Gayatri Chakravorty Spivak is among the foremost figures in the study of world literature and its cultural consequences of the past half-century. In this book, originally published in 2003, she declares the death of comparative literature as we know it and sounds an urgent call for a “new comparative literature,” in which the discipline is reborn—one that is not appropriated and determined by the market. Spivak examines how comparative literature and world literature in translation have fared in the era of globalization and considers how to protect the multiplicity of languages and literatures at the university. She demonstrates why critics interested in social justice should pay close attention to literary form and offers insightful interpretations of classics such as Joseph Conrad’s Heart of Darkness and Virginia Woolf’s A Room of One’s Own. Through readings of texts not only in English, French, and German but also in Arabic and Bengali, Spivak practices what she preaches. This anniversary edition features a new preface in which Spivak reflects on the fortunes of comparative literature in the intervening years and its tasks today.

An unblinking portrait of the anti-colonial struggles of the 1960s, Concerning Violence combines more than 150 arresting colour and black-and-white photographs from Goran Hugo Olsson's award-winning documentary by the same name, with passages from Frantz Fanon's classic The Wretched of the Earth (Penguin Classics, 2001). Concerning Violence is a powerful commentary on the history of colonialism and struggles for self-determination, whose echoes remain with us today, and will introduce a new generation to Frantz Fanon.

Gayatri Chakravorty Spivak is one of the most pre-eminent postcolonial theorists writing today and a scholar of genuinely global reputation. This collection, first published in 1993, presents some of Spivak's most engaging essays on works of literature such as Salman Rushdie's controversial Satanic Verses, and twentieth century thinkers such as Jacques Derrida and Karl Marx. Spivak relentlessly questions and deconstructs power structures where ever they operate. In doing so, she provides a voice for those who can not speak, proving that the true work of resistance takes place in the margins, Outside in the Teaching Machine.

In this classic work, Gayatri Chakravorty Spivak, one of the leading and most influential cultural theorists working today, analyzes the relationship between language, women and culture in both Western and non-Western contexts. Developing an original integration of powerful contemporary methodologies - deconstruction, Marxism and feminism - Spivak turns this new model on major debates in the study of literature and culture, thus ensuring that In Other Worlds has become a valuable tool for studying our own and other worlds of culture.

This play by renowned poet and political activist Aime Cesairerecounts the tragic death of Patrice Lumumba, the first prime minister of the Congo Republic and an African nationalist hero. A Season in the Congofollows Lumumba's efforts to free the Congolese from Belgian rule and the political struggles that led to his assassination in 1961. Cesaire powerfully depicts Lumumba as a sympathetic, Christ-like figure whose conscious martyrdom reflects his self-sacrificing humanity and commitment to pan-Africanism. Born in Martinique and educated in Paris, Cesaire was a revolutionary artist and lifelong political activist, who founded the Martinique Independent Revolution Party. Cesaire's ardent personal opposition to Western imperialism and racism fuels both his profound sympathy for Lumumba and the emotional strength of A Season in the Congo. Now rendered in a lyrical translation by distinguished scholar Gayatri Chakravorty Spivak, Cesaire's play will find a new audience of readers interested in world literature and the vestiges of European colonialism.

Are the "culture wars" over? When did they begin? What is their relationship to gender struggle and the dynamics of class? In her first full treatment of postcolonial studies, a field that she helped define, Gayatri Chakravorty Spivak, one of the world's foremost literary theorists, poses these questions from within the postcolonial enclave.

"We cannot merely continue to act out the part of Caliban," Spivak writes; and her book is an attempt to understand and describe a more responsible role for the postcolonial critic. "A Critique of Postcolonial Reason" tracks the figure of the "native informant" through various cultural practices--philosophy, history, literature--to suggest that it emerges as the metropolitan hybrid. The book addresses feminists, philosophers, critics, and interventionist intellectuals, as they unite and divide. It ranges from Kant's analytic of the sublime to child labor in Bangladesh. Throughout, the notion of a Third World interloper as the pure victim of a colonialist oppressor emerges as sharply suspect: the mud we sling at certain seemingly overbearing ancestors such as Marx and Kant may be the very ground we stand on.

A major critical work, Spivak's book redefines and repositions the postcolonial critic, leading her through transnational cultural studies into considerations of globality.

