Academic literature on the topic 'Literary award culture'
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Journal articles on the topic "Literary award culture"
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Pearson, Lucy, Karen Sands-O'Connor, and Aishwarya Subramanian. "Prize Culture and Diversity in British Children's Literature." International Research in Children's Literature 12, no. 1 (2019): 90–106. http://dx.doi.org/10.3366/ircl.2019.0293.
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Literary prizes often determine eligibility in terms of nationality; this article posits that they also play a significant role in constructing national literatures. An analysis of the Carnegie Medal, the UK's oldest children's book award, and some of its competitors, including the Guardian Prize and Other Award demonstrates the tension between the desire to claim cultural value for children's literature and to construct a body of literature that represents the real and imagined community of the nation. In the UK, this tension appears most notably with regard to depictions of Black, Asian and minority ethnic Britons.
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Wright, Matthew. "Literary Prizes and Literary Criticism in Antiquity." Classical Antiquity 28, no. 1 (2009): 138–77. http://dx.doi.org/10.1525/ca.2009.28.1.138.
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This article explores the role of Athenian literary prizes in the development of ancient literary criticism. It examines the views of a range of critics (including Plato, Aristotle, Longinus, historians, biographers, lexicographers, commentators, and the self-critical poets of Old Comedy), and identifies several recurrent themes. The discussion reveals that ideas about what was good or bad in literature were not directly affected by the award of prizes; in fact the ancient critics display what is called an ““anti-prize”” mentality. The article argues that this ““anti-prize”” mentality is not, as is often thought, a product of intellectual developments in the fourth century BC. It is suggested that the devaluation of prizes is actually a contemporary, integral feature of prize-awarding culture in general. This article draws on recent approaches from cultural sociology to offer some conclusions about the way in which prizes function in popular and critical discourse.
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Pas, Hernán. "From the Newspaper Serial to the Novel (1853–1863): Mediation of the Periodical Press in the Foundation of Alberto Blest Gana’s Narrative Project." Open Cultural Studies 5, no. 1 (2021): 136–48. http://dx.doi.org/10.1515/culture-2021-0005.
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Abstract Scholarly studies on Alberto Blest Gana have generally disregarded the author’s production prior to his narrative cycle, begun with his novel La aritmética en el amor [Arithmetic in Love] (1860), awarded first prize in a literary contest sponsored by the Universidad de Chile. Nonetheless, the canonical cycle of his first narrative period (which includes his famous Martín Rivas and El ideal de un calavera) shares with his earlier fiction the fact that the novels were originally published in the press. Indeed, with the exception of the award-winning novel and Juan de Aria – published in the Aguinaldo of the newspaper El Ferrocarril – all the author’s production from his first narrative period was published in periodical publications, decisive in consolidating his narrative project. This essay analyses the mediation of the periodical press (and its subgenres, such as the folletín [newspaper serial] and the artículo de costumbres [a literary vignette of customs]) in the foundation of Blest Gana’s narrative scheme, contemplating the diversity of his production. The main features of his project were embodied, materially speaking, in the space of the folletín. It was in this space, in short, where the author’s narrative managed to challenge an extended reading public, necessary for the constitution of a national literature.
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Vilches, Patricia. "Alberto Blest Gana: 100 Years Later." Open Cultural Studies 5, no. 1 (2021): 3–15. http://dx.doi.org/10.1515/culture-2021-0003.
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Abstract Blest Gana at 100 is a special edition for Open Cultural Studies. Alberto Blest Gana was a Chilean writer who wore many hats during his long life, dying in 1920 at the age of 90. One of the most prominent authors of nineteenth-century Chile and Latin America, he went to military school and later held political and diplomatic appointments, all of which caused him to travel and live abroad. In fact, nel mezzo del cammin of his life, Blest Gana transferred to Europe and eventually settled in Paris, never to return to his country of birth. His fiction and non-fiction conveyed a vast array of experiences and insights from his life in Chile and overseas. To commemorate the 100 years since his death, contributors to Blest Gana at 100 approach his oeuvre from innovative and fresh scholarly angles and thus generate new perspectives on the Chilean author’s most celebrated texts, such as Martín Rivas and El ideal de un calavera. They also examine the early days of his literary career; revisit critical scholarship on Blest Gana from the past; bring less explored texts, such as Mariluán and Los Trasplantados (the latter written and published in Paris) to the foreground; research the background to his work as a columnist and discover the extent to which it informed his literary career; and examine the urban social practices in Blest Gana’s award-winning novel La aritmética en el amor. From these analyses, we hope to foster an ongoing conversation of lively and invigorating Blest Gana scholarship.
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Martín, Sara. "In the Shadow of the Culture." Extrapolation: Volume 62, Issue 2 62, no. 2 (2021): 181–97. http://dx.doi.org/10.3828/extr.2021.10.
