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The 17 contributions in this volume pursue a positioning of the philologies, which - based on the'Volksgeist'(popular spirit) of the 19th century and the cultural studies of the 20th century - must reposition themselves in the 21st century. The contributions address questions such as: What changes are occurring with increasing globalization? Are national literatures increasingly being absorbed into the so-called'world literature'? The authors come from the fields of Romance studies, German studies and English studies. They deal with topics of literary historiography, canonization, comparative literature, and also questions of the future.

This Pivot examines a body of contemporary neo-Victorian novels whose uneasy relationship with the past can be theorised in terms of aggressive eating, including cannibalism. Not only is the imagery of eating repeatedly used by critics to comprehend neo-Victorian literature, the theme of cannibalism itself also appears overtly or implicitly in a number of the novels and their Victorian prototypes, thereby mirroring the cannibalistic relationship between the contemporary and the Victorian. Tammy Lai-Ming Ho argues that aggressive eating or cannibalism can be seen as a pathological and defining characteristic of neo-Victorian fiction, demonstrating how cannibalism provides a framework for understanding the genre's origin, its conflicted, ambivalent and violent relationship with its Victorian predecessors and the grotesque and gothic effects that it generates in its fiction.

Reading literary and cinematic events between and beyond American and Persian literatures, this book questions the dominant geography of the East-West divide, which charts the global circulation of texts as World Literature. Beyond the limits of national literary historiography, and neocolonial cartography of world literary discourse, the minor character Parsee Fedallah in Herman Melville's Moby-Dick (1851) is a messenger who travels from the margins of the American literature canon to his Persian literary counterparts in contemporary Iranian fiction and film, above all, the rural woman Mergan in Mahmoud Dowlatabadi's novel Missing Soluch (1980). In contention with Eurocentric treatments of world literatures, and in recognition of efforts to recast the worldliness of American and Persian literatures, this book maintains that aesthetic properties are embedded in their local histories and formative geographies.