This volume highlights the importance of imagology, one of the most popular areas of research in contemporary comparative studies. It proposes new means of academic analysis to create critical attitudes towards the development of imagological studies. The topics discussed draw a wide trajectory, from classical to marginal images, from national heroes to (un)conventional aspects of gender, from ethno-imagology to the broader dimension of intercultural references and epistemological post-poststructuralist changes. The compendium widens the field of imagology by introducing concepts such as “geo-imagology” and “imagology of gender”, and by linking the imagological strategy with the power principle developed by post-colonialism and with the fictional project of an imaginary utopian society. The essays selected include case studies focusing on the works of individual authors, as well as broader insights concentrating on regional, national and transnational identities that experienced a change of imagery due to historical, political and social shifts. The book pays particular attention to the aspects of mobile imagery, the emergence of peripheral identities related to gender, class, ethnicity or race, and the detection and assessment of well-established stereotypes. The scope of the topics discussed and the variety of periods covered imply the universal nature and versatile applicability of literary imagology.

With this volume, the editors Katharina Edtstadler, Sandra Folie, and Gianna Zocco propose an extension of the traditional conception of imagology as a theory and method for studying the cultural construction and literary representation of national, usually European characters. Consisting of an instructive introduction and 21 articles, the book relates this sub-field of comparative literature to contemporary political developments and enriches it with new interdisciplinary, transnational, intersectional, and intermedial perspectives. The contributions offer [1] a reconsideration and update of the field’s methods, genres, and theoretical frames; [2] trans-/post-national, migratory, and marginalized perspectives beyond the European nation-state; [3] insights into geopolitical dichotomies such as Orient/Occident; [4] intersectional approaches considering the entanglements of national images with notions of age, class, gender, sexuality, and ethnicity/race; [5] investigations of the role of national images in visual narratives and music.

This volume explores the philosophical and metaphysical manifestations of contemporary cinema. Starting with the hypothesis that movies provide an experience that is both a pathway into the thinking mechanisms of modern humans and into our collective psyche, this study focuses on the elements that form the “Romanian cinematic mind” as part of the European cinema-thinking. While this book is based on specific case studies provided by recent productions in Romanian filmmaking, such as Proroca (2017) and Touch me Not (2018), it also contextualises the national cinema within the larger, European art of making movies. Offering close interpretations of the works of world-renowned directors like Cristi Puiu, Cristian Mungiu, Corneliu Porumboiu or more recently Adina Pintilie and Constantin Popescu, this book questions the “Romanianess” of their cinematic techniques, and places their philosophical roots both in a particular mode of thinking and within continental philosophy.

No matter how one defines its extent and borders, Eastern Europe has long been understood as a liminal space, one whose undeniable cultural and historical continuities with Western Europe have been belied by its status as an “Other” in the Western imagination. Across illuminating and provocative case studies, The World beyond the West focuses on the region’s ambiguous relationship to historical processes of colonialism and Orientalism. In exploring encounters with distant lands through politics, travel, migration, and exchange, it places Eastern Europe at the heart of its analysis while decentering the most familiar narratives and recasting the history of the region.

Since its generic inception in 1516, utopia has produced visions of alterity which renegotiate, subvert, and transcend existing places. Early in the twentieth century, H. G. Wells linked utopia to the World State, whose post-national, post-Westphalian emergence he predicated on English national discourse. This critical study examines how the discursive representations of England’s geography, continuity, and character become foundational to the Wellsian utopia and elicit competing response from Wells’s contemporaries, particularly Robert Hugh Benson and Aldous Huxley, with further ramifications throughout the twentieth century. Contextualized alongside modern theories of nationalism and utopia, as well as read jointly with contemporary projections of England as place, reactions to Wells demonstrate a shift from disavowal to retrieval of England, on the one hand, and from endorsement to rejection of the World State, on the other. Attempts to salvage the residual traces of English culture from their degradation in the World State have taken increasing precedence over the imagination of a post-national order. This trend continues in the work of George Orwell, Anthony Burgess, J. G. Ballard, and Julian Barnes, whose future scenarios warn against a world without England. The Nationality of Utopia investigates utopia’s capacity to deconstruct and redeploy national discourse in ways that surpass fear and nostalgia.

Isn’t translation all about saying exactly the same thing in another language? Aren’t national images totally outdated in this era of globalization? Most people might agree but this book amply illustrates how persistent and multifaceted clichés on translation and nation can be. Time and again, translating involves making transfer choices and these choices are never neutral. Though globalization has seemingly all but erased national ideologies and cultural borders, such ideologies and borders continue to play a determining role in conflicts, identity politics and cultural profiles. The place where transfer choices and forms of national and cultural representation come together is also the place where Translation Studies and Imagology meet. This book offers a wealth of chapters showing how decisive selection and transfer processes can be in representing national images, both self-images and images of the other(s). It shows also how intensely the two disciplines can work together and mutually benefit from shared data and methodologies.