Kirjahaku

More than any other academic discipline, literary studies is the creation of print culture. How then can it thrive in the digital era? Early 1990s predictions of the book's imminent demise presented a simplistic either/or choice between the legacy of moribund print and triumphalist digital technology. Yet we have grown to experience the two media as complexly interdependent and even complementary. Clearly, digital does not kill print. But literary studies in the digital era cannot simply resume business as usual. It is urgently necessary to reconsider the discipline's founding assumptions in light of digital technology. The digital era prompts a rethinking of literary studies' object of study, as well as its methods, theories, audiences and pedagogical practices. What counts as literature necessarily shifts in an age of proliferating born-digital texts and do-it-yourself (DIY) online publication. Where should literary studies sit institutionally, and how might it graft contextually-oriented social sciences methods onto its traditionally humanistic mode of textual analysis? Why should literary study continue to marginalize emotional responses to texts when online communities bond via readerly affect? Who is the audience for literary criticism in an age where expertise is routinely challenged yet communication with global book-loving publics has never been technologically easier? Finally, how can we utilize digital tools to rejuvenate literary studies pedagogy and help English staff better connect with millennial-age students? Literary studies has been convulsed for decades by debates over electronic literature and, more recently, digitally-aided 'distant reading'. But these discussions still mostly confine themselves to demarcating our proper object of study. We need to think more expansively about digital technology's impact on the underpinning tenets of the discipline. Literary Media Studies is pitched at fellow literary scholars, book historians, media theorists, cultural sociologists, digital humanists and those working at the interface of these converging disciplines. It models constructive engagement with contemporary digital culture. Most importantly, it brings a burst of sorely needed optimism to the question of literary studies' digital future.

Introduction to Contemporary Print Culture examines the role of the book in the modern world. It considers the book’s deeply intertwined relationships with other media through ownership structures, copyright and adaptation, the constantly shifting roles of authors, publishers and readers in the digital ecosystem and the merging of print and digital technologies in contemporary understandings of the book object.Divided into three parts, the book first introduces students to various theories and methods for understanding print culture, demonstrating how the study of the book has grown out of longstanding academic disciplines. The second part surveys key sectors of the contemporary book world – from independent and alternative publishers to editors, booksellers, readers and libraries – focusing on topical debates. In the final part, digital technologies take centre stage as eBook regimes and mass-digitisation projects are examined for what they reveal about information power and access in the twenty-first century.This book provides a fascinating and informative introduction for students of all levels in publishing studies, book history, literature and English, media, communication and cultural studies, cultural sociology, librarianship and archival studies and digital humanities.

Introduction to Contemporary Print Culture examines the role of the book in the modern world. It considers the book’s deeply intertwined relationships with other media through ownership structures, copyright and adaptation, the constantly shifting roles of authors, publishers and readers in the digital ecosystem and the merging of print and digital technologies in contemporary understandings of the book object.Divided into three parts, the book first introduces students to various theories and methods for understanding print culture, demonstrating how the study of the book has grown out of longstanding academic disciplines. The second part surveys key sectors of the contemporary book world – from independent and alternative publishers to editors, booksellers, readers and libraries – focusing on topical debates. In the final part, digital technologies take centre stage as eBook regimes and mass-digitisation projects are examined for what they reveal about information power and access in the twenty-first century.This book provides a fascinating and informative introduction for students of all levels in publishing studies, book history, literature and English, media, communication and cultural studies, cultural sociology, librarianship and archival studies and digital humanities.

Adaptation constitutes the driving force of contemporary culture, with stories adapted across an array of media formats. However, adaptation studies has been concerned almost exclusively with textual analysis, in particular with compare-and-contrast studies of individual novel and film pairings. This has left almost completely unexamined crucial questions of how adaptations come to be made, what are the industries with the greatest stake in making them, and who the decision-makers are in the adaptation process. The Adaptation Industry re-imagines adaptation not as an abstract process, but as a material industry. It presents the adaptation industry as a cultural economy of six interlocking institutions, stakeholders and decision-makers all engaged in the actual business of adapting texts: authors; agents; publishers; book prize committees; scriptwriters; and screen producers and distributors. Through trading in intellectual property rights to cultural works, these six nodal points in the adaptation network are tightly interlinked, with success for one party potentially auguring for success in other spheres. But marked rivalries between these institutional forces also exist, with competition characterizing every aspect of the adaptation process. This book constructs an overdue sociology of contemporary literary adaptation, never losing sight of the material and institutional dimensions of this powerful process.

Adaptation constitutes the driving force of contemporary culture, with stories adapted across an array of media formats. However, adaptation studies has been concerned almost exclusively with textual analysis, in particular with compare-and-contrast studies of individual novel and film pairings. This has left almost completely unexamined crucial questions of how adaptations come to be made, what are the industries with the greatest stake in making them, and who the decision-makers are in the adaptation process. The Adaptation Industry re-imagines adaptation not as an abstract process, but as a material industry. It presents the adaptation industry as a cultural economy of six interlocking institutions, stakeholders and decision-makers all engaged in the actual business of adapting texts: authors; agents; publishers; book prize committees; scriptwriters; and screen producers and distributors. Through trading in intellectual property rights to cultural works, these six nodal points in the adaptation network are tightly interlinked, with success for one party potentially auguring for success in other spheres. But marked rivalries between these institutional forces also exist, with competition characterizing every aspect of the adaptation process. This book constructs an overdue sociology of contemporary literary adaptation, never losing sight of the material and institutional dimensions of this powerful process.

The feminist press movement transformed the publishing industry, literary culture and educational curricula during the last quarter of the 20th century. This book is both a survey of the movement internationally and a detailed critique of its long-term impact. Feminist presses are described as 'mixed media', always attempting to balance politics with profit-making. Using a series of detailed case studies, Simone Murray highlights the specific debates through which this dilemma plays out: the nature of independence; the politics of race; feminist publishing and the academy; radical writing and publishing practice; and feminism's interface with mainstream publishing.

How has the Internet changed literary culture?2nd Place, N. Katherine Hayles Award for Criticism of Electronic Literature by The Electronic Literature OrganizationReports of the book’s death have been greatly exaggerated. Books are flourishing in the Internet era—widely discussed and reviewed in online readers’ forums and publicized through book trailers and author blog tours. But over the past twenty-five years, digital media platforms have undeniably transformed book culture. Since Amazon’s founding in 1994, the whole way in which books are created, marketed, publicized, sold, reviewed, showcased, consumed, and commented upon has changed dramatically. The digital literary sphere is no mere appendage to the world of print—it is where literary reputations are made, movements are born, and readers passionately engage with their favorite works and authors.In The Digital Literary Sphere, Simone Murray considers the contemporary book world from multiple viewpoints. By examining reader engagement with the online personas of Margaret Atwood, John Green, Gary Shteyngart, David Foster Wallace, Karl Ove Knausgaard, and even Jonathan Franzen, among others, Murray reveals the dynamic interrelationship of print and digital technologies. Drawing on approaches from literary studies, media and cultural studies, book history, cultural policy, and the digital humanities, this book asks: What is the significance of authors communicating directly to readers via social media? How does digital media reframe the “live” author-reader encounter? And does the growing army of reader-reviewers signal an overdue democratizing of literary culture or the atomizing of cultural authority? In exploring these questions, The Digital Literary Sphere takes stock of epochal changes in the book industry while probing books’ and digital media’s complex contemporary coexistence.