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Iain M. Banks’s The Algebraist (2004), a Hugo Award nominee for Best Novel in 2005, has attracted far less critical attention than his Culture novels despite being a remarkable work. Born of the author’s wish to develop his science fiction beyond the Culture’s universe, The Algebraist is a complex novel displaying in its dense pages Banks’s wondrous imagination. Here I consider the ways in which the main civilizations he depicts in it, the Mercatoria and the Dwellers, connect with key issues raised in the Culture novels: the ethics of intervention in other civilizations, the use of AIs, and the nature of utopia. The Culture, as I argue, casts a long shadow but Banks’s decision to explore another narrative universe allows him to examine these fundamental issues from a different angle. The Algebraist complements, nonetheless, his main tenets in the Culture series.
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Hartanto, Erika Citra Sari, and Miftahur Roifah. "Madurese Women and Binding Culture in Muna Masyari’s Martabat Kematian: Gynocriticism Analysis." HUMANIKA 27, no. 2 (2020): 155–69. http://dx.doi.org/10.14710/humanika.v27i2.33531.
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Muna Masyari is a famous female author from Pamekasan, Madura, whose one of her short stories, Sortana, won an award from Kompas, a national newspaper, as the best short story in 2017. Through her short stories, she consistent in depicting the social problems, particularly, related to Madurese women. This article discusses the portrayal of Madurese women in four short stories, namely Kembang Pengantin, Rumah Hantaran, Are’ Lancor, and Topeng Gelur. This article focuses on Madurese women as daughter and mother and their relation to nature and oppressed culture. This study uses descriptive approach with close reading method. Data collection is in the form of words and the data analysis is done by interpreting the data based on Elaine Showalter’s Gynocriticism which concerns with women as writer as well as the producer of literary texts. Gynocriticism mostly deals with four models; they are women’s writing and women’s body, women’s writing and women’s language, women’s writing and women’s psyche, and women’s writing and women’s culture. The results show Masyari reveals many problems attached to Madurese women through women’s body, language, psyche and culture. Madurese early arranged marriage and myths has placed Madurese women in oppressive and unfortunate conditions due to the binding culture that has dominated women. Muna Masyari, yet, places her female characters who are daring to speak their voice to have their own authority in searching their destiny in the future.
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Krupa, Barbara. "Zygmunt Haupt – pisarz, tłumacz, redaktor „Głosu Ameryki”, popularyzator książek i czytelnik." Z Badań nad Książką i Księgozbiorami Historycznymi 11 (December 29, 2017): 231–52. http://dx.doi.org/10.33077/uw.25448730.zbkh.2017.37.
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The article presents the broad relationship between Zygmunt Haupt and books, based on source materials from the Zygmut Haupt Papers collection at Special Collections, Stanford University Library in California. Zygmunt Haupt (1907-1975) was a Polish émigré writer and painter, who was published in the leading Polish émigré publications, such as „Culture” in Paris, „Wiadomości” in London, and „Tematy” in New York. He was a recipient of the Culture Award in 1962 and the Kościelski Foundation Award in 1971, but was not published in Poland during his lifetime. The author presents Z. Haupt as an author; a translator; a promoter of books not available to Polish readers at that time, on the waves of the Voice of America and the US Information Agency; and finally, a reader. By keeping contact with leading figures of the Polish émigré – Jerzy Giedroyc and the team of the Literary Institute in Paris, Mieczysław Grydzewski, Zygmunt Hładki and Zdzisław Ruszkowski in London, Paweł Mayewski, Józef Wittlin and Aleksander Janta-Połczyński in New York – he had the opportunity to exchange information about books published in the USA and Poland, as well as their readings. His extensive correspondence with booksellers in Poland, Great Britain, France, Switzerland, and the USA showcases his reading interests, as well as a rich collection of index cards with the titles he read, owned or ordered from booksellers abroad and in the USA.
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Mellis, James. "Continuing Conjure: African-Based Spiritual Traditions in Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing." Religions 10, no. 7 (2019): 403. http://dx.doi.org/10.3390/rel10070403.
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In 2016 and 2017, Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing both won the National Book Award for fiction, the first time that two African-American writers have won the award in consecutive years. This article argues that both novels invoke African-based spirituality in order to create literary sites of resistance both within the narrative of the respective novels, but also within American culture at large. By drawing on a tradition of authors using African-based spiritual practices, particularly Voodoo, hoodoo, conjure and rootwork, Whitehead and Ward enter and engage in a tradition of African American protest literature based on African spiritual traditions, and use these traditions variously, both as a tie to an originary African identity, but also as protection and a locus of resistance to an oppressive society. That the characters within the novels engage in African spiritual traditions as a means of locating a sense of “home” within an oppressive white world, despite the novels being set centuries apart, shows that these traditions provide a possibility for empowerment and protest and can act as a means for contemporary readers to address their own political and social concerns.
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Sun, Lu. "Sigrid Nunez on the Writer’s Life." MELUS 46, no. 1 (2021): 194–202. http://dx.doi.org/10.1093/melus/mlaa057.
