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Ideographic Modernism: China, Writing, Media

Ideographic Modernism: China, Writing, Media BOOK REVIEWS / 243 bigger semiotic universe, and is willing to glean from all postulations any benefits available. He displays the same holistic pragmatism in his Conclusion, which recognizes how Comparative Literature happened to start "from closely related clusters of civilization" and why this was necessary before the modern super-field could aspire to dealing effectively with large systems whose roots and developmental stories differed from those of European culture and Europe's immediate extensions -- a thesis independently and brilliantly argued in 1990 by Earl Miner in Comparative Poetics: An Intercultural Essay on Theories of Literature. Levin looks forward to the exploration of non-Eurocentric cultures by competent experts who will, as the Introduction recommends, "analyze [the relevant texts] linguistically, structurally, historically, comparatively," a task which includes understanding literature "as a sociocultural institution propagating values and sustaining continuities" (37). His vision is empirical and open; he acknowledges that in our contemporary circumstances Comparative Literature -- in order to operate properly on a global plane -- must become "a cooperative effort, organizing and pooling the resources of knowledge" (374). The opening chapter of Part 1, "What Is Not Art?" quickly erases any lingering doubt as to Levin's ability to contextualize along http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

Ideographic Modernism: China, Writing, Media

Yamaguchi, L.
Comparative Literature , Volume 65 (2) – Mar 20, 2013
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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/00104124-2143219
Publisher site
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Abstract

BOOK REVIEWS / 243 bigger semiotic universe, and is willing to glean from all postulations any benefits available. He displays the same holistic pragmatism in his Conclusion, which recognizes how Comparative Literature happened to start "from closely related clusters of civilization" and why this was necessary before the modern super-field could aspire to dealing effectively with large systems whose roots and developmental stories differed from those of European culture and Europe's immediate extensions -- a thesis independently and brilliantly argued in 1990 by Earl Miner in Comparative Poetics: An Intercultural Essay on Theories of Literature. Levin looks forward to the exploration of non-Eurocentric cultures by competent experts who will, as the Introduction recommends, "analyze [the relevant texts] linguistically, structurally, historically, comparatively," a task which includes understanding literature "as a sociocultural institution propagating values and sustaining continuities" (37). His vision is empirical and open; he acknowledges that in our contemporary circumstances Comparative Literature -- in order to operate properly on a global plane -- must become "a cooperative effort, organizing and pooling the resources of knowledge" (374). The opening chapter of Part 1, "What Is Not Art?" quickly erases any lingering doubt as to Levin's ability to contextualize along

Journal

Comparative Literature – Duke University Press

Published: Mar 20, 2013

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