Gayatri Chakravorty Spivak is among the foremost figures in the study of world literature and its cultural consequences of the past half-century. In this book, originally published in 2003, she declares the death of comparative literature as we know it and sounds an urgent call for a “new comparative literature,” in which the discipline is reborn—one that is not appropriated and determined by the market. Spivak examines how comparative literature and world literature in translation have fared in the era of globalization and considers how to protect the multiplicity of languages and literatures at the university. She demonstrates why critics interested in social justice should pay close attention to literary form and offers insightful interpretations of classics such as Joseph Conrad’s Heart of Darkness and Virginia Woolf’s A Room of One’s Own. Through readings of texts not only in English, French, and German but also in Arabic and Bengali, Spivak practices what she preaches. This anniversary edition features a new preface in which Spivak reflects on the fortunes of comparative literature in the intervening years and its tasks today.

Jacques Derrida's revolutionary approach to phenomenology, psychoanalysis, structuralism, linguistics, and indeed the entire European tradition of philosophy-called deconstruction-changed the face of criticism. It provoked a questioning of philosophy, literature, and the human sciences that these disciplines would have previously considered improper. Forty years after Of Grammatology first appeared in English, Derrida still ignites controversy, thanks in part to Gayatri Chakravorty Spivak's careful translation, which attempted to capture the richness and complexity of the original. This fortieth anniversary edition, where a mature Spivak retranslates with greater awareness of Derrida's legacy, also includes a new afterword by her which supplements her influential original preface. Judith Butler has added an introduction. All references in the work have been updated. One of contemporary criticism's most indispensable works, Of Grammatology is made even more accessible and usable by this new release.

In this classic work, Gayatri Chakravorty Spivak, one of the leading and most influential cultural theorists working today, analyzes the relationship between language, women and culture in both Western and non-Western contexts. Developing an original integration of powerful contemporary methodologies - deconstruction, Marxism and feminism - Spivak turns this new model on major debates in the study of literature and culture, thus ensuring that In Other Worlds has become a valuable tool for studying our own and other worlds of culture.

Gayatri Chakravorty Spivak is one of the most pre-eminent postcolonial theorists writing today and a scholar of genuinely global reputation. This collection, first published in 1993, presents some of Spivak 's most engaging essays on works of literature such as Salman Rushdie's controversial Satanic Verses, and twentieth century thinkers such as Jacques Derrida and Karl Marx. Spivak relentlessly questions and deconstructs power structures where ever they operate. In doing so, she provides a voice for those who can not speak, proving that the true work of resistance takes place in the margins, Outside in the Teaching Machine.

A seminal text from one of the leading cultural and literary theorists. This selection of interviews and discussions articulates some of the most compelling politico-theoretical issues of the present day.

Deciding what is and what is not political is a fraught, perhaps intractably opaque matter. Just who decides the question; on what grounds; to what ends-these seem like properly political questions themselves. Deciding what is political and what is not can serve to contain and restrain struggles, make existing power relations at once self-evident and opaque, and blur the possibility of reimagining them differently. Political Concepts seeks to revive our common political vocabulary-both everyday and academic-and to do so critically. Its entries take the form of essays in which each contributor presents her or his own original reflection on a concept posed in the traditional Socratic question format "What is X?" and asks what sort of work a rethinking of that concept can do for us now. The explicitness of a radical questioning of this kind gives authors both the freedom and the authority to engage, intervene in, critique, and transform the conceptual terrain they have inherited. Each entry, either implicitly or explicitly, attempts to re-open the question "What is political thinking?" Each is an effort to reinvent political writing. In this setting the political as such may be understood as a property, a field of interest, a dimension of human existence, a set of practices, or a kind of event. Political Concepts does not stand upon a decided concept of the political but returns in practice and in concern to the question "What is the political?" by submitting the question to a field of plural contention. The concepts collected in Political Concepts are "Arche" (Stathis Gourgouris), "Blood" (Gil Anidjar), "Colony" (Ann Laura Stoler), "Concept" (Adi Ophir), "Constituent Power" (Andreas Kalyvas), "Development" (Gayatri Spivak), "Exploitation" (Etienne Balibar), "Federation" (Jean Cohen), "Identity" (Akeel Bilgrami), "Rule of Law" (J. M. Bernstein), "Sexual Difference" (Joan Copjec), and "Translation" (Jacques Lezra)

