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Entanglements: Envisioning World Literature from the Global South scrutinizes current debates to bring historical and contemporary South-South entanglements to the fore and to develop a new understanding of world literature in a multipolar world of globalized modernity. The volume challenges established ideas of world literature by rethinking the concept along the notion of “entanglements”: as a field of variously criss-crossing relations of literary activity beyond the confines of literary canons, cultural containers, or national borders. The collection presents individual case studies from a variety of language traditions that focus on particular literary relationships and practices across Africa, the Americas, Asia, and Europe as well as new fictional, poetical, and theoretical conceptions of world literature in order to broaden our understanding of the multilateral entanglements within a widening communicative network that shape our globalized world.

Mindful of the tunnel vision sometimes created by the privileging of 'hybridity talk' and matters of culture in discussions of texts by minority writers, Delphine Munos in After Melancholia reads the work of the Bengali-American celebrity author Jhumpa Lahiri against the grain, by shifting the ground of analysis from the cultural to the literary. With the help of psychoanalytic theories ranging from Sigmund Freud through André Green and Nicolas Abraham to Jean Laplanche, this study re-evaluates the complexity of Lahiri's craft and offers major insights into the author's representation of second-generation diasporic subjectivity - an angle hitherto neglected by critics working from the narrower theoretical boundaries of transnationalism, diaspora studies, postcolonial theory, and Asian-American studies alike. Via interdisciplinary incursions into the domains of literary and psychoanalytic criticism, as well as into those of trauma and diaspora studies, Munos takes up \"Hema and Kaushik,\" the triptych of short stories included in Unaccustomed Earth (2008), as exemplary texts in which Lahiri redefines notions of belonging and arrival regarding the Bengali-American second generation, not in terms of cultural assimilation - which would hardly make sense for characters born in the USA in the first place - but in terms of a resymbolization of the gaps in the parents' migrant narratives. Munos' in-depth reading of Lahiri's trilogy is concerned with exploring how \"Hema and Kaushik\" signifies on the absent presences haunting transgenerational relationships within the US diasporic family of Bengali descent. Bringing to the forefront such 'negative' categories as the gap, the absent, the unsaid, the melancholically absented mother, After Melancholia reveals that the second-generation 'Mother Diaspora' is no less haunting than her first-generation counterpart, 'Mother India'. Calling for a re-assessment of Lahiri's work in terms of a dialectical relationship between (transgenerational) mourning and melancholia, Munos provides a compelling reading grid by means of which underrepresented aspects of the rest of Lahiri's work, especially her novel The Namesake (2003), gain new visibility.

In recent short stories written by diasporic Indian women writers, changes in terms of location or national identity are generally depicted as providing significant opportunities for Indian women to challenge and revise culturally-inscribed gender roles. In two collections of short stories written respectively by Ginu Kamani and Shauna Singh Baldwin, Junglee Girl and English Lessons and Other Stories, not only are ghosts employed to rupture boundaries between the living and the dead, but they also represent enabling presences which authorize female voices by resurrecting stories of women that have been silenced or forgotten. In these two books, the emergence of the archaic is recurrently tinged with liberating undertones since it opens up new spaces for identity by countering gendered expectations of ‘acceptable’ behaviour and by constructing alternative realities. My essay will therefore focus on the central metaphors of female ghosts and doubles as transitional figures through which women in transit empower themselves. My aim is to show how culturally displaced women appropriate the uncanny so as to engender new identities and assert the value of individual female experience. In these haunted narratives, I will contend, women move from a ghostly time of repetition to a ‘hauntology’ of new becomings.

In recent short stories written by diasporic Indian women writers, changes in terms of location or national identity are generally depicted as providing significant opportunities for Indian women to challenge and revise culturally-inscribed gender roles. In two collections of short stories written respectively by Ginu Kamani and Shauna Singh Baldwin, Junglee Girl and English Lessons and Other Stories, not only are ghosts employed to rupture boundaries between the living and the dead, but they also represent enabling presences which authorize female voices by resurrecting stories of women that have been silenced or forgotten. In these two books, the emergence of the archaic is recurrently tinged with liberating undertones since it opens up new spaces for identity by countering gendered expectations of ‘acceptable’ behaviour and by constructing alternative realities. My essay will therefore focus on the central metaphors of female ghosts and doubles as transitional figures through which women in transit empower themselves. My aim is to show how culturally displaced women appropriate the uncanny so as to engender new identities and assert the value of individual female experience. In these haunted narratives, I will contend, women move from a ghostly time of repetition to a ‘hauntology’ of new becomings.