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Abstract The Friend (2018), the seventh novel of Sigrid Nunez, won the 2018 National Book Award for Fiction. It not only tells a touching story about the human-canine bond between the narrator and a huge Great Dane but also involves much meditation on writing as a profession and the universal concerns of humanity. Looking back at her writing career, Nunez talks about her beliefs as a writer, her observation of the contemporary literary scene, her evaluation of the status of fiction in the current era, her teaching experiences in writing programs, and her personal story as a child of immigrants and a former assistant to Susan Sontag. According to Nunez, a life of solitude is conducive to writing books, and experiences of frustration are normal for a writer. However, she maintains that writing should be seen as a vocation instead of a means of self-advancement. With respect to new trends in literary culture, Nunez believes the house of fiction does have many rooms, and the definition of a novel has become much broader.
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Greer, Amanda. "Winner of the William M. Jones Best Graduate Student Paper Award at the 2016 American Culture Association Conference." Journal of American Culture 39, no. 3 (2016): 313–22. http://dx.doi.org/10.1111/jacc.12571.
Full textDissertations / Theses on the topic "Literary award culture"
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Marsden, Stevie L. "The Saltire Society Literary Awards, 1936-2015 : a cultural history." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24749.
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This thesis presents a history of the Saltire Society Literary Awards and examines their status and role within Scotland’s literary and publishing culture. The Society was founded at a critical inter-war period during which Scottish writers, artists and cultural commentators were re-imagining Scotland’s political and cultural identity. The Society, therefore, was a product of this reformative era in Scotland’s modern history. The Society’s identity and position within this inter- and post-war reformation is reflected in the Literary Awards, which are a means by which the Society attempts to accomplish some of its constitutional aims. The purpose of this thesis is three-fold. Firstly, it has filled a conspicuous gap in modern Scottish cultural history by offering a historically accurate description of the founding of the Saltire Society in 1936 and the development of the Society’s Literary Awards up until 2015. Secondly, this thesis demonstrates how the Society’s Literary Awards function in relation to key critical discourses pertinent to contemporary book award culture, such as forms of capital, national identity and gender. Finally, this thesis proffers an in-depth analysis of book award judgment culture. Through an analysis of the linguistic and social interactions between Saltire Society Literary Award judges, this thesis is the first study of its kind which considers exactly how literary award judging panels facilitate the judgement process. What this thesis reveals is how, despite often being plagued by problems regarding finances and personnel, the Society’s Literary Awards have endured as a key feature of Scottish literary and publishing culture, so much so that they are now the only series of awards dedicated to awarding Scottish fiction, non-fiction, poetry and first books, as well as academic history and research books. Due to the persistence and enthusiasm of the Society’s administrators and literary award judges the awards have continued to thrive and evolve to accommodate developments and demands within Scottish literary culture.
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Lyons, Reneé C. "Celebrate Hispanic Culture with Pura Belpré Award Winners." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/2378.
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Young, Andrew J. "From "Telling Transgender Stories" to "Transgender People Telling Stories": Transgender Literature and the Lambda Literary Awards, 1997-2017." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/486155.
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Sociology<br>Ph.D.<br>Transgender lives and identities have gained considerable popular notoriety in the past decades. As part of this wider visibility, dominant narratives regarding the “transgender experience” have surfaced in both the community itself and the wider public. Perhaps the most prominent of these narratives define transgender people as those living in the “wrong body” for their true gender identity. While a popular and powerful story, the wrong body narrative has been criticized as limited, not representing the experience of all transgender people, and valorized as the only legitimate identifier of transgender status. The dominance of this narrative has been challenged through the proliferation of alternate narratives of transgender identity, largely through transgender people telling their own stories, which has the potential to complicate and expand the social understanding of what it means to be transgender for both trans- and cisgender communities. I focus on transgender literature as a point of entrance into the changing narratives of transgender identity and experience. This work addresses two main questions: What are the stories being told by trans lit? and What are the stories being told about trans literature? What follows is a series of separate, yet linked chapters exploring the contours of transgender literature, largely through the context of the Lambda Literary Awards over the past twenty years. Chapter 2 explores the changing definitions of transgender literature in popular discourse over the last two decades. Drawing on a data set of 51 articles, interviews, book reviews, and blog posts published from 1997-2017, I present a framework for defining and categorizing transgender literature. This framework lays out the different possibilities of what transgender literature might be using the three variables of content, authorship, audience, as well as the likelihood of each iteration being included in the definition of transgender literature as understood in the popular conversation. My findings in this chapter suggest a changing definition of transgender literature from “telling transgender/transition stories” to a focus on “transgender people telling stories.” Chapter 3 moves from conversations defining trans literature to an exploration of how texts within transgender literature have changed over time. Using the finalist and winners in the Lambda Literary Award transgender categories, I constructed a sample of transgender literature covering the past two decades, from 1997-2016. Using digital textual analysis methods, I identify various “demographic” trends in transgender literature since 1997, which mirror the trend identified in chapter 3, a shift from “telling transgender stories” focused largely on identity and transition processes to “transgender people telling stories” which rely much less on transition and identity as central themes. Chapter 4 attempts to contextualize these shifts identified in chapters 2 and 3 by situating trans literature in a broader socio-historical context. I frame transgender literature as an intellectual movement situated in an intellectual opportunity structure that includes the publishing industry, LGBT social activism and organizations, and the Lambda Literary Awards themselves. Lambda Literary functions here as a primary gatekeeper for understanding transgender literature in a broader intellectual community around LGBT cultural production, which transitions us to thinking more critically about the Lambda Literary Awards in chapter 5. Chapter 5 introduces us more fully to the Lambda Literary Awards, the largest LGBT book awards in North America, and positions them as a claim for LGBT cultural citizenship in the United States. Using archival documents from the Lambda Literary Foundation, as well as published statements and articles about the Lambda Literary Awards, I explore three conflicts and controversies within the LGBT community through the localized claims for cultural citizenship made on the Lammys. Finally, I provide a brief conclusion, which recaps the main findings of each chapter, sketches my tentative hopes for the future of transgender literature, and outlines my recommendations for future research in this area.<br>Temple University--Theses
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Linhart, Jiří. "Vliv literárních cen na mediální obraz oceněných knih (2012)." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-347377.
