creation of a suitable “Philippine national identity”.