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This work in the field of digital literary stylistics and computational literary studies is concerned with theoretical concerns of literary genre, with the design of a corpus of nineteenth-century Spanish-American novels, and with its empirical analysis in terms of subgenres of the novel. The digital text corpus consists of 256 Argentine, Cuban, and Mexican novels from the period between 1830 and 1910. It has been created with the goal to analyze thematic subgenres and literary currents that were represented in numerous novels in the nineteenth century by means of computational text categorization methods. The texts have been gathered from different sources, encoded in the standard of the Text Encoding Initiative (TEI), and enriched with detailed bibliographic and subgenre-related metadata, as well as with structural information. To categorize the texts, statistical classification and a family resemblance analysis relying on network analysis are used with the aim to examine how the subgenres, which are understood as communicative, conventional phenomena, can be captured on the stylistic, textual level of the novels that participate in them. The result is that both thematic subgenres and literary currents are textually coherent to degrees of 70–90 %, depending on the individual subgenre constellation, meaning that the communicatively established subgenre classifications can be accurately captured to this extent in terms of textually defined classes. Besides the empirical focus, the dissertation also aims to relate literary theoretical genre concepts to the ones used in digital genre stylistics and computational literary studies as subfields of digital humanities. It is argued that literary text types, conventional literary genres, and textual literary genres should be distinguished on a theoretical level to improve the conceptualization of genre for digital text analysis. / Diese Arbeit ist in den Forschungsfeldern der digitalen literaturwissenschaftlichen Stilistik und der Computational Literary Studies angesiedelt und setzt sich mit theoretischen Gattungsproblemen, mit der Erstellung eines Korpus von hispanoamerikanischen Romanen des 19. Jahrhunderts und mit ihrer empirischen Analyse nach Untergattungen auseinander. Das digitale Textkorpus umfasst 256 argentinische, kubanische und mexikanische Romane aus der Zeit von 1830 bis 1910 und ist mit dem Ziel erstellt worden, thematische Untergattungen und literarische Strömungen, die im 19. Jahrhundert durch zahlreiche Romane repräsentiert waren, mit Hilfe computergestützter Methoden der Textkategorisierung zu analysieren. Um die Texte zu kategorisieren werden Verfahren der statistischen Klassifikation und eine Familienähnlichkeitsanalyse verwendet, die auf einer Netzwerkanalyse basiert. Das Ziel der Analysen ist es zu untersuchen inwieweit die Untergattungen, die primär als Phänomene der Kommunikation und Konvention verstanden werden, auf der stilistischen, textlichen Ebene der Romane, die an ihnen teilhaben, erfasst werden können. Das Ergebnis ist, dass sowohl die thematischen Untergattungen als auch die literarischen Strömungen zu 70–90 % textlich kohärent sind, in Abhängigkeit der gewählten Untergattungskonstellation, womit gemeint ist, dass die kommunikativ etablierten Untergattungsklassifikationen in diesem Maß an Genauigkeit auch als textlich definierte Klassen erfasst werden können. Über die empirische Ausrichtung hinaus ist ein weiteres Ziel, literaturtheoretische Gattungskonzepte zu denjenigen in Beziehung zu setzen, die in der digitalen Gattungsstilistik als einer Teildisziplin der Digital Humanities verwendet werden. Es wird argumentiert, dass literarische Texttypen, konventionelle literarische Gattungen und textliche literarische Gattungen auf einer theoretischen Ebene unterschieden werden sollten, um die Konzeption von Gattung für die digitale Textanalyse zu verbessern. / Este trabajo en el campo de la estilística literaria digital y los estudios literarios computacionales se ocupa de las preocupaciones teóricas del género literario, del diseño de un corpus de novelas hispanoamericanas del siglo XIX y de su análisis empírico en términos de subgéneros de la novela. El corpus de textos digitales consta de 256 novelas argentinas, cubanas y mexicanas del período comprendido entre 1830 y 1910. Ha sido creado con el objetivo de analizar los subgéneros temáticos y las corrientes literarias que estaban representadas en numerosas novelas del siglo XIX mediante métodos de categorización computacional de textos. Para la categorización de los textos se utiliza una clasificación estadística y un análisis de semejanza familiar basado en el análisis de redes, con el fin de examinar cómo los subgéneros, entendidos como fenómenos comunicativos y convencionales, pueden ser captados en el plano estilístico y textual de las novelas que participan en ellos. El resultado es que tanto los subgéneros temáticos como las corrientes literarias son textualmente coherentes en grados del 70–90 %, dependiendo de la constelación individual de subgéneros, lo que significa que las clasificaciones de subgéneros establecidas comunicativamente pueden ser capturadas con precisición hasta este punto en términos de clases textualmente definidas. Además del enfoque empírico, la disertación también pretende relacionar los conceptos teóricos de género literario con los utilizados en la estilística de género digital y los estudios literarios computacionales como subcampos de las humanidades digitales. Se argumenta que los tipos de texto literario, los géneros literarios convencionales y los géneros literarios textuales deberían distinguirse a nivel teórico para mejorar la conceptualización del género para el análisis de textos digitales.

