ATT FÖRHANDLA LITTERÄRT VÄRDE. SVERIGE 2013

NEGOTIATING LITERARY VALUE. SWEDEN 2013

Sammanfattning på svenska Projektets syfte är att undersöka och beskriva hur litterärt värde skapas i dagens föränderliga och medialiserade litterära offentlighet, där gränsen mellan vad som räknas som hög eller låg litteratur har blivit alltmer oskarp. Skönlitteraturen har i det moderna samhället genomgående tillmätts ett stort samhälleligt, kulturellt och existentiellt värde. Detta värde har vanligen härletts ur texten själv, dess ”originella stil” eller ”drabbande innehåll”. Utgångspunkten för detta projekt är istället att litteraturens värde är resultatet av en ständigt pågående förhandling mellan enskilda aktörer, grupper av läsare eller institutioner som definierar värdet utifrån sina skiftande behov, intressen och resurser.

Projektet är utformat som en fallstudie av den svenska bokhösten 2013 med särskilt fokus på Bokmässan i Göteborg. I centrum står värdeförhandlingens huvudaktörer: författare, bokbransch/media och olika typer av läsare, både professionella kritiker och ”amatörer”. En sådan avgränsning i tid och rum gör det möjligt att studera samspelet mellan värderande handlingar av olika slag.

Projektet avser att på empirisk grund utveckla teoretiska och metodiska verktyg för att analysera och förstå hur litterära texter ”görs” värdefulla i vår kultur. Detta är en fråga av stor vikt inte bara för litteraturvetenskapens utveckling utan också för beslutsfattare inom exempelvis kulturpolitiken, på utbildningsområdet och i bokbranschen.

Sammanfattning på engelska The aim of the project is to develop an up-to-date understanding of the nature of literary value, and how it is created, by investigating today’s Swedish literary field and book-market, which have undergone substantial changes in recent decades. In modern society, literature is credited with great social, cultural, and existential value. However, the premise has been, and still is, an evaluation and selection done in accordance with the definition of fine art that was established at the end of the eighteenth century in which literary value was seen as inherent in the literary work. The premise of the proposed project is that literary value is generated by a perpetual negotiation between the conditions that regulate production and sale, and the institutions, groups of readers, and individuals who are party to the value-making process.

The project is designed as a case-study of the Swedish book market, and the Gothenburg Book Fair in particular, in the autumn of 2013. It will focus on the main participants in the value negotiation process – authors, trade/intermediaries and readers. By limiting both time and place it becomes feasible to study the full interplay of a variety of evaluative acts.

The purpose is to develop a theoretical and practical knowledge of how literary value is made in contemporary society based on consistent empirical research – a question of great importance not only for literary studies but also for cultural politics and educational practice.

Projektbeskrivning The aim of the project is to develop an up-to-date understanding of the nature of literary value, and how it is created, by investigating today’s Swedish literary field and book- market—which have undergone substantial changes in recent decades. The evaluation of literature, estimating the potential value of a literary work for others, is a constant activity within the educational and cultural spheres alike. A number of different values circulate among different stakeholders, however: political, trade, educational, aesthetical, personal, and so on. The process of value creation thus has to be discussed from fresh perspectives based on new and consistent empirical research.

In modern society, literature has been credited with great social, cultural, and existential value. The reading of literature is a protected practice in the education system and in cultural politics. Yet the premise has been, and still is, an evaluation and selection done in accordance with the definition of fine art that was established at the end of the eighteenth century. By separating high literature from the likes of craft, science, and news, it could be defined as something else, worthy and powerful on its own terms. In contrast to other commodities on the money market, art was considered free from economic and societal interests, and indeed was thought of as an independent power (Woodmansee 1994). ‘High literature’ was associated with values such as creativity, aesthetics, taste, and personal development, and it became an educational tool in the broadest sense. It was a vital part of the creation of a national consciousness during the nineteenth century, and there is still a fundamental belief in the power of literature to civilize the individual into a social being (Larsson 2001). The concept of high art and literature evolved against the backdrop of the growth of popular literature, the prerequisites of which were the spread of literacy and new printing technologies. Works of literature became accessible to a mass audience, although they mainly read what was seen as pulp, mass-market, or lower categories of literature (crime, romance, genre fiction). Even though today cultural politics and educational uses of literature have to deal with a radically altered book-market, the belief in the power of literature remains firm. High literature is considered valuable because of its ability to enhance reading skills and promote personal development (SOU 2012:10; Persson 2007).

