"By casting the collection explicitly as an outreach to the larger community of Americanists---not primarily those who self-identify as 'digital scholars'---Earhart and Jewell have made an important choice, and one that will likely make this a landmark publication."
---Andrew Stauffer, University of Virginia
The American Literature Scholar in the Digital Age, which features a wide range of practitioner-scholars, is the first of its kind: a gathering of people who are expert in American literary studies and in digital technologies, scholars uniquely able to draw from experience with building digital resources and to provide theoretical commentary on how the transformation to new technologies alters the way we think about and articulate scholarship in American literature. The volume collects articles from those who are involved in tool development, usability testing, editing and textual scholarship, digital librarianship, and issues of race and ethnicity in digital humanities, while also situating digital humanities work within the larger literary discipline. In addition, the volume examines the traditional structures of the fields, including tenure and promotion criteria, modes of scholarly production, the skill sets required for scholarship, and the training of new scholars.
The American Literature Scholar in the Digital Age will attract practitioners of digital humanities in multiple fields, Americanists who utilize digital materials, and those who are intellectually curious about the new movement and materials.
Amy E. Earhart is Assistant Professor in the Department of English at Texas A&M University.
Andrew Jewell is Associate Professor of Digital Projects, University Libraries, at the University of Nebraska–Lincoln.
Cover art: Book background ©iStockphoto.com/natashika
digitalculturebooks is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.
Simultaneously transnational and local, poetry in the twenty-first century is produced across digital networks, shaped through local communities, and evaluated on a global scale. It might start on social media, where a video of a poet circulates and goes viral, gaining international attention without ever going through traditional modes of publication. In Networked Poetics, Susanna L. Sacks introduces readers to the southern African poetry scene in Malawi, Zimbabwe, and South Africa, illustrating how contemporary poetry is shaped, from inception to canonization, by the influence of digital media publication.
Interweaving ethnographic observation and extensive literary analysis, Sacks demonstrates that, as more artists in Africa reach wider audiences through online publication, poetic form has shifted to reflect social media’s aesthetic norms of urgency, immediacy, and populism. These changes have, in turn, challenged elite processes of valuation, forcing literary institutions like prizes, festivals, and curricula to accommodate the digital turn.
What happens to literature in an age of digital technology? Regards Croisés: Perspectives on Digital Literature provides an answer, with a collection of cutting-edge critical essays on literature gone digital. Regards Croisés is an important addition to existing research on digital literature, and will appeal to scholars of electronic writing, digital art,humanities computing, media and communication, and others interested in the field. It offers a significant advance in the field through its wide-angle perspective that globalizes digital literature and diversifies the current critical paradigms. Regards Croisés shows how digital literature connects with traditions and future directions of reading and writing communities all over the world. With contributions by authors from eight countries and three continents, the collection presents points of view on a transcontinental practice of digital literature. Regards Croisés also opens dialogues with expanded critical paradigms of digital literature, beyond earlier critical concern with the aesthetics of the screen as a space of hypertext links. Many of the essays recognize a rich history and ongoing literary practice engaged with the basic fact of the computer as a programmable device. Other essays explore the latest developments in social media and Web 2.0 as venues for digital literature. Regards Croisés shows the vibrant engagement of writers and readers with literary practice in a digital world.
Rukmini Pande’s examination of race in fan studies is sure to make an immediate contribution to the growing field. Until now, virtually no sustained examination of race and racism in transnational fan cultures has taken place, a lack that is especially concerning given that current fan spaces have never been more vocal about debating issues of privilege and discrimination.
Pande’s study challenges dominant ideas of who fans are and how these complex transnational and cultural spaces function, expanding the scope of the field significantly. Along with interviewing thirty-nine fans from nine different countries about their fan practices, she also positions media fandom as a postcolonial cyberspace, enabling scholars to take a more inclusive view of fan identity. With analysis that spans from historical to contemporary, Pande builds a case for the ways in which non-white fans have always been present in such spaces, though consistently ignored.
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