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Garden and Labyrinth of Time

Studies in Renaissance and Baroque Literature

Gerald Gillespie

The themes of «erring,» «education,» and «development» were often linked with the master-images of the garden and labyrinth in Renaissance writing. Humanist concerns about natural order, temporality, and history could be situated in these poetic realms insofar as they symbolized fluctuating aspects of a more complex reality. The imaginative use of the garden and labyrinth is widely detectable in the generic structures and stylistic patterns of the age.
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Echoland

Readings from Humanism to Postmodernism

Gerald Gillespie

This book follows several major European literary «echoes» still reverberating since the mysterious emergence of such archetypal figures as Faust, Hamlet, Quixote, and Don Juan alongside lingering ancient and medieval protagonists in the Renaissance.
Four centuries of attempts to redefine «modern» identity are traced against the evolution of a new genre of totalizing encyclopaedic literature, the «humoristic» tradition which re-weaves the positive and negative strands of the European, and today also New World, «grand narrative.»
The book’s method, inspired by Joyce, is to «listen» to recurrent motifs in the cultural flow from Humanism to Postmodernism for clues to an identity transcending the personal.
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Gerald Gillespie

Johann Ludwig Tieck (1773-1853) was one of the most formative influences of the romantic movement, inspiring such major figures as Novalis and Hoffmann. Not only did his tales and novels shape the course of German romantic fiction; as a translator he helped to naturalize Shakespeare and Cervantes; as an editor he was among the first to recognize Kleist.
Tieck’s precocious invention of ironic-fantastic comedy quickly found resonance among fellow romantics, who worked under the parallel influence of the Goethean revolution in drama exhibited in Faust. Yet Tieck’s play Puss-in-Boots (1797) had to wait a full century before its impulses were transmitted, by Pirandello, to modern anti-theater and theater of the absurd.
The Tieckian direction anticipates the metaphysical strains both of symbolist and of existentialist theater and the beneficent absurdism of Wilder and Ionesco. As the boundary between stage and audience completely dissolves in Puss-in-Boots, we experience the transcendent delight of pure theater and unsettling doubts about our own roles on the world’s stage.
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Gerald Gillespie and Eva Kushner

Une des tâches urgentes du comparatisme contemporain est de rendre compte de la situation complexe de la théorie, de la critique et de l'histoire littéraires en Afrique, en Asie, en Europe et au Nouveau Monde. Il faut reconnaître la variété des forces institutionnelles dans des cultures spécifiques et la concurrence entre les divers points de vue concernant les modalités discursives qui conviennent à l'étude de la littérature.
Vingt-cinq savants, originaires des cinq continents, apportent dans leurs exposés plusieurs réponses à ce problème et montrent que le comparatisme a engendré un vif dialogue sur le plan mondial.
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Edited by Haun Saussy and Gerald Gillespie

This volume advances the study of how the high arts and literature are reciprocally illuminating and interactive. Seventeen scholars from North America, Asia, Africa, and Europe demonstrate the dynamics of cross-referentiality and mixtures involving also newer and popular arts and media: photography, film, video, comics, dance, opera, computer imaging, and more. They consider an expanded universe of discourses embracing contemporary science as well as traditional subject matters. Discussions of theoretical and methodological approaches keep company here with intensively focused case studies of works in which discourses and media establish new relationships. Together, the chapters constitute a dazzling introduction to the diverse realm of imaginative products that the human mind can conjure in pondering the «when», «where», and «how» of existence.
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Edited by Jean Bessière and Gerald Gillespie

This book revisits the notion of World Literature and its applications in Comparative Literature. It suggests the notion not as a means to sift out international paradigms for reading literatures, but as a set of guidelines for the construction of interlocking and/or reciprocally illuminating multilingual literary clusters. These ensembles are of very diverse shapes: the world, a region, a country, a language block, a network of cross-cultural «interferences» – while the so-called minor literatures invite to question the use of these ensembles. Within this frame, fourteen essays respond to the basic paradox of World Literature: how may specific methodological and critical outlooks allow expression of the universal? The answers to this question can be arranged in three groups: 1. Recognition of the need to break loose from European or Western critical perspectives; 2. Presentation of macro- and microcosmic dimensions connectedness and its processes; 3. Definitions of the methodological efforts and hermeneutic orientations to be applied.