Today the division of the book-market into what Escarpit in the late 1950s termed ‘the cultured circuit’ and ‘the popular circuits’ has dissolved, and we live in a ‘popular literary culture’ (Collins 2010) characterized by increasing accessibility and the inclusion of literary novels into media culture. In bookshops, high literature sits alongside popular literature, and both are widely available in supermarkets and online. New reading authorities have emerged in the mass media: literary value is discussed, on equal terms, on the Internet, radio, and television as well as in the newspapers; established literary criticism now coexists with the blogs, book-lists, and various rating systems that offer readers guidance. High-minded literary debate—what Collins terms the ‘sacred conversation about books’—has been replaced by a wide-ranging and many-voiced ‘secularized’ debate on literature, where the balance of power between author, critic, and reader has clearly shifted in favour of the reader. The author has become a media personality, blogging, taking part in book-fairs, and performing at festivals.

The Swedish book-market is flourishing, with a turnover in 2009 of SEK 7 billion. Interest in books, authors, book clubs, and readings is widespread, as is evident from several media and scenes. Literature has also become a successful industry, with the arrival of new kinds of stakeholders such as media companies, technological developers, educational business, marketing agents, and so on. The number of titles published in Sweden is increasing by the year, as is the number of publishers and points of sale. People are reading fiction as never before, especially if we include e-books and literary texts published online. At the same time there are concerns that literature is under pressure from market forces and that the value negotiation processes in the trade are creating an unhealthy climate for literature, authors, small publishers, and alternative initiatives (Hertel 1997).

Since the end of the eighteenth century, stylistic originality has largely been equated with literary value (Bloom 1994, 2000; Crowther 2007). One of the main purposes of this project will be to confront this longstanding and influential perspective. Today, the traditional view of literary value as something inherent to some works of fiction and not others has become problematic. Furthermore, the fluctuation of literary value and evaluation is also apparent in the history of literature. ‘Value alters when it alteration finds,’ to quote Herrnstein Smith (1988:4). Like Herrnstein Smith, we believe literature is governed by ‘a double discourse of value’, not of high v e r s u s low worth, but of the ‘personal economy’ (where such variables as aesthetic pleasure, excitement, information value, and existential guidance are decisive in readers’ value-making processes) a n d the ‘money economy’ (finance- and market-oriented).

The premise of the proposed project is that literary value is generated by a perpetual negotiation of value in and between these two economies—a negotiation between the conditions that regulate production and sale, and the institutions, groups of readers, and individuals who are party to the value-making process according to the dictates of their respective needs, interests, and resources (Herrnstein Smith 1988). In contrast to the amount of research devoted to interpretation within literary studies, remarkably few studies have dealt with value negotiation processes.

Project purpose The aim of the project is to gain a well-founded understanding of how literary value is made today: how it is created and negotiated in the interplay with economic value, in which authors, the book trade and its intermediaries, and various categories of readers are the key participants. Rather than a one-dimensional perspective on the text-immanent value of literature, we seek to develop a perspective that considers the manifold and complex value negotiation process while capturing some of the most important connections between the motives and values of different participants. Thus, we will explore which values are negotiated and their distribution across different works; the importance of various agents and the interplay between them; and the channels and means through which the different negotiations take place. We intend to describe and analyse how literary value is formed, sustained, and exercised.

The reason for the proposed project is twofold. First, it is of the utmost scholarly importance to challenge the established and a-historic conception of literary value as something inherent in some literary works. We therefore intend to empirically test and evaluate the constructivist theories of literary value put forward by Herrnstein Smith and others. By so doing, we will devise methodologies with which to capture key aspects of the complex and manifold literary evaluation process.

Second, since the reading of (good) literature is still a protected practice in the education system and in cultural politics, a more up-to-date understanding of the literary evaluation process will provide decision-makers with a firmer base when deciding public spending. Furthermore, among publishing houses and other intermediaries (libraries, the media), there is a demand for a more comprehensive understanding of how their own actions and efforts contribute to the literary evaluation process.

Project design The proposed project is designed as a case-study of the Swedish book-market, and the Gothenburg Book Fair in particular, in the autumn of 2013. By limiting both time and place it becomes feasible to study the full interplay—live and mediated—of a variety of evaluative acts: open and concealed; verbal and non-verbal; and institutional and individual.

