The programming of cultural events (literary festivals) in the cities of Vale do Paraíba (São Paulo, Brazil) often includes the participation of local literary authors. Thus, this paper intents to ...analyse how the participant fiction authors and poets articulate their creative process to these events. The main objective is to understand if and how the participation in these events impacts the fictional and poetic creation, the entry into the publishing circuit and the possibility of reaching and dialoguing with more readers. To understand this cultural phenomenon, the research is guided by the theoretical conceptions of Candido (2000) and Even-Zohar (2013), about literary systems, and Schollhammer (2009), about contemporary literature. The results reveal that these events represent for the authors the possibility to divulge their works and have contact with the readers, although they express that the creative process is not always impacted by contact with the public.
Literary events, recognizing literary genres and their periodization, and studying the developments that have occurred in each period, are the critical issues pursued in the history of literature. In ...the present article, the Russian Orientalist space has been chosen as the subject of study because it provided an opportunity for Russian thinkers in the Soviet constraints to combine the tradition of Russian methodology and the broader horizons of literature with an acquaintance with the literature of Eastern nations. Here, on the one hand, an attempt has been made to formulate the methods used in the historiography of literature by Russian orientalists. On the other hand, the orientalist space has been proposed as a window that can guide the searcher from a limited and appropriate point of view to get acquainted with the methodology of the history of literature in Russian circles.
Os eventos literários, reconhecendo os gêneros literários e sua periodização, e estudando os desenvolvimentos ocorridos em cada período, são as questões críticas perseguidas na história da literatura. No presente artigo, o espaço orientalista russo foi escolhido como objeto de estudo porque proporcionou aos pensadores russos nas restrições soviéticas uma oportunidade de combinar a tradição da metodologia russa e os horizontes mais amplos da literatura com um conhecimento da literatura oriental. nações. Aqui, por um lado, foi feita uma tentativa de formular os métodos usados na historiografia da literatura pelos orientalistas russos. Por outro lado, o espaço orientalista tem sido proposto como uma janela que pode guiar o pesquisador de um ponto de vista limitado e adequado para se familiarizar com a metodologia da história da literatura nos círculos russos.
Los hechos literarios, el reconocimiento de los géneros literarios y su periodización, y el estudio de los desarrollos ocurridos en cada período, son los temas críticos que se persiguen en la historia de la literatura. En el presente artículo, el espacio orientalista ruso ha sido elegido como tema de estudio porque brindó una oportunidad a los pensadores rusos en las limitaciones soviéticas para combinar la tradición de la metodología rusa y los horizontes más amplios de la literatura con un conocimiento de la literatura oriental. naciones. Aquí, por un lado, se ha intentado formular los métodos utilizados en la historiografía de la literatura por los orientalistas rusos. Por otro lado, el espacio orientalista se ha propuesto como una ventana que puede orientar al buscador desde un punto de vista limitado y adecuado a familiarizarse con la metodología de la historia de la literatura en los círculos rusos.
Do ticketing data and national survey data on attendance tell the same story? This question is particularly important in the context of debates over the power of new forms of data to supplant the ..."traditional" survey methods that have underpinned our understanding of the social stratification of culture. This paper compares three data sources on attendance: the Active Lives Survey, the Taking Part Survey, and Audience Finder. We first compare self-reported attendance at events in each English local authority from the Active Lives survey with ticket sales data, finding a close relationship. We follow up by comparing the distributions of ticket buyers across the Indices of Multiple Deprivation with those from Taking Part, finding that for widely-ticketed and widely-attended art forms they track closely together, providing support for existing trends. Ticketing data does not seem to offer more information on social stratification than traditional social science sources. However, we extend the comparison through more detailed analysis of subcategories within less well-researched forms - literature and dance events - where numbers of attendees are lower, with accompanying uncertainty in survey sources. We find that the audiences for dance vary widely, with ballet attendance being heavily socially stratified but attendance at contemporary dance much more similar to the general population. However, we find that audiences for literature events are more heavily socially stratified than almost any other art form, almost regardless of the subcategory. The power of new datasets is in offering specificity about artforms, rather than overturning what we know about culture and inequality.
La notion d’événement littéraire est née au dix-neuvième siècle, au moment où la littérature se constitue en objet historique, cependant que la médiatisation croissante du champ culturel entraîne des ...pratiques et des stratégies radicalement nouvelles. La conception événementielle de la littérature met au premier plan les critères d’écart, d’originalité ou de rupture, que ce soit dans l’appréhension des chefs-d’œuvre du passé ou la réception des productions contemporaines : la reconnaissance de ce qui fait événement engage nécessairement une (re)définition de la littérature. Question lourde d’enjeux, au moment où l’essor de la presse et les bouleversements du marché culturel imposent des règles inédites, souvent ressenties comme traumatisantes : la valeur d’une œuvre est-elle réductible à son impact événementiel ? celui-ci constitue-t-il une instance de légitimation ? un événement littéraire est-il encore possible dans le système éditorial moderne qui s’esquisse alors ? Le débat est aussi complexe que décisif : il questionne les effets sociaux de la littérature, et, au-delà, son possible impact sur l’histoire. L’événement littéraire oblige à se demander ce qu’est, ce que vaut, ce que fait la littérature.
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