Against World Literature: On the Politics of Untranslatability argues for a rethinking of comparative literature focusing on the problems that emerge when large-scale paradigms of literary studies ignore the politics of the “Untranslatable”—the realm of those words that are continually retranslated, mistranslated, transferred from language to language, or especially resistant to substitution. In the place of “World Literature”—a dominant paradigm in the humanities, one grounded in market-driven notions of readability and universal appeal—Apter proposes a plurality of “world literatures” oriented around philosophical concepts and geopolitical pressure points. The history and theory of the language that constructs World Literature is critically examined with a special focus on Weltliteratur, literary world systems, narrative ecosystems, language borders and checkpoints, theologies of translation, and planetary devolution in a book set to revolutionize the discipline of comparative literature.

Against World Literature: On the Politics of Untranslatability argues for a rethinking of comparative literature focusing on the problems that emerge when large-scale paradigms of literary studies ignore the politics of the “Untranslatable”—the realm of those words that are continually retranslated, mistranslated, transferred from language to language, or especially resistant to substitution. In the place of “World Literature”—a dominant paradigm in the humanities, one grounded in market-driven notions of readability and universal appeal—Apter proposes a plurality of “world literatures” oriented around philosophical concepts and geopolitical pressure points. The history and theory of the language that constructs World Literature is critically examined with a special focus on Weltliteratur, literary world systems, narrative ecosystems, language borders and checkpoints, theologies of translation, and planetary devolution in a book set to revolutionize the discipline of comparative literature.

World literature advocates have promised to move humanistic study beyond postcolonial theory and antiquated paradigms of national literary traditions. Aamir Mufti scrutinizes these claims and critiques the continuing dominance of English as both a literary language and the undisputed cultural system of global capitalism.

From today’s vantage point it can be denied that the confidence in the abilities of globalism, mobility, and cosmopolitanism to illuminate cultural signification processes of our time has been severely shaken. In the face of this crisis, a key concept of this globalizing optimism as World Literature has been for the past twenty years necessarily is in the need of a comprehensive revision. World Literature, Cosmopolitanism, Globality: Beyond, Against, Post, Otherwise offers a wide range of contributions approaching the blind spots of the globally oriented Humanities for phenomena that in one way or another have gone beyond the discourses, aesthetics, and political positions of liberal cosmopolitanism and neoliberal globalization. Departing basically (but not exclusively) from different examples of Latin American literatures and cultures in globalized contexts, this volume provides innovative insights into critical readings of World Literature and its related conceptualizations. A timely book that embraces highly innovative perspectives, it will be a mustread for all scholars involved in the field of the global dimensions of literature.

Translation, before 9/11, was deemed primarily an instrument of international relations, business, education, and culture. Today it seems, more than ever, a matter of war and peace. In The Translation Zone, Emily Apter argues that the field of translation studies, habitually confined to a framework of linguistic fidelity to an original, is ripe for expansion as the basis for a new comparative literature. Organized around a series of propositions that range from the idea that nothing is translatable to the idea that everything is translatable, The Translation Zone examines the vital role of translation studies in the "invention" of comparative literature as a discipline. Apter emphasizes "language wars" (including the role of mistranslation in the art of war), linguistic incommensurability in translation studies, the tension between textual and cultural translation, the role of translation in shaping a global literary canon, the resistance to Anglophone dominance, and the impact of translation technologies on the very notion of how translation is defined. The book speaks to a range of disciplines and spans the globe. Ultimately, The Translation Zone maintains that a new comparative literature must take stock of the political impact of translation technologies on the definition of foreign or symbolic languages in the humanities, while recognizing the complexity of language politics in a world at once more monolingual and more multilingual.

In the continuing debates about the cultural dimensions of globalization, the question of 'literature' has been something of a poor relation. This volume seeks to redress the balance. It takes as its starting point Goethe's idea of Weltliteratur, from which it then travels out to various parts of the globe at different historical junctures. Among its many concerns are the legacies of Goethe's idea, variable understandings of the term 'literature' itself, cross-cultural encounters, the nature of 'small literatures', and the cultural politics of literary genres. With contributions from many of the leading voices in the field, Debating World Literature seeks to transcend the pieties and simplifications of polemic in a search for the complexity embodied in the linking of the two terms 'world' and 'literature'.