The project will focus on Swedish fiction for adult readers (novels and autobiographies), both original and in translation. The decision to make single works the starting-point of the study—rather than taking the authors’ or readers’ perspectives, for instance—stems from the fact that literary works are at the very centre of the evaluative process. We will make a selection of some ten works from the autumn 2013 issue of the Swedish trade paper Svensk Bokhandel. These works will be selected to represent four different types of fiction by both female and male writers (based on a similar typology in Steiner 2012): bestsellers (high sales, high media exposure, and expected success, often popular fiction, and by established authors such as Jan Guillou or Nora Roberts); the fine-art tradition (the core of the book-fair, with high-to-moderate sales, high media exposure, and good reviews, likely to garner literary prizes, and by authors already established in the canon such as Kerstin Ekman or P. O. Enquist); sensations (high media exposure and high to moderate sales, the object of unexpected attention and success, and by unestablished authors, best exemplified by Felicia Feldt’s 2012 novel, Felicia försvann); and midlist (moderate sales, low media exposure, good reviews, likely to win literary prizes, from established publishing houses, and by authors who have published numerous titles before, such as Carola Hansson or Björn Larsson). The ten books of fiction, the loci of the value negotiation process, will jointly cover, but also juxtapose, different aspects of the marketplace.

The project will focus on the three main participants in the value negotiation process: authors, the book trade and its intermediaries, and different kinds of readers (professionals and amateurs). We intend to describe and analyse their evaluative behaviour—live and in different media—during the autumn of 2013. The ‘season’ normally starts with the first book reviews in August and reaches an early peak at the end of September with the Gothenburg Book Fair (which, unlike many of the well-known European book-fairs, is less a marketplace for publishers and more a meeting-place for readers, authors, and publishers). Late October to late November is something of a dead period, although that fact can be exploited by different participants. The hectic Christmas period starts at the end of November with the August Prize, a literary prize of utmost importance created by the industry.

The project will provide what Clifford Geertz (1973) calls a ‘thick description’ of the complex and intertwined process by which different participants—authors, trade/intermediaries, and readers—contribute to the value-making process for the selected works in the period in question. We intend to uncover the interplay—the moves, countermoves, and reactions—among these participants during and after the book-fair, and throughout the autumn. We will identify who the initiators are, and which moves are the most important and efficient. In order to make the project methodologically feasible, we will limit the collection of material to key figures and agents as well as their representative acts.

Readers first. The book-fair attracts about 100,000 visitors annually, where these potential readers—both professionals and amateurs—get to meet different authors, attend author performances, buy the latest books, and perhaps get a signed copy. During the book-fair and throughout the selected period, we will cover readers’ attitudes and actions by means of interviews and surveys. The development of the Internet has not only made the opinion of the amateur reader more visible and accessible than before, but also possibly more important in the evaluation process. We will be monitoring a variety of blogs, tweets, and Facebook discussions during the autumn. Similarly, the role and function of the professional critics will be closely followed and analysed, be it live at the book-fair or mediated through different texts (reviews, press interviews, and other kinds of articles) or performances on television and radio. We will scrutinize the ways in which professional readers (critics) exert their authority, with particular attention to their selection criteria for deciding which books actually merit a review.

As Guillory (2000) points out, the distinction between professional and amateur readers is not a dichotomy: professional critics were once lay readers, after all, while the tenets of academic criticism often filter down, via the classroom, to larger audiences. In the project, we intend to gain a more complex and dynamic picture of the relations between different readers and how they contribute to the value negotiation process.

Secondly there are the authors, who are the main attraction at the book-fair. We will videorecord and analyse different types of live appearances—readings, lectures, speeches, and interviews—by the authors of the selected works at the book-fair as well as throughout the period in focus. Mediated appearances on television, radio, and the Internet as well as magazines and newspapers will also be analysed. We intend to provide a description and analysis of how authors stage themselves at live or mediated literary events, and how this contributes to the value negotiation process.

Thirdly there are the various trade agents—publishers, booksellers, literary agents, and distributors—as well as other kinds of intermediaries—libraries, culture centres, author associations, etc.—who create, negotiate, and spread literary values in the marketplace. These stakeholders use different strategies, but also work under various conditions. Their strategies, economic and practical circumstances, trade agreements, ownership structures, and attitudes towards other agents in the field will be mapped using interviews, field observations, and documents (in-house and public). The gathered material will allow an in- depth analysis of the market’s value-constructing process. The agents are numerous, so a strategic selection will be made in order to ensure the validity of the qualitative analysis.

These three types of participants and their actions are tightly intertwined, and the project team will work closely at weekly meetings and seminars in order to compare and analyse the participants’ evaluative behaviour. The empirical material and findings, including the thick descriptions of the evaluation processes, will be presented in two jointly written, synthesizing volumes. The research findings will also be presented in a number of articles on theoretical and methodological issues of general interest, to be published in international academic journals.

