Simone Murray

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.

Reading, Writing, and Selling Books in the Internet Era

The Digital Literary Sphere

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.

Literary Media Studies

The Digital Future of English

The first book-length study of the feminist press movement.

Feminist Presses and Publishing Politics

Mixed Media

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.

Books as Media

Introduction to Contemporary Print Culture

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.

Paul Luna

Martin Paul Eve

Lynette Owen

John B. Thompson

Michael Bhaskar

Alison Baverstock

Angus Phillips

John Oakes

Albert N. Greco

Samantha J. Rayner

Carlos A. Scolari

Alistair Mccleery

Adriaan Van Der Weel

Mira T. Sundara Rajan

Elizabeth Le Roux

Miha Kovač

Rüdiger Wischenbart

Mojca K. Šebart

Frania Hall

John W. Maxwell

Alex Holzman

Sarah Kalikman Lippincott

Niels Peter Thomas

Nunca en la historia ha existido un momento más importante para la creación y la transmisión de conocimiento. Por un lado, las tecnologías de la comunicación posibilitan transformaciones antes inimaginables, que el mundo del libro y la edición aprovechan para hacer lo que mejor saben: situarse a la cabeza de las innovaciones. Por otro lado, jamás ha habido una proliferación equiparable de estudios y análisis sobre la edición y el libro en todas sus formas, lo que nos permite reflexionar sobre el modo en que se produce esta revolución para la que no existen precedentes. Esta obra es el mejor ejemplo de dicha reflexión. Desde distintos puntos de vista, desde diversas disciplinas y con la mayor riqueza y capacidad de disección se explica qué hacen los hoy editores, qué valor supone su actividad, y cuál es la dimensión cultural y social que hace que el mundo del libro y la edición tenga un perfil propio y una capacidad real de esclarecer y transformar la realidad en que vivimos. Los fundamentos del libro y la edición es una obra colaborativa de académicos y representantes de la industria editorial y librera, que aborda cuestiones urgentes como las complejidades de la industria, los desafíos de la lectura y la educación, los mercados globales y las grandes diferencias regionales, la propiedad intelectual y los derechos de autor, la responsabilidad social de las editoriales o las relaciones de la industria de la edición con otros medios de comunicación y entretenimiento, y las siempre cambiantes tecnologías. Los libros nunca están solos. Forman parte de colecciones, conviven en los estantes de las librerías y bibliotecas, y conversan con otras obras a través de sus lectores y lectoras. En este caso, Los fundamentos del libro y la edición está en buena compañía: la colección Tipos Móviles es el entorno natural para que este volumen dialogue con otros textos que también hablan de libros, editores y librerías.

Manual para este siglo XXI

Los fundamentos del libro y la edición

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 Cultural Economy of Contemporary Literary Adaptation

The Adaptation Industry

Simone Murray

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