A study conducted by Washington University in St. Louis (2005) revealed that the founding of Comparative Literature as a discipline in the nineteenth century has provided a geographically and chronologically a broader perspective on the different literary and cultural achievements of humankind than is possible from within the national or area literature department alone. Historically speaking, Comparative Literature arose from the emergence of nationalism. The field today cannot prosper without strong national literature departments. However, for most of the people, Comparative Literature appeals to the pervasive desire to transcend the merely national point of view, to engage with great imaginative works of literature from different places and times.

          A study in Haverford College (2005) said that the study of Comparative Literature has situated literature in an international perspective. Comparative Literature examines the various connections between literary history, literary criticism, critical theory, and poetics, while it also works towards an understanding of the different socio cultural functions of literature. Interpretive methods from other disciplines that interrogate cultural discourses also play a role in the comparative study of literature. Among these are philosophy, history, religion, classics, African-American, gender and inter-cultural studies, anthropology, and the arts.

          Moreover, Comparative Literature is concerned most especially with the similarities and differences that can be observed in the different literary works written in different languages. It makes comparisons from various points of view, studying, for example, movements, periods, genres and themes in two or more national literatures.

          According to Frenz H. and Stallknecht N. (1961), Comparative literature refers to the study of literature which is beyond the confines of one particular country. More so, it is defined as the study of the relationships between literature on the one hand and other areas of knowledge and belief, such as the arts (e.g., painting, sculpture, architecture, music), philosophy, history, the social sciences (e.g., politics, economics, sociology), the sciences, religion, etc., on the other. In brief, it is the comparison of one literature with another or others, and the comparison of literature with other spheres of human expression.

          The above definition is most likely acceptable to most students of comparative literature. However, it is subject to considerable argument among an important segment of comparatists which is called the "French school." The French School is inclined to favor questions which may be solved using factual evidence, like personal documents. It excludes literary criticisms from the domain of comparative literature. The French School looks at studies which merely compare, point out analogies and contrasts.

          As Carré and Guyard and warn, these studies may be considered as being too hazy, uncertain, and would lead to the probability of concentrating on merely questions of reception, intermediaries, foreign travel, and attitudes toward a given country in the literature of another country during a certain period.

          The French School, as observed, contributes less to the elucidation and illumination of the essence of the different literary works. It should never be forgotten that what is tackled is not influential literature, but rather, comparative literature. Frenz H. and Stallknecht N. (1961) provides that Herder and Diderot, Novalis and Chateaubriand, Musset and Heine, Balzac and Dickens, Moby Dick and Faust, Hawthorne Roger Malvin's Burial and Droste-Hülshoff Judenbuche, Hardy and Hauptmann, Azorín and Anatole France, Baroja and Stendhal, Hamsun and Giono, Thomas Mann and Gide are eminently comparable regardless of whether or how much the one influenced the other. It is not the influence which should be tackled but the comparisons between the works of these authors. Comparing should never be equated to mere influences, but to content and substance.

          There are two parts of the definition given to Comparative Literature. The first definition deals with Comparative Literature as a study beyond the confines of one particular country. The second part of the definition says that Comparative Literature refers to the study of the relationships between literature on the one hand and other areas of knowledge and belief.

          From the above definitions given, it can be easily gleaned that the notion that Comparative Literature too often turns out to mean the random juxtaposition of texts belonging to different cultures, eras, languages; and that before they can be taken seriously, comparatists must be able clearly to articulate their aims and set out the theoretical premises on which they work, is true.

          Comparative literature should not be limited to the usage of cultures, eras, or language. The world of comparative literature is far more than that. It encompasses what has been mentioned. It should deal with the more serious aspects of literature. One of these would be the content. It is more substantial and definitely more interesting. The content means the style of writing, the purpose or reason behind it, and not merely the language or culture. The latter are more properly classified as influences to the literature, and not points for a better discussion of Comparative Literature.

          The diversity of literature and the multifarious factors which lead to the development of every kind of literature cannot be limited to language, era or culture in fully discussing comparative literature. It would in effect hamper the growth of literature. There can be a better appreciation of Comparative Literature if the content would be the foremost category. Since literature is universal and a part of every culture of every nation or race, the content of such should be the standard to be used in the discussion on Comparative Literature. Comparative Literature should introduce the readers to some of the major works of world literature by examining texts which transcend the boundaries of language, culture, and nationality.

          Comparative Literature is the study of literature in its totality. As it deals beyond the confines of any particular national tradition and also the relationship between literature and other areas of knowledge, it should be viewed in its totality. There should be a holistic study or approach in dealing with Comparative Literature to be able to fully appreciate it and get the true meaning ang correct interpretation of the text. To do otherwise might result in confusion or misinterpretation. Also, the approach should be holistic so as to broaden the knowledge of the reader as regards the literature. Piece meal of the literature will limit the literature and may cause non-appreciation of a work that is, in reality so rich in quality.

          For a thesis dissertation, it would be quite interesting to study the differences between the Literature which developed during the Medieval and the Post Modern Age. This would be a very interesting topic to discuss. During the Medieval Age, one can readily see the structure of the different literary works of humanity. The structure during the Medieval Ages may be characterized well defined and restricted. More so, during this time, for a literary work to be considered as an acknowledged literary work, it must be according to the structure prescribed by those who are considered authorities during that time. On the other hand, during the post modern period, where the narrative and traditions are really being defied, hence, leading to the meltdown of traditional knowledge.

References:

Haverford College Website: http://www.haverford.edu/complit/

Stallknecht, N and Frenz, H.(1961). Comparative Literature: Method and Perspective, 3.

Washington University in St. Louis Website: http://www.artsci.wustl.edu/~complit/

The University of Montana- Missoula Website: http://www2.umt.edu/catalog/97-98/complit.htm