In "Canonization and Variations of Shakespeare's Work in China," Qing Yang discusses the role of cross-linguistic and inter-cultural variations with regard to William Shakespeare's intercultural travel and canonization in China. In the context of globalization, Shakespeare's texts outside Western cultures undergo cross-national, cross-linguistic and inter-cultural variations in the process of translation. From a symbol of Western powers and cultures to a bearer of Confucianism, a fighter for the survival of the nation during the anti-Japanese struggle, and to a literary master with abundant possibilities of interpretation and adaption today, Shakespeares (in the plural to indicate the multiple texts of Shakespeare) change and vary in modern and contemporary China. The inter-cultural communication of Shakespeare with clear markings of Chinese culture and history progresses through variation. Yang argues that it is the paradigm of Shunqing Cao’s variation theory central to the formations of world literature(s) that has facilitated the canonization of Shakespeare’s work in China.

If we inspect closely the works that ascend to world literature from the peripheral, David Damrosch’s well-recognized argument that “world literature is writing that gains in translation” may need some revision, because apparently translation is not the sole factor that decides the formation of world literature. Translated works do not necessarily represent the best part in one national literature. Damrosch’s overemphasis on translation differences and untranslatability in world literature tends to overlook the syncretism of heterogeneous literatures: The influence of Roman Empire on Indian Buddhism, the influx of elements from Indian, Arabic, and Persian stories into European writers’ creation, the genres of China’s ancient literature influenced by Buddhism, etc. Furthermore, a great deal of Chinese idioms and allusions appearing in Japanese, Korean and Vietnamese literatures provide us a general view of how world literature forms through exchange and syncretism. On this account, Damrosh’s argument may be reformulated as “world literature is writing that gains in variation.” Variation reflects the ability to absorb otherness and then to create something new. Meanwhile, the perspective of literary syncretism will help us reasonably distinguish world literature and national canons.

In "On Variations of the Classical Chinese Literary Genre terminchinesescript (Fu) in Literary History," the authors analyze the representation of the classical Chinese literary genre Fu, or namely, rhapsode, in Chinese literary histories compiled in English. A unique classical literary genre, Fu commonly appears in classical Chinese literature as well as in aesthetics and philosophy, thus constituting an important part in Chinese literature in all periods from ancient to contemporary. However, Fu falls outside the quartered-division of modern western stylistics, so is bound to cause problems in the compilation of a literary history in the Anglophone literary culture, as is the case in Sinology. This paper argues that variations caused in the translation of the name Fu and its configuration set-up in the English context have resulted in the under exploration of its full meanings in existing relevant studies, which necessitates future research for the sake of substantially changing the peripheral status of Chinese literature in the arena of world literature.

What kind of relationship has modernity established between knowledge and power? What forms does such a relationship take in contemporary society? Theattempt here is to enter into the merits of its new formulations, focusing attention on the degradation to which power and knowledge have been subjected. The essay also indicates a solution that does not consist in a return to the past or escape into the future, but in the possibility of viewing the present as an opportunity for cultural emancipation.

In the increasingly notorious philosophy of new materialism, a serious attempt to redefine subjectivity in terms of its non-dualistic nature can be ascertained.The criticism on dualisms draws directly on a wider critique focusing the anthropocentric and correlationist models that shaped modernity and modern thought. In this paper, I consider new materialism’s non-dualism as a starting point from which a subsequent decline of subjectivity can be purported. This decline does not involve immediately, or at all, devaluation but, instead, it is interpreted as an instance of neutralization. The neutralized subject is an underlying phenomenon ofthe ontology and the epistemology that relates closer to new materialist philosophy. New materialism’s conceptual framework draws widely on Deleuze and Latour’s thought. On what subjectivity is concerned, the concepts of “becoming” and of the “virtual” are crucial in more recent theorizations aligned with new materialism, where a commitment to overcome the barriers imposed by a central and substantial subjectivity is present (for example in Rosi Braidotti’s or Karen Barad’s writings). At the same time, the theory of assemblages and the claim for the existence and observation of the agencies of (inanimate) matter provide a further element, along with a further set of concepts that, as I claim, reinforce the becoming-neutral of the subject. In this case, the works of Manuel de Landa or Jane Bennett are seminal. Finally, when this neutralization is taken as part of a realistic post-humanist conception, the possibility of a new cultural model and a new set of values arises. The edification of a new cultural model, although not entirely intentional or socially widespread, is made possible when the neutralization of subjectivity accompanies a withdrawal of a misleading representation of its centrality and substantiality without denying the properties of its particular embodiment.

