Though still a relatively young field, memory studies has undergone significant transformations since it first coalesced as an area of inquiry. Increasingly, scholars understand memory to be a fluid, dynamic, unbound phenomenon-a process rather than a reified object. Embodying just such an elastic approach, this state-of-the-field collection systematically explores the transcultural, transgenerational, transmedial, and transdisciplinary dimensions of memory-four key dynamics that have sometimes been studied in isolation but never in such an integrated manner. Memory Unbound places leading researchers in conversation with emerging voices in the field to recast our understanding of memory's distinctive variability.

Though still a relatively young field, memory studies has undergone significant transformations since it first coalesced as an area of inquiry. Increasingly, scholars understand memory to be a fluid, dynamic, unbound phenomenon-a process rather than a reified object. Embodying just such an elastic approach, this state-of-the-field collection systematically explores the transcultural, transgenerational, transmedial, and transdisciplinary dimensions of memory-four key dynamics that have sometimes been studied in isolation but never in such an integrated manner. Memory Unbound places leading researchers in conversation with emerging voices in the field to recast our understanding of memory's distinctive variability.

This volume engages critically with the recent and ongoing consolidation of "world literature" as a paradigm of study. On the basis of an extended, active, and ultimately more literary sense of what it means to institute world literature, it views processes of institutionalization not as limitations, but as challenges to understand how literature may simultaneously function as an enabling and exclusionary world of its own. It starts from the observation that literature is never simply a given, but is always performatively and materially instituted by translators, publishers, academies and academics, critics, and readers, as well as authors themselves. This volume therefore substantiates, refines, as well as interrogates current approaches to world literature, such as those developed by David Damrosch, Pascale Casanova, and Emily Apter. Sections focus on the poetics of writers themselves, market dynamics, postcolonial negotiations of discrete archives of literature, and translation, engaging a range of related disciplines. The chapters contribute to a fresh understanding of how singular literary works become inserted in transnational systems and, conversely, how transnational and institutional dimensions of literature are inflected in literary works. Focusing its methodological and theoretical inquiries on a broad archive of texts spanning the triangle Europe-Latin America-Africa, the volume unsettles North America as the self-evident vantage of recent world literature debates. Because of the volume's focus on dialogues between world literature and fields such as postcolonial studies, translation studies, book history, and transnational studies, it will be of interest to scholars and students in a range of areas.

The Anthropocene has fundamentally changed the way we think about our relation to nonhuman life and to the planet. This book is the first to critically survey how the Anthropocene is enriching the study of literature and inspiring contemporary poetry and fiction. Engaging with topics such as genre, life, extinction, memory, infrastructure, energy, and the future, the book makes a compelling case for literature's unique contribution to contemporary environmental thought. It pays attention to literature's imaginative and narrative resources, and also to its appeal to the emotions and its relation to the material world. As the Anthropocene enjoins us to read the signals the planet is sending and to ponder the traces we leave on the Earth, it is also, this book argues, a literary problem. Literature and the Anthropocene maps key debates and introduces the often difficult vocabulary for capturing the entanglement of human and nonhuman lives in an insightful way. Alternating between accessible discussions of prominent theories and concise readings of major works of Anthropocene literature, the book serves as an indispensable guide to this exciting new subfield for academics and students of literature and the environmental humanities.

The Anthropocene has fundamentally changed the way we think about our relation to nonhuman life and to the planet. This book is the first to critically survey how the Anthropocene is enriching the study of literature and inspiring contemporary poetry and fiction. Engaging with topics such as genre, life, extinction, memory, infrastructure, energy, and the future, the book makes a compelling case for literature's unique contribution to contemporary environmental thought. It pays attention to literature's imaginative and narrative resources, and also to its appeal to the emotions and its relation to the material world. As the Anthropocene enjoins us to read the signals the planet is sending and to ponder the traces we leave on the Earth, it is also, this book argues, a literary problem. Literature and the Anthropocene maps key debates and introduces the often difficult vocabulary for capturing the entanglement of human and nonhuman lives in an insightful way. Alternating between accessible discussions of prominent theories and concise readings of major works of Anthropocene literature, the book serves as an indispensable guide to this exciting new subfield for academics and students of literature and the environmental humanities.

