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The intention of the present work is to demonstrate how an author can rescale himself in the local space thanks to literary agents (publishing houses, festivals, translations etc.), which have the role of emphasizing the value of his work that is willing to (re)win a literary bet precisely in the source culture, relying on a case study around the prose of Tatiana Țibuleac. The novelist gains symbolic capital abroad, on the one hand, because she gravitates between two peripheral spaces, Romania, respectively the Republic of Moldova, the second being subordinated to the first which has become a launching pad to the West, and, on the other hand, through the lens of its actual naturalization in France. What popularizes Tatiana Țîbuleac is not the reception of her novels in Romania, but the post-translation success justified by the attention later paid to the author by the Romanian press, considering the large volume of interviews mapped, most likely, in the wake of her journalistic career. The predilection for a writing of memory doubled by a hypersensitive dimension of an atrophied self or by the toxic frameworks of the relationship with a dysfunctional family – emergencies resolved only under the sign of the pathological, the case of the first novel. At the same time, the ideological panorama of a marginal culture, such as the Republic of Moldova, constrained between Soviet inflections, never completely purified, and the definition of an identity (not only national), as in the Glass Garden, but all of these are also possible causes of Tatiana Tîbuleac's enrollment among international writers. [ABSTRACT FROM AUTHOR]

While John Lydgate's aureate style is commonly recognized as one of the significant features of his poetics, its reception among medieval audiences has not been closely assessed. This article is a case study that explores early readerly responses to Lydgate's aureate and paraliturgical lyrics collected in a late-fifteenth-century short anthology, Booklet IX of Cambridge, Trinity College MS R.3.21. Produced for a wealthy London merchant, this booklet reflects, at least partially, its first owner's literary interests, and its mise-en-page presents the aureate and paraliturgical lyrics as material objects. Such material presentations embed the texts in the sociocultural milieu of late-fifteenth-century London and presumably helped the first owner of the booklet to establish his social profile by performatively intertwining his devotional and literary agency with the sophistication of the poems contained in the volume [ABSTRACT FROM AUTHOR]

This article addresses the role played by literary agents as increasingly decisive actors in the international projection of Latin American literature. It offers a brief historization of their emergence and consolidation up to the current context of globalization, including a partial mapping of the most influential agencies in the management of Latin American authors’ rights. It also proposes an approach to the novel El jardín de al lado, by José Donoso, as a text that fictionalizes the moment of appearance of the agents in the Spanish-speaking world and the tensions generated by their emergence. Among the conclusions, it is argued that the role of agents is not merely to manage rights but that their intervention has a creative character and serves to cohere the transnational literature market. [ABSTRACT FROM AUTHOR]

In this interview, the writer José Falero, author of the short story book Vila Sapo (2019), the novel Os supridores (2020) and the book of chronicles Mas em que mundo tu vive? (2021), recalls aspects of his life, remembers various experiences and his established relationship with the urban space of Porto Alegre; in addition, he also exposes how his writing process occurs and presents his main reading influences. The goal of this dialogue is to establish a possible space for listening to an emerging agent in the Brazilian literary field who has consolidated himself as one of the most relevant contemporary writers. In this way, José Falero brings in his answers important reflections on the Brazilian social context, on his writing practice, on Brazilian literature and his worldview. [ABSTRACT FROM AUTHOR]

"might have lost her creative drive", but without H.D. who shielded Bryher from familial pressures to conform to social conventions, Bryher "might have done herself in" (311). As McCabe poignantly asserts, H.D. and Bryher were "larger than life", and (subtly alluding to the ending of H.D.'s postwar memoir-novel I The Sword Went Out to Sea i ) their story "will go on somewhere" (311). McCabe calls Bryher H.D.'s "main invisible" who made H.D. [Extracted from the article]

This study presents a new manuscript witness for the hermeneutics gates that Eleazar of Worms apparently presented as the basis of the esoteric lore he received from his teacher, R. Judah he-Ḥasid. Eleazar of Worms has been widely acknowledged as the recipient of the secrets of German Pietism and the author of the library of texts that would represent the movement. Sefer ha-Ḥokhmah, the Book of Wisdom purports to be the first literary work he composed just after the death of R. Judah. All surviving manuscript copies of Sefer ha-Ḥokhmah were produced in a later period, and studies have shown that later Kabbalistic texts and themes were reworked into what was initially penned by R. Eleazar. Discovery of the gates in an early Ashkenazic manuscript free of any sign of Kabbalistic revision offers new evidence that grounds at least some of the writing and esoteric lore of Ḥasidei Ashkenaz prior to its later use and revision. This study further delves into the R. Eleazar's self-awareness as the authoritative voice of German Pietism and proposes that scholars consider the role of rhetoric and the narrative function of Eleazar as the sole agent of literary production, whether or not that was indeed the case at the time he wrote this text. The tension between the scholarly suspicion about the historical veracity of the sources and the textual evidence available is thus highlighted for further consideration. The study concludes with a transcription of all the manuscript texts of the hermeneutic gates. [ABSTRACT FROM AUTHOR]