In the essay “Das Wort” (“Words”), Martin Heidegger wrote about “renunciation” (verzicht) in the context of the poetry of Stefan George. According toHeidegger the entrance into the possibility of Saying, with the capital “S” – as opposed to the chatter of every-day life – could be achieved in the instance of the poet’s deliberate acceptance of renunciation. Heidegger’s writings, including “Words,” have had an enormous influence in the second part of the 20th century on authors and thinkers alike. And yet this influence may have had a pernicious effect, at least in the opinion of some commentators. In the 2005 book L’adieu à la littérature, William Marx, for instance, claimed that the 20th century is the time of a literature sans style. If on the one hand literature achieved its autonomy, on the other it farewelled the cognitive purpose with regard to the world, which, some could argue, equates with a retreat from its civilizing purpose. This essay does two things: first it illustrates and contextualizes the notion of “renunciation” from philosophical as well as literary and cultural perspectives: second it discusses a set of authors who have experienced the category of “renunciation” in different ways and with different outcomes. I refer to Maurice Blanchot, Frances Ponge and Édouard Glissant.

A neighborhood in a US city seems to present a possibly unique exception to empirical generalizations and explanations of urban decline and occasional rehabilitation. Resisting decline, gentrification, and outside interests and actors, the neighborhood generated a subculture created by working class artists. As a valuable occasion for revising urban social theory, this essay draws on the work of Howard S. Becker, Pierre Bourdieu, Henri Lefebvre, Jacques Rancière, and Georg Simmel, among others. It relies on ethnographic method for its empirical findings.

This paper explores iconicity in the metrical structure and the cultural value of Artistic Chinese calligraphy along the lines of Carles S.Peirce’s theory. It drawsattention to the fact that there is a simple categorical correspondence between the outer forms of Artistic Chinese Calligraphy and their subject-matter, presenting it a mixed form of representation, based on resemblances but also creating its own metaphysical meanings simultaneously.

The aim of this paper is not to focus on a particular thematic issue of Aesthetics, offering an exhaustive approach of it, but to display a broader map allowingto capture the essence of this topic from an overall perspective. To achieve it, I have paid attention to a number of points that will help to place Aesthetics in historical terms in the context of 18th century Great Britain. In this vein, I have addressed certain pillars deemed crucial in understanding Aesthetics, such as the socio-historical background in which it emerged, the meaning of this field of study, its main theoreticians and its three most important aesthetic categories. Finally, I close the paper by drawing some brief conclusions.

Global era is an era of acculturation which may surface difficulties due to the tendency of becoming global chaos that may influence people’s thought. Everyonehas their own views and has made changes with their own worldview perception; hybrid and heterodox. Changes without wisdom will eliminate local elements.This phenomenon has influenced myriad forms of visual composition and architecture of Bali Madya dwelling. Balinese culture has gone through various changes since Rsi Markandeya in the 9th century, Empu Kuturan in the 10th century and Danghyang Nirartha in the 14th century. They changed many dwelling arrangements in architecture. Changes do not mean that one has to demolish the local indigenous elements but, instead, should attempt to develop various indigenous elements with the intention that the visual interior and architectural compositions have their own distinctive characters. In relation to that, aesthetic image and traditional space concept will be arranged in various kinds of acculturation in global visual forms. The dwelling space of Bali Madya concept was acculturated from the Bali Aga’s space concept during the era of Majapahit. This research is based on aesthetic and historical approach that stressed on the artistic aspects and design that are associated with aesthetic appeal. The analysis was done using observations of form and function including the meaning of space composition which was arranged to produce a proportionate composition with local images.

Value-sensitive design conceived as an a priori process is necessarily uncompleted, because the foresight needed to accommodate competing values in trueaccord with consumers’ (ever-evolving) wishes is simply unavailable ab initio. True value-sensitive design is, instead, an ongoing process of market discovery which is evolutionary in nature rather than a priori. We illustrate this generality with the landline telephone.

A framework for thinking about the social role of art is developed. Using economic ideas, art is depicted as a capital asset – something that provides insight tosociety over some period of time. The idea of thinking about art as an asset enables a concrete distinction between high and low art, as well as the possibility that art can “race to the bottom,” with low art displacing high art, with the concomitant deleterious consequences.

The evaluation of subjectivity and the birth of aesthetics represent the presuppositions of the modern idea of civilization, intended as an endless progress ofsociety. In the contemporary world, the degeneration of subjectivity into narcissism and aesthetics into intimism has destroyed the productive relationship between individual sentiments and society, leading to the phenomenon of neo-cynical decivilization.

This paper aims to explore the notion of algorithmic culture in relation to new media and electronic literature. Such a culture considers human as being immersed in smart technology, which with its code and algorithms defines individual’s behaviour and decision-making, modes of socializing and participation, experiencing and perception. The following lines unveil the paradigm shift that involves semiotic crossings between human and machine languages. In order to do so, it addresses some crucial particularities of the emerging field of electronic literature.

