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Journal articles on the topic 'Wai Chee Dimock'

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Published: 4 June 2021

Last updated: 2 February 2022

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Iuliano, Fiorenzo. "American Literature in the World: An Anthology from Anne Bradstreet to Octavia Butler, edited by Wai Chee Dimock et al." Review of International American Studies 12, no. 2 (December 23, 2019): 167–74. http://dx.doi.org/10.31261/rias.8015.

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Apter, Emily. "Taskography: Translation as Genre of Literary Labor." PMLA/Publications of the Modern Language Association of America 122, no. 5 (October 2007): 1403–15. http://dx.doi.org/10.1632/pmla.2007.122.5.1403.

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Wai Chee Dimock's chapter on genre as world system, in her recently published book Through Other Continents: American Literature across Deep Time, performs a thoroughgoing interrogation of paradigms of periodization and planetary comparatism: “What would literary history look like,” Dimock asks, Her book answers these questions by applying fractal modeling to the scaling of literary chronotypes and geopolitical territories. Dimock uses Benoit Mandelbrot's concept of indeterminate lengths to imagine a literary field of serried shapes, lacy ground, pocked sponges, coiled twine, clumped shapes, cystlike protuberances, and warped intervals (84). “Such irregularities are not limited to just one scale,” Dimock specifies; “they are much more transitive, and much more robustly self-propagating. They carry over tenaciously from one metric to another, spewing out countless copies of themselves on countless dimensions” (77). Dimock's concept of fractals as a self-duplication of literary forms produced in manifold sizes and temporal dimensions and endowed with entropic powers of extension allows her to plot feedback loops between the “gnarled contours of the globe [and] the gnarled contours of every single node” (78). Despite her concern that theorizing genre as a world system delivers “the large literary canvas” at the expense of the text, Dimock insists that such “scalar recursiveness” can in fact “thicken comparative morphology,” diversifying the conceptual grounds of comparison (79).

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Williams, Jeffrey J. "American Literature in the World: An Interview with Wai Chee Dimock." boundary 2 43, no. 2 (March 30, 2016): 163–78. http://dx.doi.org/10.1215/01903659-3469943.

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Dillingham, William B. ": Empire for Liberty: Melville and the Poetics of Individualism. . Wai-chee Dimock ." Nineteenth-Century Literature 45, no. 1 (June 1990): 97–99. http://dx.doi.org/10.1525/ncl.1990.45.1.99p0296p.

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Moretti, Franco. "Franco Moretti: A Response." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 686–89. http://dx.doi.org/10.1632/pmla.2017.132.3.686.

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First of all, thanks to wai chee dimock, the editor of PMLA, and to all contributors for having put this feature together. Devoting time and energy to someone else's work is a very generous thing to do, and I'm grateful to all of you for your attention. Really.Since Dimock made clear from the start that the discussion would be “on Distant Reading the book,” I will not address Johanna Drucker's and Catherine Nicholson's essays, which, though very interesting, concern methodological and historical issues rather than the book itself. Otherwise, my reply will proceed as follows: a prologue on my relationship to distance; some retrospective thoughts on Distant Reading; a few responses on “facts,” interpretations, “reading,” and “readers”; some reflections on modeling; and a conclusion on what Lisa Marie Rhody calls the “dehumanizing” nature of “scientific discourse.”

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Loughran, T. "Transcendental Islam: The Worlding of Our America: A Response to Wai Chee Dimock." American Literary History 21, no. 1 (August 19, 2008): 53–66. http://dx.doi.org/10.1093/alh/ajn062.

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ROBBINS, BRUCE. "Afterword." PMLA/Publications of the Modern Language Association of America 122, no. 5 (October 2007): 1644–51. http://dx.doi.org/10.1632/pmla.2007.122.5.1644.

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Why should we care about genre?Following a hint from Wai Chee Dimock, let us perform a conceptual experiment. Imagine that literature departments were to begin hiring faculty members primarily by their expertise in particular genres instead of (as is usually the case in the larger departments) primarily by their expertise in particular historical periods. Literary study, I hope you will agree, would very soon cease to exist in its present form. This prospect exposes something about literary study in its present form that might after all prove unworthy of being mourned, which is to say of being preserved.

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McGurl, Mark. "II“Neither Indeed Could I Forebear Smiling at My Self”: A Reply to Wai Chee Dimock." Critical Inquiry 39, no. 3 (March 2013): 632–38. http://dx.doi.org/10.1086/670049.