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This diploma thesis researches the impact of a literary prize on the media image of the awarded book in 2012. More precisely I pursue these awards and winning titles: Jaroslav Seifert Prize (Vladimír Binar: Číňanova pěna), Jiří Orten Award (Vratislav Maňák: Šaty z igelitu), Josef Škvorecký Award (Kateřina Tučková: Žítkovské bohyně), Magnesia Litera - The Book of the Year (Michal Ajvaz: Lucemburská zahrada). First I analyse the change of the quantity (the number of references and the share within the text), then I focus on the modification of the journalistic assessment of the title (on the scale positive - neutral - negative). In first case I use a quantitative analysis of media content, in the second case I use a comparative semiotic analysis. My sample are these Czech periodicals, in alphabetical order: A2, Aktuálně.cz, Hospodářské noviny, Host, iDnes.cz, Lidové noviny, Literární noviny, Reflex, Respekt, Tvar. The main output is a discovery, how the Czech print and online written media reflect the results of the literary prizes, also I (try to) determine the media power of each award.
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Heldenburg, Olga. "Smrt a pohřební rituál v textu románu Murasaki Šikibu Gendži monogatari." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-342306.
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The subject of this dissertation is funeral rites in the Murasaki Shikibu's novel, The Tale of Genji (Genji monogatari). The analysis of the text seeks to explore the author's depiction of the end of life, the afterlife, communication with spirits or souls of dead and to summarize the notes and descriptions of the proceedings of funeral rituals including 'before burial' and memorial ceremonies. The purpose of this dissertation is to create an overview of funeral rituals and ideas of death described in the text of Genji Monogatari. The Tale of Genji is considered a document which reflects contemporary thinking and can therefore be relied on for a study of funeral and memorial rituals. The main method used to develop the topic is a detailed analysis of theoretical, practical and aesthetic aspects of death described in the Genji Monogatari novel. The ideas of the Heian Court about death and the afterlife were mainly affecting the cult of ancestors, Shinto, Taoism, Buddhism and Shamanism, which also participated in the creation of the funeral cult. Ideas of the afterlife were also very diverse. The world of the living and the world of the dead, in the concept of old Japanese, were not strictly divided and spirits had access to all spheres of life. Communication with spirits of the living and the souls...
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Dahnke, Michael. "»Wer konkurriert womit worum?« Ein neues Literaturpreis-Modell." Doctoral thesis, 2015. http://hdl.handle.net/11858/00-1735-0000-0028-877C-D.
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Literaturpreise sind ein Phänomen des 20. Jahrhunderts. Ihre Zahl ist im deutschsprachigen Raum in den letzten Jahrzehnten deutlich gestiegen. Die im Rahmen dieser Arbeit über mehrere Jahre erfolgte Forschung hat gezeigt, dass für ein umfassendes Verständnis dieser Art Preise zwingend weitere Akteure in den Blick zu nehmen sind. Neben den Vertretern Preise vergebender Organisationen, den Autoren und Geldgebern sind das die Juroren, die Repräsentanten der Verlage einschließlich weiterer Literatur vermarktender Unternehmen sowie die ›reinen‹ Leser.
