This presentation aims to explore the intricate relationship between the r/evolution of literary canons and hierarchies within the context of globalization. It examines how the traditional notions of "classical" literatures interact with contemporary media and popular literatures, emphasizing the role of intermediality in reshaping these hierarchies. It delves into the dynamic interplay of literary history and the history of globalization with a focus on both national literary histories and the emergent concept of a "connected" history of literatures.

The presentation will employ various theoretical approaches such as postcolonial theories,world literature studies, comparative literature theories, and transnational literary perspectives to offer a comprehensive analysis of the complex relationship between canons, hierarchies, and globalization. Aspiring to contribute to the ongoing scholarly discourse on the ever-changing landscape of comparative literature in the 21st century, the presentation will engage the audience into a debate on the theories of scholars such as Molefe Kete Asante, Jean-Pierre Makouta-Mboukou, Goethe, Richard Grusin, Philarète Chasles, Emily Apter, Longxi Zhang, Pascale Casanova, Alexander Beecroft, Ulrich Beck, etc. in order to review the traditional classifications of "classical" literatures and how globalization has challenged and expanded them. In so-doing, it will showcase African and Diasporic literatures in regard with western literatures to provide a deeper understanding of the complex forces that shape and redefine literary canons and hierarchies on a global scale.

Travel literature and travel of literature both resonate with the movements of literatures in different literary spaces, traditions, and geographies, through which works of literature gain and lose in a process of thrivingness and flourishment. Central to these tectonic movements raises the question of hospitality of literatures in new literary spaces and homes by ways of translation, mistranslation, adaptation, acculturation and finally localization. The debates taking place in the discipline of comparative and world literature over the newly emerged concept ‘Untranslatability’ as a driving force in projecting an alternative ‘world literature’ coincides, consistently, with the debate of hospitality in languages and literatures. The question of translation comes to fore since ‘world literature’ was viewed as ‘literature in translation’, which invokes the possibilities and limitations of translating literature into different literary and aesthetic spaces. As such, this research investigates the way literatures move and circulate through different transnational channels with the Mediterranean space as its focal point, by extending the postulates of world literature through a close reading of Della Descrizione dell’Africa & Leon L’Africain as two samples of Mediterranean literatures that project new spectrums of theorizing world literature

With its constants of size, density and heterogeneity yet infinite variety in terms of demography, culture and atmosphere, the city lends itself particularly well to comparative literary studies. My paper takes a major world city – Mumbai/Bombay – and reads it from a marginal, perhaps unsuspected angle, namely the Portuguese-language Goan short stories of the 1950s-1970s (Vimala Devi, Maria Elsa da Rocha, Augusto do Rosário Rodrigues, Epitácio Pais), which formed the last generation of Lusophone writing in India. I argue that their common theme of big city vs. rural or small-town home, complexly semanticised, reflects a particular critical position between empires and nations. Recent years have seen a significant number of English-language works about Goan Mumbai/Bombay written in the city itself (e.g. Jane Borges, Ivan Arthur, Jerry Pinto). How might these relate to their predecessors across time, language and history?

This article aims to conduct a comparative study of the writing (écriture) of the female body in Women’s Literature and Arts by focusing on the notion of transnational imaginary. The study explores two different narrative materialities: the novel Água Viva (Água Viva) (1973) by Brazilian writer Clarice Lispector, and paintings by Korean visual artist Chun Kyungja dating from the 1960s to 1970, including A Woman in a Bouquet (1960), Western Samoa, Self-portrait (1969), Portrait of a Woman (1977) and Tango Flowing at Dusk (1978). This research explores how cultural issues drive the construction of symbolic-imagetic bodies and their implications in the narratives, contemporary Literature and Visual Arts. This comparative study aims to establish readings of the writing (écriture) of symbolic-imagetic bodies by focusing on the study of constructions of transcultural female bodies in the female writer’s narratives by Clarice Lispector and Chun Kyungja. Thus, I would like to raise some driving questions: What is the association between Comparative Literature, Culture, and Space? How could the écriture in the novel and paintings be described in this study? Therefore, regarding Women’s literature and visual arts, this comparative study leads to an understanding of reading cultural narratives and intertextuality as practices of transnational readings in Comparative Literature. The theoretical framework for this research is composed by Jacques Derrida (Of Grammatology; Writing and Difference), Teresa de Lauretis (Technologies of Gender), Susan Bordo (The Body and the Reproduction of Femininity), Gayatri Spivak (Death of a Discipline; Other Asias), Doreen Massey (Space, Place, and Gender; For Space), and Gilles Deleuze (Deux régimes de fous; Francis Bacon: The Logic of Sensation; On Theater).

Dans notre communication, nous allons examiner le rôle du narrateur dans la fantasy historique française et son rapport avec le worldbuilding, c’est-à-dire la construction d’un monde imaginaire, une composante centrale de la fantasy.

La fantasy historique est un sous-genre de la fantasy qui combine des éléments de fantasy tels que des phénomènes surnaturels et des choses imaginaires avec du réalisme et des décors de fiction historique basés sur des faits historiques (V. Schanoes, « Historical fantasy » dans E. James & F. Mendlesohn, eds. « The Cambridge Companion to Fantasy Literature », 2012). Il s'agit d'une fantasy qui se déroule dans une période et un lieu historiques précis, qui rejoint parfois l’uchronie.

Depuis les années 2000, de nombreux auteurs français de fantasy ont publié des œuvres dans ce genre, constituant ainsi une des caractéristiques de la fantasy française. Les périodes historiques et les régions choisies comme décors sont très diverses : la France du XVIIe siècle dans « Les Lames du cardinal » du Pierre Pevel, Venise pendant la Renaissance dans « Gagner la guerre » de Jean-Philippe Jaworski, la Première Guerre mondiale dans « Le Chemin des fées » de Fabrice Anfosso, etc. Contrairement à la « medieval fantasy », qui emprunte librement des images superficielles, voir des préjugés, sur l’époque médiévale, ces œuvres sont caractérisées par un travail méticuleux de recherche dans des archives et leur fidélité historique.

Dans la fantasy, où les événements surnaturels, les créatures imaginaires et la magie sont présentés comme du « réel », le narrateur devient un guide qui assure le lecteur de l'« authenticité » de l'histoire et lui explique la vision du monde qui apparaît dans l’œuvre. Dans la fantasy historique en particulier, il est nécessaire de maintenir la cohérence et la consistance du monde imaginaire qui combine deux éléments opposés et apparemment contradictoires : les faits historiques qui se sont déjà produits dans le monde réel et les événements et personnages imaginaires sur lesquels s’appuie le récit.

Qui raconte l'histoire ? Nous analyserons comment les narrateurs de chaque œuvre présentent les informations historiques, comment ils perçoivent et décrivent les éléments imaginaires entremêlés aux événements réels, et nous comparerons les effets produits par divers dispositifs narratifs.