“Pagan life seduces me a little more with each passing day. If it were possible today, I would change my religion and would joyfully embrace poetic paganism,” wrote the Armenian poet Daniel Varuzhan in 1908. During the seven years that remained in his life, he wrote largely in this “pagan” vein. If it was an artistic endeavour, why then should art be defined in reference to religion? And which religion precisely? Was Varuzhan echoing Schelling’s Philosophy of Art? Mourning Philology draws on Varuzhan and his work to present a history of the national imagination, which is also a history of national philology, as a reaction to the two main philological inventions of the nineteenth century: mythological religion and the native. In its first part, the book thus gives an account of the successive stages of orientalist philology. The last episode in this story of national emergence took place in 1914 in Constantinople, when the literary journal Mehyan gathered around Varuzhan the great names to come of Armenian literature in the diaspora

Latin literature is a hotbed of holes and erasures. Its sensitivity to politics leaves it ripe for repression of all sorts of names, places and historical events, while its dense allusivity appears to hide interpretative clues in a network of texts that only the reader's consciousness can make present. This volume showcases innovative approaches to the field of Latin literature, all of which are refracted through this prism of absence, which functions as a fundamental generative force both for the hermeneutics and the ongoing literary aftermath of these texts. Reviewing and working with various influential approaches to textual absence, the contributors to Unspoken Rome treat these texts as silent types, listening out for what they do not say, and how they do not speak, whilst also tracing the ill-defined borders within which scholars and modern authors are legitimized to fill in the silences around which they are built.

A critique of the discourse of language revival in modern Hebrew literature On Revival is a critique of one of the most important tenets of Zionist thinking: “Hebrew revival,” or the idea that Hebrew—a largely unspoken language before the twentieth century—was revitalized as part of a broader national “revival” which ultimately led to the establishment of the Israeli nation-state. This story of language revival has been commemorated in Israeli popular memory and in Jewish historiography as a triumphant transformation narrative that marks the success of the Zionist revolution. But a closer look at the work of early twentieth-century Hebrew writers reveals different sentiments. Roni Henig explores the loaded, figurative discourse of revival in the work of Hebrew authors and thinkers working roughly between 1890 and 1920. For these authors, the language once known as “the holy tongue” became a vernacular in the making. Rather than embracing “revival” as a neutral, descriptive term, Henig takes a critical approach, employing close readings of canonical texts to analyze the primary tropes used to articulate this aesthetic and political project of “reviving” Hebrew. She shows that for many writers, the national mission of language revival was entwined with a sense of mourning and loss. These writers perceived—and simultaneously produced—the language as neither dead nor fully alive. Henig argues that it is this figure of the living-dead that lies at the heart of the revival discourse and which is constitutive of Jewish nationalism. On Revival contributes to current debates in comparative literary studies by addressing the limitations of the national language paradigm and thinking beyond concepts of origin, nativity, and possession in language. Informed by critical literary theory, including feminist and postcolonial critiques, the book challenges Zionism’s monolingual lens and the auto-Orientalism involved in the project of revival, questioning charged ideological concepts such as “native speaker” and “mother tongue.”

In a series of exquisite close readings of Arabic and Arab Jewish writing, Jeffrey Sacks considers the relation of poetic statement to individual and collective loss, the dispossession of peoples and languages, and singular events of destruction in the nineteenth, twentieth, and twenty-first centuries. Addressing the work of Mahmoud Darwish, Ahmad Faris al-Shidyaq, Elias Khoury, Edmond Amran El Maleh, Shimon Ballas, and Taha Husayn, Sacks demonstrates the reiterated incursion of loss into the time of life—losses that language declines to mourn. Language occurs as the iteration of loss, confounding its domestication in the form of the monolingual state in the Arabic nineteenth century’s fallout. Reading the late lyric poetry of the Palestinian poet Mahmoud Darwish in relation to the destruction of Palestine in 1948, Sacks reconsiders the nineteenth century Arabic nahda and its relation to colonialism, philology, and the European Enlightenment. He argues that this event is one of catastrophic loss, wherein the past suddenly appears as if it belonged to another time. Reading al-Shidyaq’s al-Saq ‘ala al-saq (1855) and the legacies to which it points in post-1948 writing in Arabic, Hebrew, and French, Sacks underlines a displacement and relocation of the Arabic word adab and its practice, offering a novel contribution to Arabic and Middle East Studies, critical theory, poetics, aesthetics, and comparative literature. Drawing on writings of Jacques Derrida, Walter Benjamin, Avital Ronell, Judith Butler, Theodor Adorno, and Edward W. Said, Iterations of Loss shows that language interrupts its pacification as an event of aesthetic coherency, to suggest that literary comparison does not privilege a renewed giving of sense but gives place to a new sense of relation.