The African American at the end of the nineteenth century was described by W. E. B. Du Bois as "two souls in one dark body, whose dogged strength alone keeps it from being torn asunder." In the United States today, the hyphen between these two souls-African and American, African-American-is still being negotiated. In "Harlem", Gayatri Chakravorty Spivak engages with twenty-four photographs by Alice Attie as she attempts teleopoiesis, which she describes as a reaching toward the distant other through the empathetic power of the imagination. In the hands of Spivak, teleopoiesis is a kind of identity politics in which one disrupts identity as a result of migration or exile. For the last two decades, Spivak notes, Harlem has been the focus of major economic development. As the old Harlem disappears into a present that simultaneously demands and rejects a cultural essence, Spivak dwells in Attie's images, trying to navigate some middle ground between the rock of social history and the hard place of a collective culture.

Gayatri Chakravorty Spivak has distinguished herself as one of the foremost scholars of contemporary literary and postcolonial theory and feminist thought. Known for her translation of Derrida's On Grammatology and her groundbreaking essay, Can the Subaltern Speak?, Spivak has often focused on subaltern, marginalized women and the role of essentialism in feminist thought to unite women from divergent cultural backgrounds. In Nationalism and the Imagination, Spivak expands upon her previous postcolonial scholarship, employing a cultural lens to examine the rhetorical underpinnings of the idea of the nation-state. In this gripping and intellectually rigorous work, Spivak specifically analyzes the creation of Indian sovereignty in 1947 and the tone of Indian nationalism, bound up with class and religion, that arose in its wake. Spivak was five years old when independence was declared, and she vividly writes: These are my earliest memories: Famine and blood on the streets. As well, she recollects the songs and folklore stories that were prevalent at the time in order to examine the role of the mother tongue and the relationship between language and feelings of national identity. She concludes that nationalism colludes with the private sphere of the imagination in order to command the public sphere. Originally given as an address at the University of Sofia in Bulgaria, Nationalism and the Imagination provides powerful insight into the historical narrative of India as well as compelling ideas that speak to nationalist concerns around the world. Also included in this book is the discussion with Spivak that followed the speech, making this an essential and informative work for scholars of post-colonialism.

Throughout her distinguished career, Gayatri Chakravorty Spivak has sought to locate and confront shifting forms of social and cultural oppression. As her work shows, the best method for doing so is through extended practice in the ethics of reading.
In "Readings," Spivak elaborates a utopian vision for the kind of deep and investigative reading that can develop a will for peaceful social justice in coming generations. Through her own analysis of specific works, Spivak demonstrates modes in which such a vision might be achieved. In the examples here, she pays close attention to signposts of character, action, and place in J. M. Coetzee's "Summertime" and Elizabeth Gaskell's "North and South." She also offers rereads of two of her own essays, addressing changes in her own thinking and practice over the course of her career. Now in her fifth decade of teaching, Spivak passes on her lessons through anecdote, interpretation, warning, and instruction to students and teachers of literature. She writes, "I urge students of English to understand that utopia does not happen, and yet to understand, also, their importance to the nation and the world. Indeed, I know how hard it is to sustain such a spirit in the midst of a hostile polity, but I urge the students to consider the challenge."

For almost three decades, Gayatri Chakravorty Spivak has been ignoring the standardized "rules" of the academy and trespassing across disciplinary boundaries. Today she remains one of the foremost figures in the study of world literature and its cultural consequences. In this new book she declares the death of comparative literature as we know it and sounds an urgent call for a "new comparative literature," in which the discipline is given new life -- one that is not appropriated and determined by the market.

In the era of globalization, when mammoth projects of world literature in translation are being undertaken in the United States, how can we protect the multiplicity of languages and literatures at the university? Spivak demonstrates how critics interested in social justice should pay close attention to literary form and offers new interpretations of classics such as Joseph Conrad's "Heart of Darkness" and Virginia Woolf's "A Room of One's Own." Through close readings of texts not only in English, French, and German but also in Arabic and Bengali, Spivak practices what she preaches.