The events of 9/11 have underlined the relevance of the thought of Georgio Agamben in so far as he attempts to explain the genesis of an authoritarianism that increasingly implements extraordinary measures and enhanced surveillance. This can be understood in terms of the expansion of a biopolitical regime. Biometric analysis: finger printing, iris and retina scans etc., are to be understood in their relation to the individual as bare life, the individual stripped of his/her political legal identity and thus identified without reference to the latter. The camp, according to Agamben, is said to be the ultimate space, a lawless zone, wherequestions of legality and illegality become irrelevant. However, this paper argues that Agamben fails to underline the importance of the Cartesian legacy that initiated a form of conceptualization in which the ordering of reality replaced qualitative distinctions with mathematical quantification. Biometric analysis, which relies heavily on mathematized quantification of biological features, is integral to the biopolitical regime, as described by Michel Foucault and Agamben. This paper argues that a rejection of this Cartesian inheritance is necessary if we are to overcome insidious forms of control based on surveillance, biometric identification or even managerial oversight through supposedly quantifiable metrics of performance.

This essay situates the debate on the philosophy of indigenous thought systems within the context of postcolonial theory. I argue that postcolonialism is areinvention of preexisting indigenous philosophy. Beginning from the late 1960s into the early 1970s a seemingly new wave of thinking was theorized by scholars as postcolonialism. Today, its popularity is evident in the many academic fields that have adopted and adapted it as an instrument of scholarly inquiry. In this essay, I argue, using Akan proverbs, that postcolonialism is not a new philosophy.

In his 1987 novel Foe, J. M. Coetzee re-introduces the figure of Friday, a speechless cannibal, who is Robinson Crusoe’s slave and who allegedly had histongue severed by slave-traders. Evidently, Friday’s bestialization and his peculiar position within the narrative are inextricably linked to his status as a nonspeaking character. In contrast to Susan, Coetzee’s “failed narrator” (MacLeod, 2006: 6), Friday narrates nothing in the novel. Hence, his silence can be seen as a site of resistance to the oppressive power that tries to define him, marking the limit of a language and a literature that seek to place him within western logocentrism. Thus, the enigma of Friday and the enigma that is Friday, are the major axis around which the novel and all relationships within it unfold. Susan’s -and by extension, Coetzee’s own- inability to interpret Friday’s silence does not incapacitate the narrative but quite the contrary: it is only through her (and Coetzee’s) productive failure to determine, to identify and to define the figure of Friday that Coetzee is able to restore agency and meaningfulness to Friday’s silence, opening up its void to the possibility of a restitution (and a justice) to come.

In recent times, African states have experienced multiple challenges. The most disturbing one is the inability to evolve a sustainable culture of dialogue that issuitable for the mitigation of ethnic conflicts in contemporary Africa. It is this failure that has generated many other problems in other spheres. These problems, inconcert, have made the socio-political space largely that of frustration, despair and disappointment. This accounts for the social design of unhealthy alliances and the basis for the affirmation of parochial primordial frivolities at the detriment of a trans-national identity. But why have the affirmation of these primordial alliancesand its attendant conflicts remain daunting, intricate and resilient, in spite of the several attempts by scholars to mitigate it? This paper argues that extant discourse of the above concern fails because it ignores the value of the conditions for the practical realisation of agreement in situations of conflict. The attempt here is to explore indigenous mediation strategies especially from the traditional Igbo speaking people in South-Eastern Nigeria in arriving at trans-national identity in Africa, which will be inclusive other than the divisive structure that has exclusive character in extant discourse. This paper, therefore, will employ the analytic-descriptive method to interrogate the above in a manner many scholars are wont to ignore. Hence, it is expected that this paper will initiate a perspective that will challenge extant interpretation of the conditions of dialogue and consequently human solidarity in African States.

This essay examines the persistent engagement with cosmopolitan inclusivity through the endorsement of indigenous sacredness in works of ethnographicfiction. I focus on Ursula K. Le Guin’s Always Coming Home, James Cameron’s Avatar, and Taiwanese writer Ming-yi Wu’s science fiction The Man with the Compound Eyes, three iconic environmental representations of indigenous knowledge. These texts illustrate how indigenous thinking has very often been transformed from place-bound, locally-embedded cultural traditions to an embodiment of Euro-American eco-spirituality that overturns both national boundaries and the humannature divide at the turn of the twenty-first century. In settler environmental narratives, the insistence on the ethnographic mode strengthens the desire for authenticity and intimacy.