Welcome to Transnational Literature, an open access, refereed international e-journal which was published twice a year by the Flinders Institute for Research in the Humanities, Flinders University, Adelaide, Australia from 2008 to 2018.
Transnational Literature has a new home with TRACE at Bath Spa University, and they have now published their first issue, Volume 12(1). please visit Transnational Literature's new page.
We define Transnational Literature as writing or literature that crosses borders and moves beyond nations, recognising differences as well as points of connection between cultures. We accept both creative and scholarly articles on transnational themes. To view the full call, please visit TRACE’s projects page
CRNLE was founded in 1977 by Dr Syd Harrex and was based in the Department of English at Flinders University, South Australia. The Centre promoted research into the literatures of India, Africa, the Caribbean, Canada and Australia, and all parts of the world where literature in English has been written. The Centre had a world-wide list of associates and a long list of publications, and organised and supported a number of conferences involved in the scholarly investigation of the role of new literatures throughout the world.
Transnational Literature maintained a focus on new literatures in English, but expanded its portfolio to consider all literatures that deal with cross-cultural contact and interaction.Postgraduate and Honours students were encouraged to submit papers.
Click here for the list of members of the editorial team and the Advisory and Editorial Boards for Transnational Literature as at December 2018.
Transnational Literature is indexed in MLA Bibliography, Proquest, EBSCO and the Directory of Open Access Journals (DOAJ).
Louis MacNeice’s Portrait of Athens, a radio play broadcast by the BBC in November 1951, came at a time of reconstruction throughout Europe but also at a time when the world was on the verge of yet another war. In it we find the city’s bones, Athens of Thucydides, Demosthenes, Pericles and Socrates, but also a modern city where you could hear street cries, radio tunes and trams and visit both Kolonaki and the district of New Smyrna where Asia Minor refugees had settled almost thirty years earlier. Twenty-four centuries were transposed to twenty-four hours and twenty-four hours squeezed into the space of one with the play focusing on questions of memory, identity, and lived or remembered traumas. What the audience got as a result was a representation of the varied layers that made up modern Athens, a portrait of the city as palimpsest in contrast to other accounts of the same period where the past dominated over the present making the latter non visible.
Shirley Jackson’s 1962 We Have Always Lived in the Castle, Iain Banks’s 1984 The Wasp Factory and Sonya Hartnett’s 2009 Butterfly are novels separated not only by decades, but by distance being produced in the United States, Scotland and Australia respectively. Despite this, each of these texts depicts a young adult in a mimetically recognisable world struggling to reconcile their intuitive occultism with that world. The mediation of magic through assemblages of charged objects creates a philosophy of things – modelling in intuitive and narrative terms the essence and nature of objects familiar from the philosophies of Martin Heidegger and Walter Benjamin. As such, the supernaturalism of Iain Banks, Shirley Jackson and Sonya Hartnett’s narratives implicates their readers – breaking the boundaries of fiction to comment on the material world itself, not through analogy or metaphor but through direct modelling of the potential power and worth of things.
A poet, travelogue writer, columnist and top-class humourist, Ibn-e-Insha was born Sher Muhammad Khan in 1927 in Punjab, India. After completing M.A. at the University of Karachi in 1953, he worked for various government organisations, including Radio Pakistan. He also worked for quite some time for the United Nations. His association with the UN took him to various places all over the world – places which appear in his hilarious travelogue Chalte Hain Tou Cheen Ko Chaliye (Let’s Go to China if We Have to). Insha’s unique contribution to Urdu literature is his brand of humour that he so deftly uses in his treatment of serious subjects, whether political or social. His book Urdu Ki Aakhri Kitab, translated into English by David Matthews as Urdu: The Final Book, satirises various aspects of society in a humourist strain. The story translated here is from his collection of prose works titled Aapse Kya Parda (What to Hide from You).
The mass migration of almost a million Russian speakers to Israel following the collapse of the Soviet Union, referred to as the Great Aliyah, marked a significant turning point in the history of Zionism. Unlike in previous waves of migration, the immigrants of the Great Aliyah defied assimilatory pressures and used the strength of their demography to build a Russian-language cultural enclave, asserting their unique identity at the expense of a speedier integration into the Israeli mainstream. This important migrant group forced the Israeli state to adopt a multiculturalist model at the expense of its traditional melting pot approach to integration. The Great Aliyah spawned a vibrant Russian-language cultural scene in Israel, and created the new literary genre of Israeli-Russian fiction. This paper seeks to examine this phenomenon, with particular focus on Israeli-Russian notions of identity, through an analysis of the work of two prominent writers: Dina Rubina, who publishes in Russian, and Ola Groisman, who publishes in Hebrew.
Almost Home embodies the outsider’s search for belonging amidst the foreign and the familiar. Written from several vantage points of a narrator who seeks to find a sense of calm in the wake of turbulence and a center from the margins at best, Almost Home paints a bittersweet portrait of grief and loss, of comings and goings, of a shared nostalgia that propels us backwards and forwards, around and back home again. Just almost.