In der Dissertation werden literarische Auszeichnungen zunächst innerhalb der literaturwissenschaftlichen Forschung verortet. Dafür werden sie aus drei verschiedenen Blickwinkeln vorgestellt: einem historischen, einem kontextuellen und einem begrifflichen. Anschließend wird die bisherige Forschung zu Literaturpreisen vorgestellt und das Potential des bisher einzigen Modells deutschsprachiger Literaturpreise gewürdigt. Der neue Ansatz besteht aus drei Komponenten: erstens einer theoretischen Modellierung der genannten sechs Arten von Akteuren. Diese werden als über bestimmte Möglichkeiten verfügende ›Konkurrenten‹ betrachtet, die sich um für sie spezifische ›Konkurrenzobjekte‹ bemühen. Die zweite Komponente ist die diachrone und asynchrone Beschreibung literarischer Auszeichnungen. So können mehrere, zeitlich einander folgende Verleihungen einer Auszeichnung genauso wie gleichzeitig stattfindende Vergaben verschiedener Preise sowie die dabei erfolgenden Handlungen der einzelnen Akteure theoriegeleitet zueinander in Beziehung gesetzt und analysiert werden. Die dritte Komponente ist Bourdieus ›literarisches Feld‹. Es wird als für diese Akteure zentraler Bereich vorausgesetzt.
Die Vorzüge der diachronen Betrachtung werden unter anderem mit zwei für die Geschichte des Bremer Literaturpreises wichtigen Konflikten der Jahre 1959/60 und 1979/80 belegt. Auch der Streit um die Verwendung des Namens ›Thomas Mann‹ für zwei verschiedene literarische Auszeichnungen in den Jahren 2008 und 2009 zeigt deutlich: Das für Literaturpreise relevante Geschehen spielt sich keineswegs nur jeweils zwischen den Vertretern einer einen Preis vergebenden Organisation und einem oder mehreren Autoren ab. Darum müssen auch Konflikte zwischen den Mitgliedern mehrerer Preise vergebender Organisationen theoretisch modellierbar sein. Weiter werden mit dem Modell Erklärungen dafür angeboten, warum nicht immer alle Auszeichnungen die von den Gründern gewünschten Wirkungen erzielen. Schließlich gilt der Finanzierbarkeit von Literaturpreisen ein besonderes Augenmerk.
Bei der Forschung für die vorliegende Arbeit wurden fast ausschließlich Quellen zu Preise verleihenden Organisationen benutzt. Nach deren systematischer Auswertung ist klar geworden, welche Objekte und Mittel für die Vertreter der einzelnen Konkurrentengruppen überhaupt in Frage kommen. Die Kenntnisse über die verschiedenen Arten Konkurrenten sind möglicherweise noch deutlich erweiterbar, wenn darüber hinausreichende Quellen zu Autoren, Juroren und Verlagsrepräsentanten sowie die anderer Literatur vermarktender Unternehmen hinzu gezogen würden. Dafür werden am Ende der Arbeit Vorschläge unterbreitet.
Books on the topic "Literary award culture"
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The economy of prestige: Prizes, awards, and the circulation of cultural value. Harvard University Press, 2005.
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Economy of Prestige: Prizes, Awards, and the Circulation of Cultural Value. Harvard University Press, 2008.
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Rooney, Brigid. The Novel in Australia from the 1950s. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0008.
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This chapter examines the history of the Australian novel from the 1950s, focusing on the socio-cultural context in which the Australian novel has become heterogeneous in size, outlook, and ethnic composition. It first considers developments in the 1950s–1970s, when Patrick White emerged as a powerful canonical agent in the modernization of Australian literary culture by challenging white Australian conservatism. It then turns to the period 1972–1988, which saw the emergence of novels that reflected progressive nationalism, multicultural diversity reflecting Australia’s changing demographic, the appearance of Indigenous writing, and the new perspectives brought by feminist and revisionist history. It also discusses publishing in the 1990s and beyond, when Australian fiction contested the deep silences brought by colonization and made a shift to transnationalism. The chapter concludes with an assessment of recipients of the Miles Franklin Literary Award and an analysis of the ways in which the novel in Australia has affirmed the interconnectedness of Australian literature with its region and the world.
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Young, Emma. Motherhood. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427739.003.0003.
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This chapter commences by contextualising the politics of motherhood in light of the feminist writings of Shulamith Firestone, Adrienne Rich and Julia Kristeva. The literary analysis focuses on the control of women’s bodies and societal expectations in the work of Roberts and how the critique of motherhood apparent in these narratives reflects a tendency of much second-wave feminist thought. The second section considers the writings of Simpson and how she invokes the narrative brevity of the short story to heighten the sense of spatial constraint the female protagonist’s, who are mothers, experience; but also the temporal constraints felt by those without a child, who are aware of their ageing bodies. ‘Maternal Loss’ explores the ambivalence at the heart of motherhood and feminism while questioning how understandings of the maternal contain broader meanings and significance across cultures and in the context of migration narratives. The concluding commentary engages with the topic of feminist generations and reflects on the ways in which motherhood has been explored and re-worked as a central feminist motif across various cultural moments since the 1980s.
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Rosen, Jeremy. Minor Characters Have Their Day. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231177443.001.0001.