Theory and method The theoretical basis of the project stems from Herrnstein Smith (1988) and Collins (2010), both of whom emphasize the ‘making’ of literary value, the one in philosophical terms, the other in terms of media theory and cultural studies. The basic premise is that a text only gains value in relation to someone or something, an individual or institution, and that value is created by negotiation, where different needs, interests, and abilities, and indeed the struggle for status (Bourdieu 1984) and money, are the driving forces.

The project’s case-study design has several international predecessors, including Radway’s studies of readers and reading in the context of romance novels and middlebrow culture (1984, 1997), and, in Sweden, ‘Passageprojektet’, in which a number of researchers analysed the production of cultural meaning in a shopping mall using in-depth field studies (Becker et al. 2001; Fornäs 2007). The project will be based on a qualitative analysis of multifaceted material such as interviews, observations, live footage, and different types of media texts (reviews, television shows, radio programmes, and blogs). In gathering some of the material, empirical ethnographical methods will be necessary (Gemzöe 2004; Kaijser & Öhlander 2011; Madison 2012). With its empirical perspective, the proposed project will challenge, the dominant method in literary studies—the close reading of texts.

The varied material regarding the evaluative behaviour of (amateur and professional) readers—semi-structured interviews; reviews and articles in papers, magazines and on the Internet; radio programmes and television shows where the selected works are discussed and authors portrayed—will be analysed from different angels. We will be drawing on reader- response criticism (Holland 1968, Tompkins 1980, Radway 1984) and on Felski’s four components of ‘reading interests’ (2008): recognition, enchantment, knowledge, and shock.

The analysis of how different categories of readers along with the selected authors contribute to the value of literature on the radio will draw on Åberg (1999), who offers a methodological framework for the analysis of radio programmes that focuses on the oral aspect of the medium and the programme event as part of a flow. Crisell (1994) and Barnard (1999) contribute with insights into the structures specific to radio production and mediation, mainly from a semiotic point of view, seeing them as a language code made up of words and voices, sound and music, as well as silences. Equally, semiotics has often been used to analyse form in television. As Corner (1995) points out, semiotic analysis as a single tool has often promised more than it has delivered. Consequently, when analysing television and radio appearances by readers and authors alike, we will follow Corner by grounding our interpretations in ‘rather basic descriptive accounts’ (1995:3), using well-established analytical tools from the tradition of literary close reading and film studies (Bordwell & Thompson 2007).

The analysis of how professional readers—literary critics, in other words—contribute to the evaluation process with their press reviews and other articles will utilize the long tradition of press and media studies (Rydén 1987, 2012, McDonald 2007). Svedjedal (2009) argues that the professional critic holds several different positions in the field simultaneously, and we will investigate the validity and the consequences of this claim.

In analysing the staging of readers and authors on the Internet, the project will more specifically use a combination of theories of performativity (Butler 1990, 1993, 1997) and theories of new media. Bolter and Grusin’s concept of remediation (1999) is useful in this context since it shows how different types of media interact and depend on one another, jointly forming the sort of convergence culture Jenkins (2006) has described. Drawing on Finneman (2005), we regard the Internet as a narrative and discursive space, where the identity of the user—here both readers and authors—is constructed in ways that both overlap and differ from television and radio. We consider the Internet as a ‘writing-space’, that is, a ‘physical and visual field defined by a particular technology of writing’ (Bolter 1991:11). Furthermore, this perspective will be combined with theories that consider the construction of identity in the specific environment of the new digital media: blogs, websites, social media, and communities (Serfaty 2004; Lüders et al. 2007; McNeill 2009; Lenemark 2012;).

In addition to the above methods, an analysis of live and mediated author performances will draw on the American tradition of performance studies, most importantly that of Schechner (2002). Schechner’s concepts of ritual and play provide a toolbox of analytical categories and methods. In some cases, a more traditional theatre-studies approach will be used, a method that owes much to Fischer-Lichte (2004) by regarding the literary event as an encounter or interaction between performer and audience.

Both live and mediated author performances on television, radio, the Internet, and in print will be analysed. When analysing the mediated staging of authors we will draw on celebrity studies. So-called ‘literary celebrities’ (Moran 2000) are by definition products of mass- media representation (Rojek 2001). Drawing on Turner (2004), we consider literary celebrity as both a commodity or human brand and a multifaceted semiotic sign, in need of consumer reading and interpretation. In their previous studies of literary celebrity in Sweden, Forslid and Ohlsson (2009a, 2009b, 2010, 2011) have explored and developed these perspectives, and in order to understand how authors are staged, and how they stage themselves, live and in different media, they have gone on to integrate performance studies and celebrity studies, thus creating a kind of ‘media-biography’. An important issue that the project will raise is the extent to which celebrity status promotes literary recognition.

