By Michael Valdez Moses
Bringing jointly canonical eu authors with authors from the 3rd international, this publication analyzes the emergence of the fashionable international novel, and how it mirrors the underlying technique of cultural globalization. via distinctive readings of Stendhal, Hardy, Conrad, Achebe, and Vargas Llosa, this examine unearths how the unfold of Western modernity--materially and culturally--has been shadowed by means of the destruction of conventional societies. those novels concentrate on the person tragedies of these who characterize pre-modern methods of lifestyles; within the approach, delivering a corrective to Hegel's abstruse philosophy of historical past. From rural Victorian England to the Malay Archipelago, and from the Igbo heartland in Africa to the backlands of Brazil, a world narrative unfolds, one the place the forces of modernization conflict with the defenders of conventional society. Moses contributes to the continued debate on Alexandre Koj?ve and the "end of history", whereas, while, relocating past sterile oppositions--canonical as opposed to non-canonical works, formal literary feedback as opposed to political/historical critique. With its new conceptualization of modernity and globalization, this e-book will curiosity the literary student, cultural critic, social scientist, and political theorist.
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Extra info for The Novel and the Globalization of Culture
Nevertheless, the importance to Hegel of moments of historical crisis supplies a link between his aesthetics and his philosophy of history. In Hegel's view, historical change involves fundamental clashes between old ways of life and new, thus creating the kinds of tragic choices between two ethical substantives that he sees portrayed in drama. 8 In the case of Antigone, the play reflects the shift from the family-based tribal organization of archaic Greece to the more "modern" organization of the polis, which attempts to suppress and transcend family loyalties.
Objectively Julien is nothing more or less than a petit bourgeois, but his carefully meditated speech suddenly recasts him in the role of a peasant in revolt. As Julien represents himself, he is initially lower, but by virtue of his crime, ultimately higher than those who pass judgment upon him. The brilliance of Julien's rhetorical performance appears to transform a petty act of violence with no political purpose or historical importance into a heinous action befitting a classical tragedy, replete with overtones of matricide and incest, and carried out by an ardent political revolutionary who threatens the very foundations of the existing social order.
As Kojeve notes, when Hegel finished The Phenomenology of Spirit shortly after the Battle of Jena in 1806, the process of global modernization was far from complete. Nonetheless, in 1948 Kojeve could insist that all historical events that followed in the wake of this decisive military and political event, in which the French forces under Napoleon defeated the last remnants of the Holy Roman Empire (monarchist and aristocratic Prussia), had merely confirmed the essential validity of Hegel's in- Introduction 9 sight that the definitive end of human political evolution was already discernible in 1806: Observing what was taking place around me and reflecting on what had taken place in the world since the Battle of Jena, I understood that Hegel was right to see in this battle the end of History properly so-called.
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