Acclaim for Gayatri Chakravorty Spivak and her work:

" Spivak] pioneered the study in literary theory of non-Western women." -- Edward W. Said

"She has probably done more long-term political good, in pioneering feminist and post-colonial studies within global academia, than almost any of her theoretical colleagues." -- Terry Eagleton

"A celebrity in academia... create s] a stir wherever she goes." -- "The New York Times"

During the past twenty years, the world's most renowned critical theorist-the scholar who defined the field of postcolonial studies-has experienced a radical reorientation in her thinking. Finding the neat polarities of tradition and modernity, colonial and postcolonial, no longer sufficient for interpreting the globalized present, she turns elsewhere to make her central argument: that aesthetic education is the last available instrument for implementing global justice and democracy. Spivak's unwillingness to sacrifice the ethical in the name of the aesthetic, or to sacrifice the aesthetic in grappling with the political, makes her task formidable. As she wrestles with these fraught relationships, she rewrites Friedrich Schiller's concept of play as double bind, reading Gregory Bateson with Gramsci as she negotiates Immanuel Kant, while in dialogue with her teacher Paul de Man. Among the concerns Spivak addresses is this: Are we ready to forfeit the wealth of the world's languages in the name of global communication? "Even a good globalization (the failed dream of socialism) requires the uniformity which the diversity of mother-tongues must challenge," Spivak writes. "The tower of Babel is our refuge." In essays on theory, translation, Marxism, gender, and world literature, and on writers such as Assia Djebar, J. M. Coetzee, and Rabindranath Tagore, Spivak argues for the social urgency of the humanities and renews the case for literary studies, imprisoned in the corporate university. "Perhaps," she writes, "the literary can still do something."

Deciding what is and what is not political is a fraught, perhaps intractably opaque matter. Just who decides the question; on what grounds; to what ends-these seem like properly political questions themselves. Deciding what is political and what is not can serve to contain and restrain struggles, make existing power relations at once self-evident and opaque, and blur the possibility of reimagining them differently. Political Concepts seeks to revive our common political vocabulary-both everyday and academic-and to do so critically. Its entries take the form of essays in which each contributor presents her or his own original reflection on a concept posed in the traditional Socratic question format "What is X?" and asks what sort of work a rethinking of that concept can do for us now. The explicitness of a radical questioning of this kind gives authors both the freedom and the authority to engage, intervene in, critique, and transform the conceptual terrain they have inherited. Each entry, either implicitly or explicitly, attempts to re-open the question "What is political thinking?" Each is an effort to reinvent political writing. In this setting the political as such may be understood as a property, a field of interest, a dimension of human existence, a set of practices, or a kind of event. Political Concepts does not stand upon a decided concept of the political but returns in practice and in concern to the question "What is the political?" by submitting the question to a field of plural contention. The concepts collected in Political Concepts are "Arche" (Stathis Gourgouris), "Blood" (Gil Anidjar), "Colony" (Ann Laura Stoler), "Concept" (Adi Ophir), "Constituent Power" (Andreas Kalyvas), "Development" (Gayatri Spivak), "Exploitation" (Etienne Balibar), "Federation" (Jean Cohen), "Identity" (Akeel Bilgrami), "Rule of Law" (J. M. Bernstein), "Sexual Difference" (Joan Copjec), and "Translation" (Jacques Lezra)

Students committed to environmental protection and the preservation of their rights and those of future generations set an example: It is not just the present that makes clear demands of us, but the future does, as well. This applies not only to ecological responsibility, but also to a serious culture of remembrance, a responsible approach to colonial history and diaspora, and political conscientiousness. The first Sharjah Architecture Triennial 2019 is dedicated to these topics. Hatje Cantz published an anthology in the year of the event, which compiles the results and consequences for future architects. The second volume now focuses on a more general look at the challenges that a future worth living in will bring. The transdisciplinary contributions include articles by renowned scientists, as well as artistic works on the topic.

This provocative volume presents the most wide-ranging essays from the first five volumes of Subaltern Studies, along with an introductory essay by Gayatri Chakravorty Spivak--the translator of Derrida's Of Grammatology into English--and a foreword by eminent critic Edward W. Said. Addressed to students and scholars throughout the humanities, these essays address what Antonio Gramsci--the founder of the Italian communist party--called the subaltern classes, reexamining well-known historical and political events, such as Gandhi's role in India, from a Marxist perspective. Together, the essays examine aspects of the analysis of domination, with special reference to the critique of imperialism, in an attempt to rectify the elitist bias characteristic of much academic work on India. A ground-breaking work of considerable pedagogical relevance for courses dealing with colonialism and imperialism in literature, sociology, anthropology, politics, and history, Subaltern Studies also features a comprehensive glossary of Indian terms for readers not familiar with Indian history.

