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E-book Approaches to a New World Literature : Romani Literatures as rewriting and self-empowerment
Ruždija Russo Sejdovi?’s poem, originally written in Romani, is trans-lated into Serbo-Croatian,1 German, and English (see the print of all four versions following these introductory words) and shows the importance of translations for the circulation of literary works, as many Romani lit-erary works remain hidden from people in the majority society.2In the context of post-colonialism and globalization, the question of globality has become increasingly important in socio-historical and geopolitical debates in recent decades. The idea of world literature, however, is a very old one, which can be traced back at least to Goethe and his famous letter to Eckermann of 31 January 1827. The notion of Weltlite-ratur (world literature), which the German writer conceived from the observation that the same texts circulate throughout the world, raises the question about the scope of history. It is indeed a notion that powerfully challenges the national framework that generally organizes the writing of literary history and that also allows other frameworks of thought, such as those of European literature, to be complexified and enriched. David Damrosch, in his pioneering work What is World Literature?(2003) confronts the established canon of European “masterpieces” im-plied in Goethe’s perception of world literature. Rather than looking at world literature as a canonical body of texts, Damrosch presents world literature as a way of circulation, reading, and reception. Focusing on texts outside the European frame of reference, from the Sumerians to the Aztecs, and across historical and literary periods, from medieval to post-modern, he expands the concept of “masterpieces” to include established classics and new discoveries that move and intersect transculturally and transnationally.Damrosch, unfortunately, does not include any examples from Roma literatures. And yet, Roma literature is per se transnational and transcul-tural: the fact that Roma literatures, like the Roma themselves, often refer to one and the same Indian “imaginary homeland” (Rushdie 1991, 10), but live diasporically (Hertrampf 2020), always gives their literature a transnational character. Transgession is thus an identity-forming ele-ment of a kind of literature that is multilingual and heterogeneous in every respect.
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