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How do genres develop? In what ways do they reflect changing political and cultural trends? What do they tell us about the motivations of publishers and readers? Combining close readings and formal analysis with a sociology of literary institutions and markets, Minor Characters Have Their Day offers a compelling new approach to genre study and contemporary fiction. Focusing on the booming genre of books that transform minor characters from canonical literary texts into the protagonists of new works, Jeremy Rosen makes broader claims about the state of contemporary fiction, the strategies of the publishing industry over recent decades, and the function of literary characters. Rosen traces the recent surge in “minor-character elaboration” to the late 1960s and works such as Jean Rhys’s Wide Sargasso Sea and Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. These early examples often recover the voices of marginalized individuals and groups. As the genre has exploded between the 1980s and the present, with novels about Ahab’s wife, Huck Finn’s father, and Mr. Dalloway, it has begun to embody the neoliberal commitments of subjective experience, individual expression, and agency. Eventually, large-scale publishers capitalized on the genre as a way to appeal to educated audiences aware of the prestige of the classics and to draw in identity-based niche markets. Rosen’s conclusion ties the understudied evolution of minor-character elaboration to the theory of literary character.
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Richards, Jennifer. Voices and Books in the English Renaissance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198809067.001.0001.
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Two ideas lie at the heart of this study and its claim that we need a new history of reading: that voices in books can affect us deeply; that printed books can be brought to life with the voice. Voices and Books offers a new history of reading focused on the oral and voice-aware silent reader, rather than the historical reader we have privileged in the last few decades, who is invariably male, silent, and alone. It recovers the vocality of education for boys and girls in Renaissance England, and the importance of training in pronuntiatio (delivery) for oral-aural literary culture. It offers the first attempt to recover the voice—and tone—from textual sources. It explores what happens when we bring voice to text, how vocal tone realizes or changes textual meaning, and how the literary writers of the past tried to represent their own and others’ voices, as well as manage and exploit the voices of their readers. It offers fresh readings of the key Tudor authors who anticipated oral readers: John Bale, Anne Askew, William Baldwin, Thomas Nashe. And it aims to rethink what a printed book can be, searching the printed page for vocal cues, and exploring the neglected role of the voice in the printing process.
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Fiddian, Robin. Giving Voice(s) to Argentina. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794714.003.0002.
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Written in 1927, ‘The Language of the Argentines’ calls on members of Borges’s generation to participate in the creation of an authentic literary expression. The chapter analyses the essay and then focuses on a number of poems from Fervor de Buenos Aires (1923) and Luna de enfrente (1925) which realize aspects of that blueprint. The chapter charts the development of an ironic narrative voice which first appears in ‘Man on Pink Corner’ and crystallizes in ‘Pierre Menard, Author of the Quixote’. Drawing on the hypothesis of a debt to Paul Groussac’s Une énigme littéraire of 1903, put forward by Ricardo Piglia in Respiración artificial, the chapter uncovers a political subtext in ‘Pierre Menard’, which contests French and Spanish cultural hegemony. Written in Buenos Aires and acutely aware of relationships between language and nationality, ‘Pierre Menard’ shares with its precursor text a geopolitical motivation not generally recognized in Borges criticism.
Book chapters on the topic "Literary award culture"
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Ponzanesi, Sandra. "Literary Prizes and the Award Industry." In The Postcolonial Cultural Industry. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137272591_3.
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Dominy, Jordan J. "American Canons, Southern Fiction, and the Institution of Literary Prizes." In Southern Literature, Cold War Culture, and the Making of Modern America. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826404.003.0003.
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This chapter examines Robert Penn Warren’s All the King’s Men and Ralph Ellison’s Invisible Man in the context of their winning of the Pulitzer Prize and the National Book Award, respectively. While considering the authors’ resistance to reading overt political commentary in their work, favoring a moral reading instead, the chapter argues that their insistence dovetails with the purpose of such large, national literary prizes: to reward works that best demonstrate the values important to the nation. Therefore, literary prizes such as the Pulitzer and National Book Award, as well as other cultural prizes (such as the Grammys, Academy Awards, Tonys, and Emmys) reveal themselves in the context of the Cold War to be awards that reinforce and reward correct ideological perspectives in the guise of good, democratic art.
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Mehrez, Samia. "Children of our alley The AUC Naguib Mahfouz Award and the Egyptian Literary field." In Egypt's Culture Wars. American University in Cairo Press, 2010. http://dx.doi.org/10.5743/cairo/9789774163746.003.0004.
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"Literary Awards." In Cultural Criticism in the Netherlands, 1933-1940. Brill | Rodopi, 2020. http://dx.doi.org/10.1163/9789004426627_010.
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Jones, Gwyneth. "Introduction: Deconstructing The Starships." In Deconstructing the Starships. Liverpool University Press, 1998. http://dx.doi.org/10.5949/liverpool/9780853237839.003.0001.
