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Romani literatures : « a case-study » for comparative literature studiesThe paper sets out by challenging designations. The term « Romani literatures » is a construct which we create and which thus comes into existence, especially from a comparative point of view. As with the definition of literature in general, also with the definition of Romani literatures, people and groups exert power on other people and groups – so the task of definition is highly problematic.The paper argues that research in Romani literatures can enter into a profitable relationship with comparative literary studies. To demonstrate this, I draw on valuable encounters with authors, books and researchers which I have found important regarding my research on the topic. I discuss the flamenco play Camelamos naquerar (We want to speak, 1976) by José Heredia Maya from Spain, the book Kányák 1978 / Die Straße der Zigeuner 1984 by the Hungarian author József Holdosi, the encounter with the poet and researcher Leksa Manuš from Russia and Mozes F. Heinschink from Austria.For many Roma getting a book published is a difficult task. The example given is Wir leben im Verborgenen. Erinnerungen einer Rom-Zigeunerin ( We live in secrecy. Memories of a Rom-Gypsy) by the Austrian Romni Ceija Stojka, pulished by Karin Berger in 1988. Ceija Stojka broke several taboos and went beyond existing limits in writing about the Holocaust as a Romani woman.Regarding criticism I emphasize the importance of the work of the late Romologist Milena Hübschmannová from the Czech-Republic, especially her research into the transformation from oral to written literature. I appreciate Hübschmannová’s criteria for analysis as being highly useful for anybody dealing with Romani literatures.A book I consider a stroke of luck within Romani literatures is A false dawn. My life as a Gypsy woman in Slovakia ( Je suis née sous une bonne étoile... Ma vie de femme tsigane en Slovaquie) by Ilona Lacková. The overcoming of stereotypes is successfully undertaken in this exemplary text stemming from oral tradition and realized in close collaboration between Ilona Lacková and Milena Hübschmannová, who recorded the text, translated it from Romani into Czech and edited it.