In this genre of cinema all possible disasters, natural or otherwise, invariably always befall the American people and what is often presented in the guise of the triumph of the indomitable human spirit is actually a celebration of the America spirit. The latest Superman film is a good example of this as well.
If Translation Studies helps the comparatist to actually engage with the questions of language/language-use, reception and changes within a literary system, then Comparative Literature and Translation Studies can be the best of friends. And Comparative Literature, now more than ever, is in dire need of friends. This is not because there is, or as people like to imagine there always has been and always will be a crisis in the discipline of Comparative Literature.
Abraham was great because he conquered God with his helplessness; because his powerlessness becomes his greatest power. He submits completely to his fate and this submission paves the way for his vindication.
In the previous article we had tried to arrive at defining Comparative Literature but that, as it appears, is a question that presently remains to be answered satisfactorily or rather conclusively. So be it. Before we move towards the possibility or impossibility of defining Comparative Literature (this vacillating tone is obviously sarcastic) there are some debts that we (and by this one means anybody who claims to study Literature) must acknowledge for they have long been taken for granted. One such debt the study of Literature in recent times seems to leave by and large unacknowledged is to the “Formalists” or the Formalist movement.
There are the obvious ways one can begin to answer this question in a post-Spivakian