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‘Deconstructing The Starships’ references a speech originally given at the June 1988 presentation of the Arthur C. Clarke Award, at the Institute of Contemporary Arts. The speech discusses science fiction’s penetration into popular culture and its inclusion in 20th century mainstream fiction. It also analyses the structure and methodology of a science fiction novel, looking at the characterisation, narrative and literary conventions used in order to develop an understanding of the requirements of a science fiction text. The chapter references Star Wars and Star Trek throughout, and uses the two franchises to associate the Starship Enterprise with US Navy nuclear submarines in the Cold War, thus mirroring science fiction with reality.
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Ceylan, Can. "How to Read Cultural Literacy Globally in Digital Age." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1534-1.ch016.
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Cultural literacy is what one should need to know to be able to understand, join, and participate properly in a certain culture. This may work temporarily for a short-time contact with a culture against some fatal failures. However, cultural literacy is also what one should and maybe must know not to fall into the blindness of ethnocentrism. Since this blindness is inevitable in any place and any period of time, we, as the people of contemporary times, should be aware of the function of cultural literacy. The function of cultural literacy is based on cultural relativity, which seems to be disappearing under globalization and cultural imperialism.
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Hyder, Syed Akbar. "Faiz, Love, and the Fellowship of the Oppressed." In India and the Cold War. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651163.003.0004.
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Faiz Ahmed Faiz was one of modern South Asia’s most renowned poets, his work a favorite not only of first Indian Prime Minister Jawaharlal Nehru, but of millions. Over the course of his later life, he had to navigate the complex realities of partition, a condition that refracted the larger bi-polar Cold War world in which he found himself. He raised his voice against illegal occupations, confronted religious charlatans, and protested the rule of military dictators. He was incarcerated in Pakistan, the country he embraced, while simultaneously impacting popular culture in neighboring India. He received the Soviet Union’s highest literary award even as he was once denied a visa to the United States. Through all of this, Faiz spoke of ways in which to rise from the parochial human to the universal being. This essay will focus on the modes of Faiz’s discourse that connect his present with liberatory moments of the past; in turn, this connects his personal struggle with those of everyday people, humanity writ large. The paper will draw from discourses of world citizenship that are embedded in Islamic mysticism (Sufism) to show how these discourses helped frame Faiz’s outlook and his critique of a world defined by negating opposites.
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Ducournau, Claire. "Literary Prestige." In Postcolonial Realms of Memory, translated by Andrea Lloyd. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620665.003.0006.
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Literary recognition comprises a good part of the fourth volume of Les Lieux de mémoire, published in 1986. This essay proposes a postcolonial revisiting of literary institutions such as the Académie française or scholarly classics previously addressed in this volume – according to both the chronological and adversarial meanings of the term ‘postcolonial’. It reevaluates the status of those territories that were politically dominated outside the borders of the Hexagon within such realms of literary heritagization by expanding the edges of the nation as it had been envisioned. The French literary canon is home to a range of authors who accepted the colonial order as something that was not to be questioned, and even that should be vigorously defended, but also to writers who were inhabitants of (formerly) colonized territories. The marks of literary prestige obtained by authors from (ex)imperial territories, from the award of a Goncourt Prize to election to the Collège de France, are often determined by decisive conditions, such as the place of publication of literary works, the cultural resources of these writers, and the wider French political environment. This essay highlights the existence of silences and instances of marginalization in national literary heritage, as well as long-term demonstrations of resistance in the face of this colonial or neocolonial order.
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Bearman, David. "Geo-Aware Digital Cultural Heritage." In Handbook of Research on Culturally-Aware Information Technology. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61520-883-8.ch019.
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Museums face numerous challenges in the 21st century. Among these are a loss of cultural authority and the dispersion of collected objects through museums worldwide that makes it impossible for users to know where to search, or how to search, for items that might be of interest to them. The consequences are that museums and their holdings are less well known, and less understood, than they ought to be. An emerging technical infrastructure of “smart” objects and location-aware devices can play a role in enabling museums to succeed in these tasks. If the museum adds geographical coordinates to the description of the objects in its collections, people who are in the vicinity of those locations can be informed about the holdings of the (distant) museum, 24 hrs a day. These people include those from whose cultures the objects were once taken and people visiting as tourists; these two audiences are especially interested in understanding the museum’s collection, because it is relevant to them, literally ‘where they stand.’ Having access to the cultural objects that have been removed from their original contexts can reduce demands that they be repatriated, especially if the museum can engage locals to contribute their knowledge of the objects, and tourists to supply terms in their native language that would help their compatriots find the object. In this way, geo-aware objects could help museum fulfill numerous demands currently being made of them and usher in an extra-institutional dimension to cultural interpretation. This chapter examines the requirements for museum success in a geo-aware future.
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Zipes, Jack. "The Vibrant Body of the Grimms’ Folk and Fairy Tales, Which Do Not Belong to the Grimms." In Grimm Legacies. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691160580.003.0001.