When Orhan Pamuk won the Nobel Prize for Literature in 2006, he was honored as a builder of bridges across a dangerous chasm. By rendering his Turkish characters and settings familiar where they would otherwise seem troublingly foreign, and by speaking freely against his authoritarian state, he demonstrated a variety of literary greatness that testified also to the good literature can do in the world. Gloria Fisk challenges this standard for canonization as “world literature” by showing how poorly it applies to Pamuk. Reading the Turkish novelist as a case study in the ways Western readers expand their reach, Fisk traces the terms of his engagement with a literary market dominated by the tastes of its Anglophone publics, who received him as a balm for their anxieties about Islamic terrorism and the stratifications of global capitalism. Fisk reads Pamuk’s post-9/11 novels as they circulated through this audience, as rich in cultural capital as it is far-flung, in the American English that is global capital’s lingua franca. She launches a polemic against Anglophone readers’ instrumental use of literature as a source of crosscultural understanding, contending that this pervasive way of reading across all manner of borders limits the globality it announces, because it serves the interests of the Western cultural and educational institutions that produce it. Orhan Pamuk and the Good of World Literature proposes a new way to think about the uneven processes of translation, circulation, and judgment that carry contemporary literature to its readers, wherever they live.

In What Is a World? Pheng Cheah, a leading theorist of cosmopolitanism, offers the first critical consideration of world literature’s cosmopolitan vocation. Addressing the failure of recent theories of world literature to inquire about the meaning of world, Cheah articulates a normative theory of literature’s world-making power by creatively synthesizing four philosophical accounts of the world as a temporal process: idealism, Marxist materialism, phenomenology, and deconstruction. Literature opens worlds, he provocatively suggests, because it is a force of receptivity. Cheah compellingly argues for postcolonial literature’s exemplarity as world literature through readings of narrative fiction by Michelle Cliff, Amitav Ghosh, Nuruddin Farah, Ninotchka Rosca, and Timothy Mo that show how these texts open up new possibilities for remaking the world by negotiating with the inhuman force that gives time and deploying alternative temporalities to resist capitalist globalization.

World literature was long defined in North America as an established canon of European masterpieces, but an emerging global perspective has challenged both this European focus and the very category of "the masterpiece." The first book to look broadly at the contemporary scope and purposes of world literature, What Is World Literature? probes the uses and abuses of world literature in a rapidly changing world. In case studies ranging from the Sumerians to the Aztecs and from medieval mysticism to postmodern metafiction, David Damrosch looks at the ways works change as they move from national to global contexts. Presenting world literature not as a canon of texts but as a mode of circulation and of reading, Damrosch argues that world literature is work that gains in translation. When it is effectively presented, a work of world literature moves into an elliptical space created between the source and receiving cultures, shaped by both but circumscribed by neither alone. Established classics and new discoveries alike participate in this mode of circulation, but they can be seriously mishandled in the process. From the rediscovered Epic of Gilgamesh in the nineteenth century to Rigoberta Menchú's writing today, foreign works have often been distorted by the immediate needs of their own editors and translators. Eloquently written, argued largely by example, and replete with insightful close readings, this book is both an essay in definition and a series of cautionary tales.

World Literature is a vital part of twentieth-first century critical and comparative literary studies. As a field that engages seriously with function of literary studies in our global era, the study of World literature requires new approaches. The Cambridge History of World Literature is founded on the assumption that World Literature is not all literatures of the world nor a canonical set of globally successful literary works. It highlights scholarship on literary works that focus on the logics of circulation drawn from multiple literary cultures and technologies of the textual. While not rejecting the nation as a site of analysis, these volumes will offer insights into new cartographies – the hemispheric, the oceanic, the transregional, the archipelagic, the multilingual local – that better reflect the multi-scalar and spatially dispersed nature of literary production. It will interrogate existing historical, methodological and cartographic boundaries, and showcase humanistic and literary endeavors in the face of world scale environmental and humanitarian catastrophes.