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Faust Adaptations, edited and introduced by Lorna Fitzsimmons, takes a comparative cultural studies approach to the ubiquitous legend of Faust and his infernal dealings. Including readings of English, German, Dutch, and Egyptian adaptations ranging from the early modern period to the contemporary moment, this collection emphasizes the interdisciplinary and transcultural tenets of comparative cultural studies. Authors variously analyze the Faustian theme in contexts such as subjectivity, genre, politics, and identity. Chapters focus on the work of Christopher Marlowe, Johann Wolfgang von Goethe, Adelbert von Chamisso, Lord Byron, Heinrich Heine, Thomas Mann, D. J. Enright, Konrad Boehmer, Mahmoud Aboudoma, Bridge Markland, Andreas Gössling, and Uschi Flacke. Contributors include Frederick Burwick, Christa Knellwolf King, Ehrhard Bahr, Konrad Boehmer, and David G. John. Faust Adaptations demonstrates the enduring meaningfulness of the Faust concept across borders, genres, languages, nations, cultures, and eras. This collection presents innovative approaches to understanding the mediated, translated, and adapted figure of Faust through both culturally specific inquiry and timeless questions.

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Brazil and France have explored each other's geographical and cultural landscapes for more than five hundred years. The Brazilian je ne sais quoi has captivated the French from their first encounter, and the ingenuity à francesa of French artistic and scholarly movements has intrigued Brazilians in kind. Ongoing Brazil-France interactions have resulted in some of the richest cultural exchanges between Europe and Latin America.In Cultural Exchanges between Brazil and France, leading international scholars evaluate these reciprocal transnational explorations, from the earliest French interventions in Brazil in the sixteenth century to the growing mutual influence that the nations have exerted on one another in the twenty-first century. Original interdisciplinary essays examine cross-cultural interactions and collaborations in the social sciences, intellectual history, the press, literature, cinema, plastic arts, architecture, cartography, and sport. The comparative cultural method used in these analyses deepens the collective treatment of crucial junctures in the long history of often harmonious, but also sometimes ambivalent and occasionally contentious, encounters between Brazil and France.

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The studies presented in the collected volume Comparative Hungarian Cultural Studies – edited by Steven Totosy de Zepetnek and Louise O. Vasvari – are intended as an addition to scholarship in (comparative) cultural studies. More specifically, the articles represent scholarship about Central and East European culture with special attention to Hungarian culture, literature, cinema, new media, and other areas of cultural expression. On the landscape of scholarship in Central and East Europe (including Hungary), cultural studies has acquired at best spotty interest and studies in the volume aim at forging interest in the field. The volume's articles are in five parts: part one, «History Theory and Methodology of Comparative Hungarian Cultural Studies,» include studies on the prehistory of multicultural and multilingual Central Europe, where vernacular literatures were first institutionalized for developing a sense of national identity. Part two, «Comparative Hungarian Cultural Studies and Literature and Culture» is about the re-evaluation of canonical works, as well as Jewish studies which has been explored inadequately in Central European scholarship. Part three, «Comparative Hungarian Cultural Studies and Other Arts,» includes articles on race, jazz, operetta, and art, fin-de-siecle architecture, communist-era female fashion, and cinema. In part four, «Comparative Hungarian Cultural Studies and Gender,» articles are about aspects of gender and sex(uality) with examples from fin-de-siecle transvestism, current media depictions of heterodox sexualities, and gendered language in the workplace. The volume's last section, part five, «Comparative Hungarian Cultural Studies of Contemporary Hungary,» includes articles about post-1989 issues of race and ethnic relations, citizenship and public life, and new media.

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In this English translation and revision of her acclaimed German-language book, Elke Sturm-Trigonakis expands on Goethe's notion of Weltliteratur (1827) to propose that, owing to globalization, literature is undergoing a profound change in process, content, and linguistic practice. Rather than producing texts for a primarily national readership, modern writers can collate diverse cultural, literary, and linguistic traditions to create new modes of expression that she designates as «hybrid texts.» The author introduces an innovative framework to analyse these new forms of expression that is based on comparative cultural studies and its methodology of contextual (systemic and empirical) approaches to the study of literature and culture, including the concepts of the macro-and micro-systems of culture and literature. To illustrate her proposition, Sturm-Trigonakis discusses selected literary texts that exhibit characteristics of linguistic and cultural hybridity, the concept of «in-between,» and transculturality and thus are located in a space of a «new world literature.» Examples include Gastarbeiterliteratur («migrant literature») by authors such as Chiellino, Shami, and Atabay. The book is important reading for philologists, linguists, sociologists, and other scholars interested in the cultural and linguistic impact of globalization on literature and culture. The German edition of this volume was originally published as Global playing in der Literatur. Ein Versuch über die Neue Weltliteratur (2007) and it has been translated in collaboration with the author by Athanasia Margoni and Maria Kaisar.

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Drawing from Anglo-American, Asian American, and Asian literature as well as J-horror and manga, Chinese cinema and Internet, and the Korean Wave, Sheng-mei Ma's Asian Diaspora and East-West Modernity probes into the conjoinedness of West and East, of modernity's illusion and nothing's infinitude. Suspended on the stylistic tightrope between research and poetry, critical analysis and intuition, Asian Diaspora restores affect and heart to the experience of diaspora in between East and West, at-homeness and exilic attrition. Diaspora, by definition, stems as much from socioeconomic and collective displacement as it points to emotional reaction. This book thus challenges the fossilized conceptualizations in area studies, ontology, and modernism. The book's first two chapters trace the Asian pursuit of modernity into nothing, as embodied in horror film and the gaming motif in transpacific literature and film. Chapters three through eight focus on the borderlands of East and West, the edges of humanity and meaning. Ma examines how loss occasions a revisualization of Asia in children's books, how Asian diasporic passing signifies, paradoxically, both «born again» and demise of the «old» self, how East turns «yEast» or the agent of self-fashioning for Anglo-America, Asia, and Asian America, how the construct of «bugman» distinguishes modern West's and East's self-image, how the extreme human condition of «non-person» permeates the Korean Wave, and how manga artists are drawn to wartime Japan. The final two chapters interrogate the West's death-bound yet enlightening Orientalism in Anglo-American literature and China's own schizophrenic split, evidenced in the 2008 Olympic Games.

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In this volume, Hui Zou analyzes historical, architectural, visual, literary, and philosophical perspectives on the Western-styled garden that formed part of the great Yuanming Yuan complex in Beijing, constructed during the Qing dynasty. Designed and built in the late eighteenth century by Italian and French Jesuits, the garden described in this book was a wonderland of multistoried buildings, fountains, labyrinths, and geometrical hills. It even included an open-air theater. Through detailed examination of historical literature and representations, Zou analyzes the ways in which the Jesuits accommodated their design within the Chinese cultural context. He shows how an especially important element of their approach was the application of a linear perspective-the «line-method»-to create the jing, the Chinese concept of the bounded bright view of a garden scene. Hui Zou's book demonstrates how Jesuit metaphysics fused with Chinese cosmology and broadens our understanding of cultural and religious encounters in early Chinese modernity. It presents an intriguing reflection on the interaction between Western metaphysics and the poetical tradition of Chinese culture. The volume will be of interest to scholars and students in a variety of fields, including literature, philosophy, architecture, landscape and urban studies, and East-West comparative cultural studies.

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