In his large study of the British and American book trade, the sociologist John Thompson (2010) has mapped the publishing of books for the general reader (fiction, non-fiction, and children’s literature). He has developed Bourdieu’s concepts of capital and applied them in the study of the powers and resources of a publishing firm. The five forms of capital Thompson proposes—economic, human, social, intellectual and symbolic—will be used here as way to determine the element of power in the value process. However, Thompson’s perspective benefits from being combined with the more historical view of the book trade mainly developed within book history (Darnton 1982; Rose 2003; Eliot & Rose 2007). In the field of publishing studies, methods have also been developed (for example, Clarke & Phillips 2008; Squires 2007, 2010) for the investigation of the industrial aspects of the literary sphere. Squires, in her study Marketing Literature (2007), has pointed to the fact that accessible trade material is produced for a variety of purposes and audiences. The trade press, general media, bestseller lists, marketing material, governmental reports, and publishing statistics offer important sources of information; nonetheless, as Squires notes, they must be used with caution. The trade agents themselves, politicians, critics, authors, and readers write the history of the book trade as it is happening. An important part of the method is thus to analyse these structures and strategies within the material.

In his study, Thompson has set up a basic model for the value-adding functions of the publishing process (2010:19) that will be used here to investigate six different aspects of how publishers work to create value both for their companies and for their titles and authors. Several of these are processes within the companies that can only be accessed using interviews, while others, such as marketing and sales, can be observed from the outside. Methodologically this will call for an ethnographic approach as well as the analysis of images, texts, and interactions with the audience

The project’s position in the field As is clear from the above outline, the rapid changes in public culture in recent decades have generated a substantial amount of pertinent research on the changing book-market, reading habits, canon criticism, and the like in the fields of media studies, cultural analysis, book history, sociology, and literary studies. The resultant literature forms an important background to the project and offers theoretical and distinctive methodological perspectives. Important research has dealt with single aspects of the value negotiation process: Radway focuses on the reader, while Moran, for example, singles out the importance of the author. Thompson in turn analyses the book industry without commenting on literary value. Woodmansee, in her 1994 study of how literary value was constructed in the late eighteenth century, concentrates on authors and the book trade.

Our project offers a systematic description and qualitative analysis of the main participants—authors, the trade and intermediaries, and readers—and their evaluative behaviour with reference to ten works of fiction, strategically selected from the 2013 autumn book ‘season’.

Like Herrnstein Smith and Collins we have taken a constructivist stance on the nature of literary value. Yet unlike Herrnstein Smith, who has put forward a constructivist theory, we propose an empirically based investigation of the nature of literary value. This is in line with Collins’s analysis of ‘contemporary literary culture’. However, where Collins focuses on the importance of media culture from an American perspective, offering single examples rather than a wider selection of representative phenomena, we aim at a more comprehensive understanding of the making of literary value.

Project members The research group—three senior and three junior researchers—brings together different and complementary expertise from the universities of Lund and Gothenburg. The vital common denominators are an extensive knowledge of the contemporary book-market combined with in-depth research experience of the perspectives involved in the project: the modern, medialized literary sphere in relation to authors (Forslid, Ohlsson, Lenemark), different types of readers (Larsson, Helgason), and publishing houses and the book industry (Steiner).

Torbjörn Forslid is professor of comparative literature at Lund University. Working with Anders Ohlsson, he has challenged the conventions of evaluation and reading current in literary studies in Sweden. Their most recent collaborative works examine the modern public sphere of literature and the mediatization of the author (2009a, 2009b, 2010, 2011). Forslid is a literary critic and a member of the Expert Group on Gender at the Swedish Research Council.

Lisbeth Larsson, professor of comparative literature at the University of Gothenburg, is a pioneer in the field of popular literature and reading in Sweden. Her thesis addresses women’s reading of weekly magazines and romance literature (1989). For Litteraturutredningen (SOU 2012:10), the most recent of the government committees of inquiry on literature, she has written about the value of fiction reading. She has been a member of the board of the Swedish Research Council and the Advisory Group for Science and Society of the European Research Council. At present, she is Dean for Research at the Faculty of Arts at the University of Gothenburg.

Anders Ohlsson is professor of comparative literature at Lund University. His previous research deals with intermediality and Holocaust literature. In his latest studies, Ohlsson, together with Forslid, analyses the public spheres of literature and literary celebrity (2009a, 2009b, 2010, 2011). He serves as an external reviewer for the Research Council of Norway on a regular basis.