Inspired by Antonio Gramsci's writings on the history of subaltern classes, the authors in Mapping Subaltern Studies and the Postcolonial sought to contest the elite histories of Indian nationalists by adopting the paradigm of 'history from below'. Later on, the project shifted from its social history origins by drawing upon an eclectic group of thinkers that included Edward Said, Roland Barthes, Michel Foucault, and Jacques Derrida. This book provides a comprehensive balance sheet of the project and its developments, including Ranajit Guha's original subaltern studies manifesto, Partha Chatterjee, Dipesh Chakrabarty and Gayatri Spivak.

For almost three decades, Gayatri Chakravorty Spivak has been ignoring the standardized "rules" of the academy and trespassing across disciplinary boundaries. Today she remains one of the foremost figures in the study of world literature and its cultural consequences. In this new book she declares the death of comparative literature as we know it and sounds an urgent call for a "new comparative literature," in which the discipline is given new life -- one that is not appropriated and determined by the market.

In the era of globalization, when mammoth projects of world literature in translation are being undertaken in the United States, how can we protect the multiplicity of languages and literatures at the university? Spivak demonstrates how critics interested in social justice should pay close attention to literary form and offers new interpretations of classics such as Joseph Conrad's "Heart of Darkness" and Virginia Woolf's "A Room of One's Own." Through close readings of texts not only in English, French, and German but also in Arabic and Bengali, Spivak practices what she preaches.

Acclaim for Gayatri Chakravorty Spivak and her work:

" Spivak] pioneered the study in literary theory of non-Western women." -- Edward W. Said

"She has probably done more long-term political good, in pioneering feminist and post-colonial studies within global academia, than almost any of her theoretical colleagues." -- Terry Eagleton

"A celebrity in academia... create s] a stir wherever she goes." -- "The New York Times"

In diesem Buch der renommierten indisch-amerikanischen Literaturwissenschaftlerin geht es zunachst um die kritische Sichtung einfluss- und folgenreicher philosophischer Denkansatze seit Kant, die das Mittel- und Westeuropaische mit Hilfe von Minderwertigkeitskonstrukten als menschliche Norm etablieren. Eine solche kolonialpolitische Normierung mitsamt ihrer "naturlichen" Denkstrukturen bedarf einer dekonstruktiven Kritik. Gezeigt wird sodann anhand einschlagiger literarischer Texte, wie Kolonialismus und Postkolonialitat Gestalt annehmen: Charlotte Bronte, Mary Shelley, Charles Baudelaire, Rudyard Kipling, Jean Rhys, Mahasweta Devi, John M. Coetzee. Es gilt sich der Geschichte der verrinnenden Gegenwart als einem differenzierenden Ereignis zuzuwenden: "unserer Kultur" - dem Wechselspiel von Multikulturalismus und Globalitat.

At a moment in history when the world seems increasingly drawn into a violent "clash of fundamentalisms," this boundary 2 special issue, Critical Secularism, brings together renowned figures in cultural studies and literary theory to critically rethink the narratives of secularization that characterize modern culture. Implicit within this collection is a consideration of the fate, in the twenty-first century, and in the postcolonial world, of the legacies of the eighteenth-century Enlightenment. While recognizing the homogenizing tendencies of post-Enlightenment culture, these scholars collectively militate against a simplistic rejection of the Enlightenment and its theoretical legacies as mere tools of colonization, used to legitimize the domination of various cultural and ethnic "others." Rather, these essays explore the potential that a renewal of secularism has for progressive culture and politics in this historical moment, when religiously inflected politics and violence are escalating around the globe.In this collection, prominent literary and cultural theorists discuss the crisis that secularist theory faces in postcolonial contexts, and-in a recuperative effort-focus on secularism from the perspectives of various marginalized groups (religious and cultural minorities, women, and colonized peoples.). Essays explore secularist expression across a range of cultural and literary texts- from Indian medieval lyrics to the contemporary fiction of the Levant. Other contributors offer critical reevaluations of previous scholarship on secularism, and plumb the relationship between literary criticism/theory and the politics of secularism. Contributors. Emily Apter, Rashmi Bhatnagar, Akeel Bilgrami, Rashmi Dube, Reena Dube, Renu Dube, Bishnupriya Ghosh, Willi Goetschel, Stathis Gourgouris, David M. Halperin, Gil Hochberg, Ronald Judy, Aamir R. Mufti, Edward W. Said, Gayatri Chakravorty Spivak