In recent short stories written by diasporic Indian women writers, changes in terms of location or national identity are generally depicted as providing significant opportunities for Indian women to challenge and revise culturally-inscribed gender roles. In two collections of short stories written respectively by Ginu Kamani and Shauna Singh Baldwin, Junglee Girl and English Lessons and Other Stories , not only are ghosts employed to rupture boundaries between the living and the dead, but they also represent enabling presences which authorize female voices by resurrecting stories of women that have been silenced or forgotten. In these two books, the emergence of the archaic is recurrently tinged with liberating undertones since it opens up new spaces for identity by countering gendered expectations of ‘acceptable’ behaviour and by constructing alternative realities. My essay will therefore focus on the central metaphors of female ghosts and doubles as transitional figures through which women in transit empower themselves. My aim is to show how culturally displaced women appropriate the uncanny so as to engender new identities and assert the value of individual female experience. In these haunted narratives, I will contend, women move from a ghostly time of repetition to a ‘hauntology’ of new becomings.

In recent short stories written by diasporic Indian women writers, changes in terms of location or national identity are generally depicted as providing significant opportunities for Indian women to challenge and revise culturally-inscribed gender roles. In two collections of short stories written respectively by Ginu Kamani and Shauna Singh Baldwin, Junglee Girl and English Lessons and Other Stories, not only are ghosts employed to rupture boundaries between the living and the dead, but they also represent enabling presences which authorize female voices by resurrecting stories of women that have been silenced or forgotten. In these two books, the emergence of the archaic is recurrently tinged with liberating undertones since it opens up new spaces for identity by countering gendered expectations of ‘acceptable’ behaviour and by constructing alternative realities. My essay will therefore focus on the central metaphors of female ghosts and doubles as transitional figures through which women in transit empower themselves. My aim is to show how culturallydisplaced women appropriate the uncanny so as to engender new identities and assert the value of individual female experience. In these haunted narratives, I will contend, women move from a ghostly time of repetition to a ‘hauntology’ of new becomings.Nos contos contemporâneos de escritoras indianas diaspóricas, asmudanças em locação ou identidade nacional são em geral descritas como fatores que proporcionam oportunidades significativas para que as mulheres indianas desafiem e revisem os papeis de gênero culturalmente inscritos. Em duas coleções de contos, Junglee Girl e English Lessons and Other Stories, escritos respectivamente por Ginu Kamani e Shauna Singh Baldwin, os fantasmas são introduzidos não apenas para quebrar as fronteiras entre os vivos e os mortos, mas para representarem ocasiões que autorizam as vozes femininas pararessuscitar histórias de vida feminina que foram silenciadas ou suprimidas. A emergência de costumes arcaicos é constantemente tingida por contrapontos libertadores já que se abrem novos espaços de identidade por oporem expectativas de gênero caracterizadas por‘comportamentos aceitáveis’ e por construírem realidades alternativas. Focalizam-se as metáforas de fantasmas femininos e personagens duplas como figuras transitórias através das quais as mulheres diaspóricas assumem o poder. Verifica-se como as mulheresculturalmente deslocadas se apropriam do estranhamento para construírem novas identidades e afirmarem o valor da experiência feminina. Nestas narrativas de ‘fantasmas’ as mulheres de deslocam de um tempo espectral repetitivo para uma ‘hauntologia’ de novastransformações.

In The Namesake, Jhumpa Lahiri narrates the tortuous route from childhood to early adulthood of Gogol Ganguli, a U.S.-born descendant of Indian immigrants whose name bears the stigmas of a Bengali practice of nomenclature overridden by American law. Through Gogol's predicament, Lahiri points to the paradoxes of identity construction for those among second-generation \"desis\" who have confused filial and affiliative bonds with their present and their past. By approaching The Namesake along the general axis of filiation and affiliation developped by Said, I wish to show how Lahiri uses Gogol's derailed affiliations to investigate the stock theme of cultural hybridity while proposing a new understanding of the circuitous logic of inheritance and the obliqueness of identity.