Ann Steiner, Ph.D., lecturer in publishing and book-market studies and researcher in literary studies at Lund University. She has published monographs (2006 and 2012) and articles on the twentieth-century book-market and the relation between literature and digital cultures (2010, 2011, 2012). At present, she is an expert for the ongoing government committee of inquiry on literature (Litteraturutredningen).

Christian Lenemark, Ph.D., lecturer in comparative literature at the University of Gothenburg. His thesis was on contemporary autobiographical writing and theory, and questions concerning the mediatization of the author (2009). He has recently edited an anthology on literature and the Internet (2012), reflecting another of his current research interests—literature, narrative, and the Internet.

Jon Helgason, Ph.D., editor of the Swedish Academy Dictionary and researcher at Lund University. His thesis (2007) examined the culture of letters and the emergence of the literary public sphere in Europe in the eighteenth century. His present research concerns the literary public sphere and contemporary cultural debate (forthcoming 2012).

Reference group The project team will benefit from a number of distinguished scholars and agents who have agreed to form a reference group for the project, 2013–2015. The members of the reference group (in alphabetical order) are:

—Barbara Herrnstein Smith, Braxton Craven Professor of Comparative Literature and English Emerita, Duke University. —Åsa Linderborg, Ph.D. in History, head of culture at Aftonbladet, Stockholm. —Janice Radway, Walter Dill Scott Professor of Communication Studies at Northwestern University. —Claire Squire, Professor of Publishing Studies, University of Stirling. —Anna Tillgren, Chief information officer and public relations manager at Albert Bonniers Förlag, Stockholm. —Anna Wahl, Professor of Gender, Organization, and Management, Royal Institute of Technology, Stockholm.

We will have regular contact with this group during the project. One workshop is planned for 2013, and an international conference will conclude the project in 2015.

Resource requirements The proposed project is seeking funding for three senior researchers (one amounting to 50%, two to 25%) and three junior researchers (one amounting to 50%, two to 75%). These grants will be supplemented by already allocated university funding.

For expenses in connection with collaborative work and the gathering of empirical material, we are applying for SEK 150,000 in the first year and SEK 75,000 p.a. in the two subsequent years. This will be used for travelling expenses, joint seminars, and the equipment necessary for the ethnographic element of the study. We are also applying for travel expenses for the reference group (workshop and conference) as well as part funding for the international conference in 2015—SEK 300,000.

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LARSSON, Lisbeth (1989), En annan historia: om kvinnors läsning och svensk veckopress (Eslöv: Symposion). —— (2001), Sanning och konsekvens: Marika Stiernstedt, Ludvig Nordström och de biografiska berättelserna (Stockholm: Norstedt). LENEMARK, Christian (2009), Sanna lögner: Carina Rydberg, Stig Larsson och författarens medialisering (Hedemora/Möklinta: Gidlunds förlag). —— (2012) (ed.), Litteraturens nätverk: berättande på internet (Lund: Studentlitteratur). LÜDERS, Marika, PRØITZ, Lin & RASMUSSEN, Terje (2007) (eds.), Personlige medier. Livet mellom skjermene (Köpenhamn: Gyldendal) MADISON, D. Soyini (2012), Critical ethnography: method, ethics, and performance, 2nd ed. (Thousand Oaks, Calif.: SAGE). MCDONALD, Rónán (2007), The death of the critic (London: Continuum). MCNEILL, Laura (2009), ”Brave New Genre, or Generic Colonialism? Debates Over Ancestry in Internet Diaries”. In: Janet Giltrow & Dieter Stein (eds.), Genres in the Internet (Amsterdam/Philadelphia: John Benjamins Publishing Company). MORAN, Joe (2000), Star authors: literary celebrity in America (London: Pluto Press). PERSSON, Magnus (2007), Varför läsa litteratur?: om litteraturundervisningen efter den kulturella vändningen, 1. uppl. (Lund: Studentlitteratur). RADWAY, Janice (1984), Reading the romance: women, patriarchy, and popular literature (Chapel Hill: University of North Carolina Press). —— (1997), A feeling for books: the Book-of-The-Month Club, literary taste, and middle- class desire (Chapel Hill: University of North Carolina Press). ROJEK, Chris (2001), Celebrity (London: Reaktion). ROSE, Jonathan (2003), ‘The Horizon of a New Discipline: Inventing Book Studies’, Publishing Research Quarterly, Spring. RYDÉN, Per (1987), Domedagar: svensk litteraturkritik efter 1880 (Lund: Univ.). —— (2012), “Litteraturkritikens betydelse”. In: SOU 2012: 10, Läsarnas marknad, marknadens läsare – en forskningsantologi. SCHECHNER, Richard (2002), Performance studies: an introduction (London: Routledge). SERFATY, Vivian (2004), The Mirror and the Veil. An Overview of American Online Blogs (Amsterdam, New York: Rodopi). SOU 2012: 10, Läsarnas marknad, marknadens läsare – en forskningsantologi. SQUIRES, Claire (2007), Marketing literature: the making of contemporary writing in Britain (Basingstoke: Palgrave Macmillan). —— (2010), ‘Review of John B. Thompson Merchants of Culture’, LOGOS vol. 21 no. 1–2. STEINER, Ann (2006), I litteraturens mittfåra: Månadens bok och svensk bokmarknad under 1970-talet (Gothenburg: Makadam). —— (2010),”Personal Readings and Public Texts – Book blogs and Online Writing about Literature”, Culture Unbound. Journal of Current Cultural Research, vol. 2, 2010. —— (2011), ”World Literature and the Book Market”, in The Routledge Companion to World Literature, eds. Theo D haen, David Damrosch & Djelal Kadir (London: Routledge). —— (2012), Litteraturen i mediesamhället, 2nd ed. (Lund: Studentlitteratur). SVEDJEDAL, Johan (2009), “Kritiska tankar. Om litteraturkritiken”. In: Torbjörn Forslid & Anders Ohlsson (eds.), Litteraturens offentligheter, 1. uppl. (Lund: Studentlitteratur). TOMPKINS, Jane P. (1980) (ed.), Reader-response criticism: from formalism to post- structuralism (Baltimore: Johns Hopkins Univ. Press). THOMPSON, John B. (2010), Merchants of culture: the publishing business in the twenty- first century (Cambridge: Polity). TURNER, Graham (2004), Understanding celebrity (London: SAGE). WOODMANSEE, Martha (1994), The author, art, and the market: rereading the history of aesthetics (New York: Columbia University Press). ÅBERG, Carin (1999), The sounds of radio: on radio as an auditive means of communication (diss. Stockholm: Univ.).

