Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
72
result(s) for
"Brouillette, Sarah"
Sort by:
UNESCO and the Fate of the Literary
A case study of one of the most important global institutions of cultural policy formation, UNESCO and the Fate of the Literary demonstrates the relationship between such policymaking and transformations in the economy. Focusing on UNESCO's use of books, Sarah Brouillette identifies three phases in the agency's history and explores the literary and cultural programming of each. In the immediate postwar period, healthy economies made possible the funding of an infrastructure in support of a liberal cosmopolitanism and the spread of capitalist democracy. In the decolonizing 1960s and '70s, illiteracy and lack of access to literature were lamented as a \"book hunger\" in the developing world, and reading was touted as a universal humanizing value to argue for a more balanced communications industry and copyright regime. Most recently, literature has become instrumental in city and nation branding that drive tourism and the heritage industry. Today, the agency largely treats high literature as a commercially self-sustaining product for wealthy aging publics, and fundamental policy reform to address the uneven relations that characterize global intellectual property creation is off the table. UNESCO's literary programming is in this way highly suggestive. A trajectory that might appear to be one of triumphant success—literary tourism and festival programming can be quite lucrative for some people—is also, under a different light, a story of decline.
eBook
Postcolonial writers in the global literary marketplace
Combining analysis with detailed accounts of authors' careers and the global trade in literature, this book assesses how postcolonial writers respond to their own reception and niche positioning, parading their exotic otherness to metropolitan audiences, within a global marketplace.
eBook
Literature and the Creative Economy
This book contends that mainstream considerations of the economic and social force of culture, including theories of the creative class and of cognitive and immaterial labor, are indebted to historic conceptions of the art of literary authorship. It shows how contemporary literature has been involved in and has responded to creative-economy phenomena, including the presentation of artists as models of contentedly flexible and self-managed work, the treatment of training in and exposure to art as a pathway to social inclusion, the use of culture and cultural institutions to increase property values, and support for cultural diversity as a means of growing cultural markets.
Contemporary writers have tended to explore how their own critical capacities have become compatible with or even essential to a neoliberal economy that has embraced art's autonomous gestures as proof that authentic self-articulation and social engagement can and should occur within capitalism. Taking a sociological approach to literary criticism, Sarah Brouillette interprets major works of contemporary fiction by Monica Ali, Aravind Adiga, Daljit Nagra, and Ian McEwan alongside government policy, social science, and theoretical explorations of creative work and immaterial labor.
eBook
Wattpad, Platform Capitalism, and the Feminization of Publishing Work
In emphasizing horizontal connections and complex networks, the entertainment ecosystem approach risks overlooking the determining force of platform capitalism on the nature of cultural experience today, while evacuating any real critique of the effects of social media on the behaviors and mentalities of readers and writers.4 I embrace Simone Murray's caution in her work on authorship in the digital age: that we must not \"retrofit\" transformation in the book industry with \"a discourse of authorial empowerment\" that helps pave the way \"for authors to shoulder more of the financial and time burden for publicizing and marketing their own work.\" \"7 If they depend upon advertising for their revenue—YouTube, Facebook, Twitter (now X), Instagram, and Wattpad all do—this revenue is \"generated through the extraction of data from users' activities online, from the analysis of those data, and from the auctioning of ad space to advertisers. [...]it represents to date the most notable incursion into the book industries of increasingly dominant platform capitalist techniques of data collection and content shaping—techniques that, in this case, prey upon the needs of readers and writers, especially young women. In 2019 Wattpad boasted more than 70 million users, most of them young women between the ages of 13 and 35.10 In an interview in 2016, Wattpad's Ashleigh Gardiner, now Senior Vice President and Managing Director of Global Publishing, estimated that 45 per cent of the platform's users are between the ages of 13 and 18, with another 40 per cent between 18 and 30.11 Ostensibly one in three US teen girls is using Wattpad.12 By Gardiner's account, 85 per cent of Wattpad users read material using their mobile devices.13 The privileged Wattpad form is the serial novel uploaded one chapter at a time, usually in about weekly installments.
Journal Article
LITERATURE AND GENTRIFICATION ON BRICK LANE
Monica Ali's BricJ Lane (2003) was clearly the most visible.8 She received a sizable advance for the novel, it was on the best- sel 1er lists for nearly a year, the hardcover sold 150,000 copies, and it was nominated for all the major literary prizes.9 Meanwhile, provoked in part by these successes, a group of angry men who presented themselves as residents of the neighborhoods around the real Brick Lane, the high street of the Bangladeshi area of the East End, staged protests and wrote letters condemning the novel, declaring anger at Ali's depiction of the area, at her tenuous connection to it, and later at the prospect that their ward might be used to shoot the 2007 book-to-film project. [...] by taking issue with the nature of the novel's representation, and doing so both publicly and loudly, these community spokespeople used the Brick Lane controversy as a means of attracting attention to themselves as area leaders, delimiting community affiliation by designating insiders and outsiders, and attempting to constrain the nature, ownership, content, and meaning of the intellectual property that found its market footing in the uniqueness of its reference to the area.
Journal Article
Romance Work
This article studies the relative success of the mass-market romance industry. It argues that, in conditions of general economic downturn, supports for the cultivation of literary reading have declined, while inducements to romance reading have strengthened. It considers the centrality of self-publishing to romance reading, and the styles of work available to romance writers, most of whom are women and are usually poorly remunerated. It considers, finally, the contemporary romance heroine, treating her as a figure of fantastical symbolic reconciliation: between a liberal ideal of independent empowerment and the reality of persistent compulsion toward coupledom and subservience.
Journal Article
UNESCO and the Book in the Developing World
This article establishes the importance of UNESCO’s role within the global history of the book. Its focus is the research on the book in the developing world that UNESCO sponsored in the 1960s and 1970s, and how that research supported claims that government should intervene in book and media industries in order to shift the disastrous imbalance in the global media system. It shows how these claims were undermined by the interests of the developed world and sidelined by the emerging discipline of book history.
Journal Article
Sex and Revolution, Inc
Glass suggests that by targeting a growing college and university population with quality paperback books, and by creating an identifiable countercultural brand to which readers swore allegiance, Grove succeeded in both democratizing and incorporating the avant-garde. [...]if, as Serge Guilbaut maintains, abstract expressionist painting became a tool for consensus building just after WWII, selling American intellectuals on the idea that they lived in a nation that earned its political dominance through cultural sophistication, Grove’s success prompted and reflected a subsequent moment: the 1960s breach of that consensus by the rise of the New Left and countercultural movements, in which experimental artists rearticulated the aesthetic to the political. In Glass’s treatment, the idea of the “modern classic” emerged in the courtroom as an aid to the legal defense and commercial promotion of Lady Chatterley’s Lover, Tropic of Cancer, and Naked Lunch. The result was a niche market in which literature intended for adults and sold as “underground” would not be deemed obscene because its likely audience would not be scandalized by it.
Journal Article