While Lecker's speculations about Hedges's own desires contribute to the impression that her I literary i achievements are slight, his contextualizing of the novel within the "Lavender Scare" of the 1950s and his reading of Hedges's habitual representation of heterosexual sex as "sex by assault" (167) open up her work for further study. Doris Hedges and Alternative Realities in Postwar Montreal Review by Patrick Coleman, University of California, Los Angeles, https://coleman@humnet.ucla.edu Robert Lecker's I Who Was Doris Hedges? Although the speculation over Hedges's sexual desires at times overshadows the discussion of her writing, the analyses are strongest when Lecker situates Hedges's work in the trends of the period. Lecker's suspicion of Hedges's class privilege rightly colors her self-promoting character; however, I wonder where Hedges fits among other women writers of middle-brow and sensational fiction. [Extracted from the article]

This essay is one part documentation and one part provocation, with a simple goal: to acknowledge the agency of the literary agent. There is no figure more significant to contemporary literary production and less studied by scholars than the agent. Drawing on ethnographic interviews conducted with 28 literary agents over the course of four years, I argue that agents shape the form and content of contemporary fiction by acting as administrators of the logic of the marketplace, conditioning their clients to write in and for the international multimedia conglomerates known as the Big Four. I take the agent's list to be one of the central organizing heuristics of the contemporary literary field and read the list of one agent, Nicole Aragi, to examine what I call "corporate taste": personal aesthetic judgments carefully calibrated to anticipate and respond to the demands of publishing conglomerates. Agents calibrate their aesthetic judgments to anticipate and respond to the demands of publishers and the market, becoming administrators of the logic of the corporation, thus shaping the form and content of contemporary fiction. [ABSTRACT FROM AUTHOR]

According to Bourdieu's theory, literary prizes are those specific authorities which contribute in the long run to the conversion of symbolic capital into economic capital. The Nobel Prize played a major role in the unification of a relatively autonomous international literary space, as described by Casanova. It helped create a new canon of world literature, as the Nobel prize winners were widely translated. But whereas Casanova places the emphasis on autonomy, this paper underscores the relative heteronomy that this award conveys. Literary authorities negotiate between autonomous and heteronomous criteria, be they ideological or economic. This paper examines how the symbolic capital of the Nobel Prize has served to reinforce modes of domination. The intersectional and Western domination which biased the selection of laureates slowly evolved into more diversity and inclusiveness. Concentrating on the three last decades, which correspond to the globalization era, we observe however that despite the growing inclusion of non-Western authors, it is the dominant Western cultural intermediaries (publishers and literary agents) who mostly capitalize the symbolic and economic profit of the prize. These observations are based on a quantitative analysis of the publishers of the 33 laureates since 1990 in three languages, English, German and French. [ABSTRACT FROM AUTHOR]

The financial sector has a hidden but dramatic effect on Hollywood: three institutional investors hold the largest investment stakes in nearly all major companies; corporate venture capital has emerged within every entertainment conglomerate; and private equity firms have enacted leveraged buyouts of companies in all sectors, including production, distribution, exhibition, talent agencies, audience measurement, trade press, and content catalogs. This article argues that "financialized Hollywood" is a dangerous development; financial engineering strategies are extracting capital and reducing operational capacity, further depriving Hollywood of the diversity and heterogeneity it might provide the public sphere. [ABSTRACT FROM AUTHOR]

The article reports that the political history of the expansion of European power involves, crucially, not only the story of the sheepfold, but also of the sheepship. It notes that the pastoral mode from its origins always told a story of a kind of mobility. It adds that pastoral's dual perspective has always lent a real socio-political edge to its literary.

This article offers a critical study of the place that Jaime Saenz occupies within the broader context of translated literatures to shed light on the construction of his image as a writer both in Bolivia and in the countries in which he has been translated. How is Saenz's work viewed from a global perspective? I propose a methodology that analyzes and visualizes web media to study Saenz's position vis-à-vis his Bolivian and Latin American peers within the local and global mediation scene. I read Saenz's work through a web media map that visualizes him diachronically within a framework that considers his production and reception by publishers, editors, translators, literary agents, critics and sponsors, in national and international contexts. In this article I focus on showing the editorial mediation processes of Saenz's work comparatively and in relation not only to literature, but to the broader cultural field, which includes the social sciences and audiovisual arts. The image of a writer that results from this process (dark, accursed, esoteric, and associated with a mystical Andean spirituality) adds symbolic value and prestige to the author. A web media analysis helps to visualize how this added value was created over time and within its socio-political contexts. [ABSTRACT FROM AUTHOR]

Despite assertions of almost universal illiteracy among pre-Revolutionary Turkmens, an examination of the widely popular maktab primer, the Ravnaq al-Islām , shows that literacy among Turkmens before 1917 was substantially higher than previously thought. Additionally, the work and legends surrounding it show us Turkmen maktab texts contributed to a sense of supra-tribal Turkmen identity, which has generally been discounted or ignored in previous studies of Turkmen social history. [ABSTRACT FROM AUTHOR]