Projektdeltagarnas publikationer

TORBJÖRN FORSLID - Select Publications

Monographs:

Fadern, sonen och berättaren. Minne och narrativitet hos Sven Delblanc, Nora: Nya Doxa 2000

Varför män? Om manlighet i litteraturen, Stockholm: Carlsson Bokförlag 2006

Hamlet eller Hamilton? Litteraturvetenskapens problem och möjligheter, Lund: Studentlitteratur 2007 (with Anders Ohlsson)

Fenomenet Björn Ranelid, Malmö: Roos & Tegnér 2009 (with Anders Ohlsson)

Författaren som kändis, Malmö: Roos & Tegnér 2011 (with Anders Ohlsson)

Editor:

Litteraturens offentligheter, eds. T. Forslid & A. Ohlsson, Lund: Studentlitteratur 2009

”Literary Public Spheres” (thematic section), Culture Unbound. Journal of Current Cultural Research, eds. T. Forslid & A. Ohlsson, Volume 2, 2010(www.cultureunbound.ep.liu.se/v2/)

LISBETH LARSSON - Select publications

Monographs:

En annan historia. Om kvinnors läsning och svensk veckopress, Stockholm/ Stehag,: Symposion 1989.

Kvinnors självbiografier och dagböcker i Sverige. Bibliografisk förteckning 1650 – 1989, together with Eva Haettner Aurelius och Christina Sjöblad, Lund: Lund University Press 1991.

Sanning och konsekvens. Marika Stiernstedt, Ludvig Nordström och de biografiska berättelserna, Stockholm: Norstedts 2001

Hennes döda kropp. Victoria Benedictssons arkiv och författarskap, Stockholm: Svante Weylers förlag 2008

Articles:

”Women´s Reading”, Women Studies. International Quaterly, London, 3/1980.

”Trender i svensk veckopress”, Veckopressbranschens struktur och ekonomi, ed Karl Erik Gustafsson, Göteborg 1991

”Det svenska 80-talets manlige agent. Om konsten att datera upp ett gammalt berättelserecept”, Tidskrift för Litteraturvetenskap 2/1991

”Min kiära syster och oförlikneliga Wän! Om 1700-talets svenska press och dess fruntimmerstidskrifter”,I Guds namn, Nordisk kvinnolitteraturhistoria band 1, ed Elisabeth Møller-Jensen, Höganäs:Bra Böcker 1993

"I förtröstan på berättelsen", Bonniers Litterära Magasin 2/1994

”Lace and the Limits of Reading”, Cultural Studies, 8/ 2 May 1994. ed. Lawrence Grossberg