Istanbul 1940 and Global Modernity: The World According to Auerbach, Tanpınar, and Edib engages Erich Auerbach’s Istanbul career and his pioneering works of comparative literature in a new light. It interprets Auerbach’s works against the background of his Turkish colleagues’ analogous works that, like Auerbach’s masterpieces, were drafted at Istanbul University in the 1940s. Unlike Auerbach’s writings, which center around Western literary cultures and Christianity, these Turkish writings trace non-Western, largely Islamicate cultural histories. The critic, novelist, and poet Ahmet Hamdi Tanpınar (1901–1962) and his illustrious senior, the Muslim feminist, humanist, and novelist Halide Edib (1884–1964) focused on Middle Eastern and South Asian cultural trajectories. In addition to offering groundbreaking insights into their respective cultural legacies, Auerbach, Tanpınar, and Edib elaborated extensively on the intercrossing that is their meeting place, the chiasmic space of modern literature. Interpreting their writings as the work of a collective, Istanbul 1940 and Global Modernity examines the new paths these critics opened for theorizing literary modernity, world literature, and the comparative study of literature and religion.

The law and the fact : the 1994 campaign -- Between amputation and imputation -- Refutation -- Testimony : from document to monument.

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism, Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized.

Loraux presents a radical challenge to what has become the dominant view of tragedy in recent years: that tragedy is primarily a civic phenomenon.