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This introductory chapter describes the corpus of folk and fairy tales that the Brothers Grimm had passed on to the German people. It then asks what legacy means in this context, more specifically in how the Brothers Grimm had attempted to pass on a wealth of cultural legacy and memory which have, in the process, become so universally international. The Brothers were aware from the very beginning that they were bequeathing their collected tales to a growing literate Germanic public; they endeavored to make these people more aware of popular culture in the German principalities. By doing this—bequeathing a legacy that was not really theirs to bequeath—they helped to create a new tradition of folklore that had a nationalist tinge to it.
Conference papers on the topic "Literary award culture"
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Hidayat, Parhan, and Irfan Herwandi. "Information Literacy Skill of Student Achievement Award Winners in Syarif Hidayatullah State Islamic University." In Proceedings of the 2nd Internasional Conference on Culture and Language in Southeast Asia (ICCLAS 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icclas-18.2019.30.
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Castelao-Lawless, Teresa, and William Lawless. "Informing Science (IS) and Science and Technology Studies (STS): The University as Decision Center )." In 2001 Informing Science Conference. Informing Science Institute, 2001. http://dx.doi.org/10.28945/2416.
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Students of history and philosophy of science courses at my University are either naive robust realists or naive relativists in relation to science and technology. The first group absorbs from culture stereotypical conceptions, such as the value-free character of the scientific method, that science and technology are impervious to history or ideology, and that science and religion are always at odds. The second believes science and technology were selected arbitrarily by ideologues to have privileged world views of reality to the detriment of other interpretations. These deterministic outlooks must be challenged to make students aware of the social importance of their future roles, be they as scientists and engineers or as science and technology policy decision makers. The University as Decision Center (DC) not only reproduces the social by teaching standard solutions to well-defined problems but also provides information regarding conflict resolution and the epistemological, individual, historical, social, and political mechanisms that help create new science and technology. Interdisciplinary research prepares students for roles that require science and technology literacy, but raises methodological issues in the context of the classroom as it increases uncertainty with respect to apparently self- evident beliefs about scientific and technological practices.
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Waipara, Zak. "Ka mua, ka muri: Navigating the future of design education by drawing upon indigenous frameworks." In Link Symposium 2020 Practice-oriented research in Design. AUT Faculty of Design and Creative Technologies, 2020. http://dx.doi.org/10.24135/lsa.4.
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We have not yet emerged into a post-COVID world. The future is fluid and unknown. As the Academy morphs under pressure, as design practitioners and educators attempt to respond to the shifting world – in the M?ori language, Te Ao Hurihuri – how might we manage such changes? There is an indigenous precedent of drawing upon the past to assist with present and future states – as the proverb ka mua ka muri indicates, ‘travelling backwards into the future,’ viewing the past spread out behind us, as we move into the unknown. Indigenous academics often draw inspiration from extant traditional viewpoints, reframing them as methodologies, and drawing on metaphor to shape solutions. Some of these frameworks, such as Te Whare Tapa Wh?, developed as a health-based model, have been adapted for educational purposes. Many examples of metaphor drawn from indigenous ways of thinking have also been adapted as design or designrelated methodologies. What is it about the power of metaphor, particularly indigenous ways of seeing, that might offer solutions for both student and teacher? One developing propositional model uses the Pacific voyager as exemplar for the student. Hohl cites Polynesian navigation an inspirational metaphor, where “navigating the vast Pacific Ocean without instruments, only using the sun, moon, stars, swells, clouds and birds as orienting cues to travel vast distances between Polynesian islands.”1 However, in these uncertain times, it becomes just as relevant for the academic staff member. As Reilly notes, using this analogy to situate two cultures working as one: “like two canoes, lashed together to achieve greater stability in the open seas … we must work together to ensure our ship keeps pointing towards calmer waters and to a future that benefits subsequent generations.”2 The goal in formulating this framework has been to extract guiding principles and construct a useful, applicable structure by drawing from research on two existing models based in Samoan and Hawaiian worldviews, synthesised via related M?ori concepts. Just as we expect our students to stretch their imaginations and challenge themselves, we the educators might also find courage in the face of the unknown, drawing strength from indigenous storytelling. Hohl describes the advantages of examining this approach: “People living on islands are highly aware of the limitedness of their resources, the precarious balance of their natural environment and the long wearing negative effects of unsustainable actions … from experience and observing the consequences of actions in a limited and confined environment necessarily lead to a sustainable culture in order for such a society to survive.”3 Calculated risks must be undertaken to navigate this space, as shown in this waka-navigator framework, adapted for potential use in a collaborative, studio-style classroom model. 1 Michael Hohl, “Living in Cybernetics: Polynesian Voyaging and Ecological Literacy as Models for design education, Kybernetes 44, 8/9 (October 2015). https://doi.org/ 10.1108/K-11-2014-0236. 2 Michael P.J Reilly, “A Stranger to the Islands: Voice, Place and the Self in Indigenous Studies” (Inaugural Professorial Lecture, University of Otago, Dunedin, New Zealand, 2009). http://hdl.handle.net/10523/5183 3 Hohl, “Living in Cybernetics”.