”Compulsory Happy Endings. Virginia Woolfs Ett eget rum i feministisk teori”, Kvinnovetenskaplig tidskrift 1/2003

”Reading as o Woman, Read as a Woman”, The Cambridge Handbook of Literacy, ed David R. Olson and Nancy Torrance, Cambridge UP 2009

”Självbiografi, autofiktion, testimony, lifewriting”, Tidskrift för Genusvetenskap 4/2010

ANDERS OHLSSON - Select publications

Monographs:

Behovet att bli sedd. Existentiell tematik och narrativa strategier i Per Gunnar Evanders författarskap, Stockholm / Stehag: Symposion 1993

Läst genom kameralinsen. Studier i filmiserad svensk roman, Nora: Nya Doxa 1998

"Men ändå måste jag berätta". Studier i skandinavisk förintelselitteratur, Nora: Nya Doxa 2002

Hamlet eller Hamilton? Litteraturvetenskapens problem och möjligheter, Lund: Studentlitteratur 2007 (with Torbjörn Forslid)

Fenomenet Björn Ranelid, Malmö: Roos & Tegnér 2009 (with Torbjörn Forslid)

Författaren som kändis, Malmö: Roos & Tegnér 2011 (with Torbjörn Forslid)

Editor:

Litteraturens offentligheter, eds. T. Forslid & A. Ohlsson, Lund: Studentlitteratur 2009

”Literary Public Spheres” (thematic section), Culture Unbound. Journal of Current Cultural Research, eds. T. Forslid & A. Ohlsson, Volume 2, 2010(www.cultureunbound.ep.liu.se/v2/)

Articles:

"Challenging the ‘Holocaust-reflex’: Imre Kertész’ Fatelessness: A Novel", The Individual Confronts the Masses: Life in Mass Dictatorships in Literature and Cinema, ed Karin Sarsenov & Michael Schoenhgals (2012)

ANN STEINER - Select Publications

Monographs:

I litteraturens mittfåra. Månadens bok och svensk bokmarknad under 1970-talet, Stockholm / Göteborg: Makadam 2006

Litteraturen i mediesamhället, 2nd ed., Lund: Studentlitteratur 2012

Editor:

Interdisciplinary Approaches to Twilight – Studies in Fiction, Media and a Contemporary Cultural Experience, ed. with Mariah Larsson, Lund: Nordic Academic Press 2011

Articles: ”Läsarnas marknad och marknaden läsare – reflektioner över materiella villkor på bokmarknaden”, Läsarnas marknad och marknaden läsare, eds. Ulla Carlsson och Jenny Johannisson, SOU 2012:10

”World Literature and the Book Market”, in The Routledge Companion to World Literature, eds. Theo D haen, David Damrosch och Djelal Kadir, London: Routledge 2011

”Personal Readings and Public Texts – Book blogs and Online Writing about Literature”, Culture Unbound. Journal of Current Cultural Research, vol. 2, 2010

JON HELGASON - Select Publications

Monographs:

Hjärtats skrifter: En brevkulturs uttryck i korrespondensen mellan Anna Louisa Karsch och Johann Wilhelm Ludwig Gleim (diss. Lund, Univ. 2007)

Schriften des Herzens. Briefkultur des 18. Jahrhunderts im Briefwechsel zwischen Anna Louisa Karsch und Johann Wilhelm Ludwig Gleim, Göttingen: Wallstein Verlag 2012

Women’s Letters: Stylistic and Linguistic Features in Women’s Letters before 1800 (co-writers: Eva Hættner Aurelius, Elisabet Hammar, Marie Löwendahl, Lena Olsson, Hedda Gunneng & Börje Westlund) [in print, Lund: Nordic Academic Press 2012]

Editor Ordbok över svenska språket utg. av Svenska Akademien (SAOB) Bd. 35–36 [2009–]

CHRISTIAN LENEMARK - Select Publications

Monographs:

Sanna lögner. Carina Rydberg, Stig Larsson och författarens medialisering, Hedemora/Möklinta: Gidlunds, 2009

Editor:

Litteraturens nätverk. Litteratur och berättande på internet, Lund: Studentlitteratur 2012

Articles:

”Författarbloggar”, in: Litteraturens nätverk. Litteratur och berättande på internet, Christian Lenemark (ed.), Lund: Studentlitteratur 2012, pp. 21–33

”Författaren online. Bloggen som performativ plattform för självframställning”, in: Tidskrift för litteraturvetenskap 2007:4 , pp. 51–61