It is to see Albania as European and therefore part of Europe’s imperialist history; within Europe, as unremittingly Balkan and thus always peripheral to the flows of European power; and among them all, as an ethno/geocultural essence apart—lost like the origins of tragedy, inevitable like the violence of the political, difficult like the ghosts of the past.
The “world” of Kadare’s three essays on “world literature” is a reflection of Albania’s “impossible drama” on the global scale of human history, an observation at once parochial and profound, like the greatness of great art.
It is impossible to switch bodies with another human being, and it is impossible to completely understand the complexity of their world.
Literature, as an alternative, is the closest thing the world has to being able to understand another person whole-heartedly.
Aeschylus enjoys a more or less constant presence, but Dante and Shakespeare are latecomers as a result of repressive Ottoman rule, arriving in Albanian translations only following independence in the twentieth century. to travel alive among the dead.” Dante is thus figured as the ultimate poet of the Albanian experience; “Dantesque” describes nothing if not the spiraling centuries of Albanian life under multiple empires and then Hoxha.
Dante makes a particular impression on Kadare, who says that the Florentine poet’s greatest lesson was that “the natural state of the great writer is . Aeschylus, the topic of his earliest and longest essay, represents to Kadare the largely lost origin of world literature and thus of “civilization” itself; though Greek, Aeschylus’s sense of the tragic emerged from a uniquely Balkan understanding of mourning, Kadare argues, and he was therefore, like any Albanian, haunted by pains peculiar to Balkan life.Bad thesis: Lily Bart experiences the constraints of many social conventions in . What does she do with these social conventions, and how does she respond to them? ] Better thesis: Lily Bart seeks to escape from the social conventions of her class in , but her competing desires for a place in Selden's "republic of the spirit" and in the social world of New York cause her to gamble away her chances for a place in either world.[You could then mention the specific scenes that you will discuss.] 2.Consequently, this can promote better judgement of situations, so the reader does not find themselves in the same circumstances as perhaps those in the fiction world.Henceforth, literature is proven to not only be reflective of life, but it can also be used as a guide for the reader to follow and practice good judgement from. Never before has life been so chaotic and challenging for all. Kadare reflects in three essays on “great” writers in the world literary tradition: Aeschylus, whom he calls the “lost”; Dante, the “inevitable”; and Shakespeare, the “difficult prince.” Kadare’s essays provide histories of these writers’ place in the Albanian intellectual and mythohistorical imaginaries as well as in Kadare’s own thinking about the purpose of writing. This includes the impulse to elide cultural, linguistic, ethnic, and historical differences in service of a distinct “Balkanness” that attests to the unifying pain of ethno/geocultural conflict over the millennia.Although these are not nearly as complex as an 800-page sci-fi novel, it is the first step that many take towards the literary world.Progressively, as people grow older, they explore other genres of books, ones that propel them towards curiosity of the subject, and the overall book.Literature enables people to see through the lenses of others, and sometimes even inanimate objects; therefore, it becomes a looking glass into the world as others view it.It is a journey that is inscribed in pages, and powered by the imagination of the reader.