This volume engages critically with the recent and ongoing consolidation of "world literature" as a paradigm of study. On the basis of an extended, active, and ultimately more literary sense of what it means to institute world literature, it views processes of institutionalization not as limitations, but as challenges to understand how literature may simultaneously function as an enabling and exclusionary world of its own. It starts from the observation that literature is never simply a given, but is always performatively and materially instituted by translators, publishers, academies and academics, critics, and readers, as well as authors themselves. This volume therefore substantiates, refines, as well as interrogates current approaches to world literature, such as those developed by David Damrosch, Pascale Casanova, and Emily Apter. Sections focus on the poetics of writers themselves, market dynamics, postcolonial negotiations of discrete archives of literature, and translation, engaging a range of related disciplines. The chapters contribute to a fresh understanding of how singular literary works become inserted in transnational systems and, conversely, how transnational and institutional dimensions of literature are inflected in literary works. Focusing its methodological and theoretical inquiries on a broad archive of texts spanning the triangle Europe-Latin America-Africa, the volume unsettles North America as the self-evident vantage of recent world literature debates. Because of the volume's focus on dialogues between world literature and fields such as postcolonial studies, translation studies, book history, and transnational studies, it will be of interest to scholars and students in a range of areas.

Tinka Pittoors (b. 1977) is a Belgian visual artist, who regularly exhibits her work in Flanders, Wallonia, the Netherlands and France. Anyone who crosses the threshold of her studio will feel as if they've stepped into an artificial secret garden. An explosion of shapes and colours awaits in a place where everything has the potential of becoming an artwork. In her sculptures and objects, Pittoors examines the utopia of a malleable world, often using the nature-culture divide as her starting premise. Each presentation is a moment in time, a snapshot, that is tailored to the venue. Les Voyageurs is published on the occasion of her eponymous exhibition in the gardens of Chateau Seneffe. Many people in Flanders have yet to discover this hidden gem. And yet the castle and gardens of Seneffe are Wallonia's equivalent of Versailles, with fountains, pavilions, pristine nature, and dreamy paths on 22 hectares of land. For this exhibition, Pittoors created a trail that reflects on the various possibilities of travel, displacement and detachment, arriving and leaving, escapes and quests. The introduction was written by Pieter Vermeulen. Other contributors include Marjolaine Hanssens, Veronika Pot, Carine Fol, Isabelle Pouget, Dominique Legrand, Stijn Tormans, Marc Ruyters, Jan Braet and Saskia De Coster. Text in English, French and Dutch.

This comprehensive account demonstrates how Hartman's commitment to the potency of aesthetic mediation informs a similar position in current debates about ethics, media, and memory. "Geoffrey Hartman: Romanticism after the Holocaust" offers the first comprehensive critical account of the work of the American literary critic Geoffrey Hartman. The book aims to achieve two things: first, it charts the whole trajectory of Hartman's career (now more than half a century long) while playing close attention to the place of his career in broader cultural and intellectual contexts; second, it engages with contemporary discussions about ecology, ethics, trauma, the media, and community in order to argue that Hartman's work presents a surprisingly consistent and original position in current debates in literary and cultural studies. Vermeulen identifies a persistent belief in the potency of aesthetic mediation at the heart of Hartman's project, and shows how his work repeatedly reasserts that belief in the face of institutional, cultural and intellectual factors that seem to deny the singular importance of literature. The book allows Hartman to emerge as a major literary thinker whose relevance extends far beyond the domains of Romanticism, of literary theory, and of trauma studies.

Geoffrey Hartman: Romanticism after the Holocaust offers the first comprehensive critical account of the work of the American literary critic Geoffrey Hartman. The book aims to achieve two things: first, it charts the whole trajectory of Hartman's career (now more than half a century long) while playing close attention to the place of his career in broader cultural and intellectual contexts; second, it engages with contemporary discussions about ecology, ethics, trauma, the media, and community in order to argue that Hartman's work presents a surprisingly consistent and original position in current debates in literary and cultural studies. Vermeulen identifies a persistent belief in the potency of aesthetic mediation at the heart of Hartman's project, and shows how his work repeatedly reasserts that belief in the face of institutional, cultural and intellectual factors that seem to deny the singular importance of literature. The book allows Hartman to emerge as a major literary thinker whose relevance extends far beyond the domains of Romanticism, of literary theory, and of trauma studies.