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Davidson, Cathy N. "The New Education and the Old." PMLA/Publications of the Modern Language Association of America 133, no. 3 (May 2018): 707–14. http://dx.doi.org/10.1632/pmla.2018.133.3.707.

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I am deeply grateful to wai chee dimock for organizing this feature and to the distinguished scholars who have given generously of their time and attention to address the issues raised and solutions offered by The New Education: How to Revolutionize the University to Prepare Students for a World in Flux. No reader of PMLA needs to be reminded that our discipline and our departments are under duress, our majors plummeting just as we are being asked to teach more service courses with higher numbers of students and fewer faculty lines. his is a bleak time in higher education and for our field. Yet it is inspiring to witness the dedication and seriousness of all those fighting for higher education as a public good while also working to ensure that higher education addresses the needs of the public.

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Zhang, John Zaixin. "“Postmodern” Space in the Heart of Beijing: From the National Theater to the Palace Museum." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 256–63. http://dx.doi.org/10.1632/pmla.2007.122.1.256.

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I would like to draw on Wai Chee Dimock's notion of “deep time” as “denationalized space” to situate the present study in the context of postmodernism and globalization (“Time” 760). Dimock argues that “literary space and time are conditional and elastic; their distances can vary, can lengthen or contract, depending on who is reading and what is being read” (“Planet” 174) and that “the continuum of historical life does not grant the privilege of autonomy to any spatial locale” or “to any temporal segment”: “periodization, in this sense, is no more than a fiction” (“Time” 757). Within this constellation of ideas, the “postmodern” space in the heart of Beijing stretches back to ancient China as much as it reaches forward to contemporary thought. In this sense, “postmodern” space, as a quotation (of other quoted spaces), is both postmodern and antipost-modern, postmodern in the sense that the past has collapsed into the present and antipostmodern in the sense that postmodernism is as postmodern as it is ancient, so that it loses its foothold in contemporaneity and its need for periodization. In the pages that follow, I will discuss the “postmodern” space manifested in the National Theater of China and the Palace Museum (also known as the Forbidden City) in terms of a blurred spatial dichotomy of inside and outside.

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Lavery, Grace. "Generation and Class Antagonism." PMLA/Publications of the Modern Language Association of America 135, no. 5 (October 2020): 976–81. http://dx.doi.org/10.1632/pmla.2020.135.5.976.

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In a recent special issue of modernism/modernity entitled weak theory, a group of scholars debated, receptively but appropriately gently, the merits of “weak thought,” a notion that the editor Paul Saint-Amour derived from his readings of Eve Sedgwick, Wai Chee Dimock, and Gianni Vattimo—a mode of argument, and even intellection, designed to deflate expansive or overconfident epistemological and ontological claims. The issue occasioned a great deal of online dispute, then no fewer than four sets of responses from the various partisans and antagonists of “weak theory,” and eventually, in a final invaginating flourish, a set of responses to the responses by the initial authors (including me). In their response, Melanie Micir and Aarthi Vadde brought into the conversation a tweet by Jacquelyn Ardam: I've been watching the conversations around @MModernity's “Weak Theory” issue unfold from the sidelines and here is my take: sure is easy to claim weakness when you have tenure or TT job. The Q of weakness looks v different from the land of the contingent. (@jaxwendy)

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Holquist, Michael. "Presidential Address 2007: The Scandal of Literacy." PMLA/Publications of the Modern Language Association of America 123, no. 3 (May 2008): 568–79. http://dx.doi.org/10.1632/pmla.2008.123.3.568.

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As I was preparing to leave for Chicago, I read the latest PMLA special-topic issue, Remapping Genre, coordinated by Wai Chee Dimock and Bruce Robbins. So, impressed once again by the power of the concept of genre, I begin by remarking the form of what I am doing here tonight. That genre is, of course, something called an MLA presidential address. There have been 116 such addresses since 1883, when forty professors met at Columbia to found the MLA. As the 117th president in this long line, I prepared for this evening by doing a small study of what my predecessors have written for the occasion over more than a century. Such a study, I might add, is very much part of the genre. Certain features of the canon are persistent enough to catch the eye of even the most casual student of the form. The dominant structure of an MLA presidential address is an arrangement that goes back at least to the Sophists: it is an argument arranged as a contest between two antitheses. Over the years, the dichotomies have changed, but the template of binary opposition has remained improbably constant.

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Ratti, Manav. "Justice, subalternism, and literary justice: Aravind Adiga’sThe White Tiger." Journal of Commonwealth Literature 55, no. 2 (June 15, 2018): 228–45. http://dx.doi.org/10.1177/0021989418777853.

