Semi-Peripheral Realism: Nation and Form on the Borders of Europe

Acknowledgements
Contents
Chapter 1: Introduction
	The Ambition of World Literature
		Comparative Literature
		Postcolonial Studies
		World Literature
		A Note on Translation
	The Semi-Periphery: World Systems, Uneven Development, and World-Literature
	Semi-Peripheral Realism
	References
Chapter 2: ‘A History-with-Holes?’: Magic Realism and National Allegory in Halldór Laxness’s Iceland’s Bell and William Heinesen’s The Good Hope
	Magical Realism and the ‘demonical flux’ of History
	The Allegorisation of National History
	The ‘exceptional situation’ of the Semi-Periphery
	Allegorical Structures I: The Power of Letters
	Allegorical Structures II: Land and Law
	Conclusion
	References
Chapter 3: Between Nation and World: Semi-Peripheral Nationalism and Global Capitalism in Halldór Laxness’s The Atom Station and William Heinesen’s The Black Cauldron
	Locating Semi-Peripheral Modernism I: The Atom Station as Bildungsroman
	Locating Semi-Peripheral Modernism II: The Black Cauldron as Irrealist Kollektivroman
	Nationalism: Conflicts and Contradictions
	Nationalism Consigned: Funerals and the Spectacle of Bourgeois Nationalism
	Atom Bombs and Carousels: The System in Miniature
	Conclusion
	References
Chapter 4: The Semi-Peripheral City: Orhan Pamuk’s Istanbul and Latife Tekin’s Dear Shameless Death
	Uneven Development and ‘the carcass of Turkey’
	The Uneven City I: Hüzün
	The Uneven City II: Hemşehrilik
	Memory, Maps, and the Uneven City
	Conclusion
	References
Chapter 5: Semi-Peripheral Borderscapes: Latife Tekin’s Swords of Ice (2007) and  Orhan Pamuk’s Snow (2005)
	Mapping the Borders, Mapping the Nation
	The Red Volvo and the Charcoal Coat
	Border Form: Semi-Peripheral Realism
	Conclusion
	References
Chapter 6: Conclusion: Unevenness as ‘Hidden Symmetry’
	References
Index