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Jean Webb

Abstract

The films Alice in Wonderland (Tim Burton, 2010) and Paddington (Paul King, 2014) are re-workings of well-known English children’s books taking the texts in new directions. Each film has an underlying theme of the experience of the migrant.

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Emilia Ohar

Abstract

The chapter discusses the children’s new media, especially the children’s e-book, drawing extensively on the example of Ukrainian experience. It describes the pre-conditions of the dissemination of new media and communication technologies in Ukraine, and outlines perspectives for the development of such media of children’s literature in terms of publishing factors and broad cultural aspects, in particular the culture of consumption of e-books by young Ukrainians and their parents. These issues are addressed in the context of interaction of traditional book culture and new digital culture.

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Kinga Kasperek

Abstract

This chapter aims to present selected mechanisms which govern amateur criticism on the Polish Internet. The author is particularly interested in the blog-posted reviews and the criteria serving to distinguish between amateur critics and professional reviewers on the Polish Internet. She compares bloggers’ book reviews with ones by professional critics and indicates relevant style differences. She also delves into the amateurs’ competence and motivation, as well as discusses the reliability of bloggers, pointing to their collaboration with publishers in the process of writing reviews. She concludes that, due to the urge that bloggers adapt to their readers’ expectations, amateur criticism on Polish blogs follows different rules: the report about a book is far more important than its interpretation, the language is less demanding, and the assessment is superficial. Nevertheless, the Internet amateurs enjoy more trust than professional critics, due to the formers’ reliability, which may seem paradoxical given their commercial collaboration with some publishers.

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Michael Joyce

Abstract

In the shadow of the first of two recent, horrific terrorist attacks upon Paris, and responding to Szymborska’s injunction in “Children of Our Age” that “all affairs – yours, ours, theirs – are political affairs,” this chapter sets her poem in dialogue with both an online 2014 Vinevideo featuring the digital artist King Bach and Blanchot’s essay“ Rousseau” to summon digital media toward substantive political and cultural changes once central to artistic practice. Szymborska’s insistence that “whatever you don’t say speaks for itself,” and that “even when you take to the woods/you’re taking political steps,” provides a context for this summons as does Blanchot’s notion that Rousseau risked his true nature in confronting a double bind between succumbing to the “evil” of writing and the “lie of literature,” and giving over to a “ravishing change” of “a new enthusiastic relationship with truth, freedom, and virtue.” The chapter argues that digital media must likewise risk recovering its initial idealistic fervor to likewise engage its audiences in something other than interactions that make no mark in the real world, instead presenting entanglements of the sort physicist and philosopher Karen Barad speaks of wherein “‘past’ and ‘future’ are iteratively reconfigured and enfolded through the world’s ongoing intra-activity.”

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Indrė Žakevičienė

Abstract

The aim of this chapter is to ponder upon the problem of narrative, genre and the reader’s cognitive characteristics or abilities to respond to the text in the realms of digital media and print literature. The influence of the digital medium on print literature is discussed drawing on the concept of narrative proposed by Marie-Laure Ryan. The examples of texts by Mantvydas Leknickas and Vytautas Martinkus reveal mutual relations between the digital medium and particular genres. In the context of Lithuanian literature, virtual space and ability to demonstrate creativity that awakens readers’ cognitive capacities can be treated as a background against which various new forms of print literature emerge. The reader’s role in contemporary literature is ambiguous as sometimes s/he appears as a dictator while on other occasions s/he turns into the consumer of digital products or even into the creator of the poet, as is the case with Leknickas. The dictator’s role is more vivid in the context of authorial genre selection: prose is more popular than poetry, and the novel is more involving and easier saleable than the short story.

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Barbara Kaszowska-Wandor

Abstract

The chapter focuses on the growing popularity of horror aesthetics in new forms of literature as defined by the changed conditions of its material production and reception. An attempt is made to reveal the links between the horror imagination and the growing importance of haptic aesthetics and the haptic modality of reading.

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Agata Zarzycka

Abstract

The aim of this chapter is to analyze various contemporary appropriations of the figure of Edgar Alan Poe in order to reflect upon the multivocality and complexity of the discursive environment generated by convergence culture. Poe as a cult figure wanders from the realm of canonic literature to subcultural Gothic aesthetics and pop cultural appropriations, to the sphere of participatory practices culminating in the Internet-supported nerdcore movement. Thus, the literary origin of Poe’s popularity is recontextualized in a flexible network of audience-based phenomena, which exemplifies productive exchange between mainstream media and cultural niches. In the process of such exchange, the realm of convergence plays with the cultural significance of literature, which becomes not so much a final confirmation of as rather a precondition for the expansion and diversification of the Poe icon’s cultural relevance.

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Edited by Irena Barbara Kalla, Patrycja Poniatowska and Dorota Michułka

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Maciej Jakubowiak

Abstract

Critical reflection on copyright (authors’ rights) law – its genealogy, structures, and cultural effects – often leads to a kind of utopian thinking that creates visions of the future affected by changes or shifts in the foundations of the copyright protection system. This urge can be observed, for example, in Benjamin Kaplan’s Unhurried View of Copyright (1967) and in Michel Foucault’s “What is an Author?” (1968). This kind of utopian drive is also pronounced in the “Future of Copyright” contest organized by the Modern Poland Foundation. It is symptomatic that the question about the future of copyright was posed in terms of literary production because, specifically, as it is widely recognized, the future of copyright will not depend on literature, but rather on digital media. It is literature, though, that created the conceptual foundation of modern copyright regimes. This chapter analyzes the peculiarity of copyright law’s relations to literature and its drive to futuristic visions, as well as the specific connection of the legal framework and a particular technology of cultural production and their common notions.

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Edited by Irena Barbara Kalla, Patrycja Poniatowska and Dorota Michułka