Abstract Jameson’s concept of modern third-world literature as national allegory is also pertinent for the 19th-century peripheries of the first-world literature. Aware of their dependence on imperial powers, the protagonists of (semi)peripheral national movements longed for the recognition of their nascent collective identity by the lawgiving Other – the symbolic order of ‘universal’ tradition. The figures of “national poets” (Nemoianu) were invented to represent their respective nations to the gaze of the Other, symbolized by the emerging world literature and empowered through the inter-state system dominated by the core countries. In a secular parallel to the canonization of saints in the Catholic Church, “worlding” (Kadir) a national poet was crucial in the (unfulfilled) longing for his/her universal acknowledgment as belonging to the hyper-canon. While several national poets involved in national movements showed a “vernacular” tendency (Terian), Schiller and Goethe represented the more “cosmopolitan” model of a national classic. Such ‘affiliation’ to the universal aesthetic canon is also characteristic of the politics of Slovenian romantic movement and its poet, France Prešeren. Although Prešeren’s poetry, which was exposed to Austrian censorship, only sparsely employs an explicit political discourse, his imaginary worlding and intertextual transfer of universal aesthetic repertoires from the established literatures into a Habsburg periphery fashioned a cosmopolitan strategy of cultural nationalism. Prešeren has been venerated in Slovenia since the late 19th-century as the singular national classic whose oeuvre compensates for the apparent lack of classical and modern traditions in Slovenian and deserves to be recognized worldwide.

中文翻译：

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归属的美学与政治：介于“乡土主义”与“世界主义”之间的民族诗人

摘要 詹姆逊将现代第三世界文学视为民族寓言的概念也适用于 19 世纪第一世界文学的边缘。意识到他们对皇权的依赖，（半）边缘民族运动的主角渴望通过立法的他者——“普遍”传统的象征秩序——承认他们新生的集体身份。“民族诗人”（Nemoianu）的形象被发明来代表他们各自的国家在他者的注视下，以新兴的世界文学为象征，并通过由核心国家主导的国家间制度赋予权力。在与天主教会圣徒封圣的世俗平行，“世界”（卡迪尔）一位民族诗人在（未实现的）渴望他/她被普遍承认为属于超级经典的过程中至关重要。虽然参与民族运动的几位民族诗人表现出“白话”倾向（特里安），但席勒和歌德代表了更“国际化”的民族经典模式。这种对普遍审美经典的“归属”也是斯洛文尼亚浪漫主义运动及其诗人 France Prešeren 政治的特征。尽管受到奥地利审查的普雷舍伦的诗歌很少使用明确的政治话语，但他想象中的世界化和普遍审美曲目从既定文学到哈布斯堡外围的互文转移形成了文化民族主义的世界主义战略。