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This article analyses Aravind Adiga’s Booker prize-winning novel The White Tiger (2008) through the lens of justice: philosophical, legal, and literary. What is justice when its agent is subaltern — disprivileged by both caste and class — and delivers justice to himself? I argue that the fictional representation of class, caste, poverty, and violence can be similar to the structuring and translations of justice. By writing his novel from the perspective of a subaltern character, Adiga joins the call by Dalit critics to reconfigure modernity from the interests of the oppressed and the marginalized. In the process, there can be a rethinking of postcolonial literary criticism from within the postcolonial nation, rather than the established perspective of the postcolonial nation understanding its own colonial oppression. My essay provokes wider insights into the implications for justice and human rights as they are informed and represented by literary fiction, subaltern theory, and deconstructive theory. How can a writer conceive of and represent justice — literary justice — by working within and against philosophical and legal conceptions of justice? The philosophers and theorists I invoke include Drucilla Cornell, Jacques Derrida, Wai Chee Dimock, Emmanuel Levinas, Gayatri Chakravarty Spivak, and Robert Young.

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Kern, Robert. "Through Other Continents: American Literature across Deep Time. Wai Chee Dimock. Princeton, NJ, and Oxford: Princeton University Press, 2006. Pp. xiv+243." Modern Philology 107, no. 2 (November 2009): 289–92. http://dx.doi.org/10.1086/648032.

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Felski, Rita. "Response." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 384–91. http://dx.doi.org/10.1632/pmla.2017.132.2.384.

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I want to thank Wai Chee Dimock for initiating this forum and my agile interlocutors for responding to my work. In the final chapter of The Limits of Critique, I talk about reading as an act of cocreation and composition—a practice of thinking and feeling with, rather than against, a text. Such a vision of what it means to read is amply confirmed in these generous and generative essays.Sarah Beckwith is almost preternaturally attuned to what I am trying to do in The Limits of Critique, to the extent of conveying my ideas better than I do myself. She glosses postcritical, for example, as meaning that “we come after critique and through it rather than that we have dispensed with it, though that meaning will surely be ascribed to her.” Nailed on both counts. I appreciate her attentiveness to how I write: to mood and disposition as being fundamentally a matter of form as well as content. I am not sure whether the style of The Limits of Critique is my voice—it is a way of writing I adopted for a specific purpose that may or may not appear again—but it seemed crucial, in tackling a book about critique's limits, to aim for a tone that was playful rather than censorious—or at least playfully censorious.

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Reed, Ethan. "“I Heard That Voice at Troy”: Resonance at The Other Place in Derek Walcott’s The Odyssey: A Stage Version." Cambridge Journal of Postcolonial Literary Inquiry 5, no. 2 (March 23, 2018): 193–208. http://dx.doi.org/10.1017/pli.2017.58.

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I examine the international structures of collaboration behind the first theatrical production of Derek Walcott’s The Odyssey: A Stage Version with the Royal Shakespeare Company in Stratford-upon-Avon, July 1992. Reconsidering this play’s production in the context of colonial history, I argue, reveals ways in which The Odyssey foregrounds the constraints of its initial production circumstances in moments of meta-theatrical dissonance. In an effort to account for the temporality of production, diachronic literary object, and the trans-historical preoccupations of the work itself, I adopt Wai Chee Dimock’s “theory of resonance” to the context of postcolonial theatrical production. Through this lens, theatrical spaces like The Other Place become resonance chambers where resonances of all sorts—be they literary, as with allusions to Joyce’s Ulysses, historical, colonial, spatial, or even physical—reverberate not only with the institutions that structure them, but the affective dimensions of performance through which they are staged and embodied.

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Cella, Matthew J. C. "Weak Planet: Literature and Assisted Survival. By Wai Chee Dimock." ISLE: Interdisciplinary Studies in Literature and Environment, September 8, 2021. http://dx.doi.org/10.1093/isle/isab075.

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"Wai Chee Dimock. Residues of Justice: Literature, Law, Philosophy. Berkeley and Los Angeles: University of California Press. 1996. Pp. xi, 278. $48.00." American Historical Review, October 1997. http://dx.doi.org/10.1086/ahr/102.4.1118.

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BECKER, PETER. "Wai Chee Dimock and Lawrence Buell (eds.), Shades of the Planet: American Literature as World Literature (Princeton and Oxford: Princeton University Press, 2007, $24.95). Pp. vi+304. isbn0 69112 852 9." Journal of American Studies 42, no. 2 (August 2008). http://dx.doi.org/10.1017/s0021875808005124.

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