Preliminary Material /M. M. BRAVMANN -- PREFACE /M. M. BRAVMANN -- PHONOLOGICAL AND MORPHOLOGICAL STUDIES /M. M. BRAVMANN -- THE VOWEL I AS AN AUXILIARY VOWEL /M. M. BRAVMANN -- A PHONETIC LAW IN THE JUDEO-ARABIC DIALECT OF BAGHDAD /M. M. BRAVMANN -- SOME ASPECTS OF THE DEVELOPMENT OF SEMITIC DIPHTHONGS /M. M. BRAVMANN -- BI-CONSONANTAL NOUNS OF ROOTS III W ('AB, 'AḪ, ḤAM) /M. M. BRAVMANN -- A CASE OF QUANTITATIVE ABLAUT IN SEMITIC /M. M. BRAVMANN -- ON TWO CASES OF CONSONANT CHANGE IN MODERN ARABIC DIALECTS /M. M. BRAVMANN -- HEBREW ŠTAYIM ('TWO'), SYRIAC ŠTĀ ('SIX') AND A TURKIC ANALOGUE /M. M. BRAVMANN -- CONCERNING THE BORDER-LINE BETWEEN CONSONANT AND VOWEL /M. M. BRAVMANN -- THE HEBREW PERFECT FORMS: QĀṬELĀ, QĀṬELŪ /M. M. BRAVMANN -- THE 3RD PERS. SING. FEM. OF THE PERFECT OF ROOTS III Y/W IN ARABIC /M. M. BRAVMANN -- THE ARAMAIC NOMEN AGENTIS QĀTŌL AND SOME SIMILAR PHENOMENA OF ARABIC /M. M. BRAVMANN -- THE PLURAL ENDING -ŪT- OF MASCULINE ATTRIBUTIVE ADJECTIVES IN AKKADIAN /M. M. BRAVMANN -- THE ORIGIN OF SOME ARABIC PRONOUNS /M. M. BRAVMANN -- THE FORMS OF THE IMPERATIVE (AND JUSSIVE) IN THE SEMITIC LANGUAGES /M. M. BRAVMANN -- THE SEMITIC CAUSATIVE-PREFIX Š/SA /M. M. BRAVMANN -- SYNTACTIC AND SEMANTIC STUDIES /M. M. BRAVMANN -- GENETIC ASPECTS OF THE GENITIVE IN THE SEMITIC LANGUAGES /M. M. BRAVMANN -- THE SYNTACTIC BACKGROUND OF SEMITIC NOUNS WITH PREFIX MA- AND OF PARTICIPLES WITH PREFIX MU- /M. M. BRAVMANN -- THE INFINITIVE IN THE FUNCTION OF “PSYCHOLOGICAL PREDICATE” IN SYRIAC /M. M. BRAVMANN -- THE EXPRESSION OF INSTANTANEOUSNESS IN ARABIC /M. M. BRAVMANN -- SOME SPECIFIC FORMS OF HYPOTAXIS IN ANCIENT ARABIC /M. M. BRAVMANN -- SYRIAC DALMĀ “LEST”, “PERHAPS” AND SOME RELATED ARABIC PHENOMENA /M. M. BRAVMANN -- ARABIC LĀKIN(NA) AND RELATED EXPRESSIONS /M. M. BRAVMANN -- THE ORIGIN OF ARABIC BA'DA “AFTER” /M. M. BRAVMANN -- AN ARABIC SENTENCE-TYPE EXPRESSING “INNER COMPULSION” /M. M. BRAVMANN -- THE IDEA OF “POSSESSION” IN LINGUISTIC EXPRESSION /M. M. BRAVMANN -- ARABIC PARALLELS TO THE ENGLISH PHRASE /M. M. BRAVMANN -- EXPRESSIONS BASED ON THE NOUN YAWM- “DAY” /M. M. BRAVMANN -- ARABIC ASLAMA (ISLĀM) AND RELATED TERMS /M. M. BRAVMANN -- THE ORIGIN OF THE PRINCIPLE OF 'IṢMAH: MUḤAMMAD'S “IMMUNITY FROM SIN” /M. M. BRAVMANN -- THE “COMPLETION” OR “IMPROVEMENT” OF A LAUDABLE DEED: AN ANCIENT ARAB ETHICAL MOTIF /M. M. BRAVMANN -- SEMITIC INSTANCES OF “LINGUISTIC TABOO” /M. M. BRAVMANN -- THE ONOMATOPOETIC ORIGIN OF SOME TERMS FOR THE CONCEPT “SUDDEN” /M. M. BRAVMANN -- “SATISFYING” AND “RESTRAINING”: ARABIC KAFĀ (KFY) > KAFFA /M. M. BRAVMANN -- ARABIC MA'TAM “MOURNING ASSEMBLY” AND RELATED ETYMA /M. M. BRAVMANN -- AKKADIAN KIPRU( M), PL. KIPRĀTU( M) AND ETHIOPIC KANFAR /M. M. BRAVMANN -- ARAMAIC MESAR, NEO-HEBRAIC MĀSAR “TO SURRENDER (SOMEONE) ” /M. M. BRAVMANN -- AN ARABIC PARALLEL TO BENEDICERE /M. M. BRAVMANN -- NORTH-SEMITIC ḤAYYĪM/N “LIFE” IN THE LIGHT OF ARABIC /M. M. BRAVMANN -- THE BIBLICAL CONCEPT “THE TREASURE OF LIFE” AND ITS SURVIVAL IN MANDAEAN AND CHRISTIAN DOCTRINES /M. M. BRAVMANN -- THE ROOT HWY “TO BE”, A PROTO-SEMITIC VERB /M. M. BRAVMANN.

This book analyzes the political, aesthetic, moral and religious developments in the period 1606-1660 and discusses the works of Donne, Jonson, Milton and early modern women's writing. Brady combines Literary Theory, social and cultural History, Psychology and Anthropology to produce exciting and original readings of neglected source material.