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This thesis draws on the theory of new materialism to posit an alternative approach to cultural heritage digitization. Modifying the method of critical digitization and synthesizing it with the method of thick description for the study of damaged cultural heritage, this thesis proposes the method weird digitization which seeks to challenge traditional selection criteria for cultural heritage digitization as well as challenging practices of mass digitization. Seeking to identify the cultural heritage objects that may be overlooked using traditional selection criteria as well as ones that may pose challenges to digitization, this approach seeks to highlight the value of damaged or otherwise “weird” cultural heritage while exploring how the digitization of these materials may practically be undertaken. This approach is practically assessed through the exploratory digitization and analysis of selected damaged photographs in the IKFF (Internationella Kvinnoförbundet för Fred och Frihet) collection housed within the KvinnSam (the Swedish National Resource Library for Gender Studies) archive at the Gothenburg University Library. The discussion explores the pragmatic, affective, and artistic benefits of such an approach to cultural heritage digitization.

This thesis explores the remarkable dearth of old woman narrators in British fiction between 1790 and 1860, both documenting their under-representation and explaining it as, in part, a product of a wave of medical discourse disparaging the physical and mental vitality of post-menopausal women. Regarding methodology, I perform a random sample upon a corpus of first-person novels published in the period and categorize each according to the gender and age of the narrator. This analysis exhibits, unsurprisingly, that most narrators in the dataset are either in the first half of their life, male, or both. Old women represent only a fraction of the narrators in the set. Regarding explanation, I point to widely cited and republished writings of physicians from the late eighteenth- and early nineteenth-century. These documents suggested that menopause, though often occurring in what we today would consider middle age, marked the onset of female senescence. After this "change of life," as it was euphemistically termed, women who did not mellow and recede as expected were seen as transgressing biological "laws" that prohibited their bodies from biological reproduction. And as the biological was often conflated with the social, post-menopausal women were also, by extension, sometimes thought unfit for creative or literary production. Though such medical discourse is by no means the only influence on this era's marginalization of older women, it is a significant one that merits further study. By investigating how gyno-gerontological discourse came to bear on the inclusion--or rather, exclusion--of old female narrators within nineteenth-century fiction, this thesis contributes to a growing body of works within literary gerontology. The hope is that as literary gerontology continues to expand as a field of study, more scholars, students, and eventually general readers will become more conscious of the obstacles and frustrations faced by older generations--especially older women--in a world that, even by means of institutions as apparently disinterested as medicine and health care, is constantly overlooking, demeaning, or sidelining their experiences in favor of those of the young.

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<p>This dissertation proposes a definition and methodology to analyze the literary canon: the canon is the set of producers and products that accumulate the greatest amount of literary capital granted by institutions of consecration. In this concept, two categories are fundamental: literary capital and institutions. Literary capital refers to objectivations of literary value: manifestations of the agreement on the importance of authors and their literary work (inclusions in reading lists, awards and prizes, mentions in literary histories, among others). Institutions are communities that participate in literary activity; they are governed by norms and exercise power over other agents.</p> <p>This theoretical framework allows for the examination of the canon formation in literary criticism, anthologies, and Wikipedia. The accumulation of capital explains the existence of three positions within the Peruvian literary field: consecrated, legitimized, and aspiring writers. Furthermore, trajectory of capital is a concept that elucidates the changes in literary value. An ascending or descending trajectory shows when a writer's prestige has increased or decreased over time. Institutions located inside or outside the literary field is the basis for positing the difference between prestige and popularity: both concepts have a similar functioning, but literary agents have little or no involvement in the latter.</p>