L’ambition de ce travail est de définir les conditions de possibilité d’une sociologie des œuvres littéraires. Cette démarche est illustrée par l’analyse des articles politiques, critiques littéraires et œuvres romanesques de l’écrivain Maurice Blanchot, de la période de l’entre-deux-guerres à la fin de la seconde guerre mondiale. La sociologie des œuvres littéraires doit être en mesure de produire une analyse de la forme et du contenu des œuvres. C’est en inscrivant notre travail dans la tradition compréhensive que nous tentons de dépasser les obstacles épistémologiques et méthodologiques d’une telle perspective. La compréhension des œuvres et du sens de la pratique littéraire de Blanchot passe par la reconstruction de ses expériences socialisatrices : son histoire de famille, son rapport au corps, à la maladie et à l’amour. Nous posons aussi que son passage à l’extrême droite et sa conception radicale de la pratique littéraire procèdent du même malaise existentiel. / The aim of this work is to define the conditions of possibility of a sociological approach applied to literary works. That approach is illustrated by the analysis of political and literary articles, and novels of the writer Maurice Blanchot, from the inter-war period to the end of the Second World War. We define sociology of literary works as an approach that must be able to produce knowledge about both content and style. We postulate that the theoretical framework of interpretive sociology is the most likely to answer the epistemological and methodological obstacles of such a perspective. We try to evidence that the understanding of the literary works and the literary practice of Blanchot can be achieved by the reconstruction of his socialization experiences: his family history, his relation to his body, to illness and to love. We also postulate that his political commitment at the far right and his radical view of literary practice are based on the same existential unease.

Abstract The aim of the study is to indicate the role of fiction in the institutionalisation and subsequent developments of the Finnish public library in view of the traditions of literary sociology and organisation studies. To indicate and open this connection, the study depicts the relationship of professional librarianship in the public library to the literary system, and scrutinises the options this cultural and historical connection could provide to both the public library and other agents of the literary system today and in the future. The public library acquires, stores, intermediates, and advances fiction, using methods developed as a kind of innovation, and spread from one country to another as a result of the institutional isomorphic change. The public library emerged in the 19th century to fulfil informational-educational aims, but it developed quickly into the library or the readers. In view of this study, the questions of book selection of fiction in particular became a challenge for the public libraries that had to make compromises demanded by their environments. Later, in the 1960s, the challenges related to fiction in public libraries became more typically social. The library’s functions and tasks started to widen, and fiction became only one type of material among others—though still one favoured by the users of the library. Within the public library too, as well as within the literary field, one still discussed the criteria of fiction selection in the 1980s. The role of the public library as a cultural agency further weakened in the 1990s, when new tasks based on the objectives of the information society were posed to the library. In light of this and in view of the modern hybrid library, fiction and all printed material started to seem old-fashioned. In the 2000s, one indeed started to build the public library as a modern service agency where the significance of the space was emphasised at the expense of the collection. The study indicates that by emphasising the particular role of the public library as an agent of the literary system, one perhaps could enrich the whole literary system and its concept as well as affect the legitimacy and sufficiency of the resources of small libraries especially. / Tiivistelmä Tutkimuksen tarkoitus on osoittaa kirjallisuussosiologisen ja organisaatiotutkimuksen tutkimusperinteitä hyödyntäen, minkälainen rooli kaunokirjallisuudella on erityisesti suomalaisen yleisen kirjaston institutionalisoitumisessa sekä myöhemmässä kehityksessä. Yhteyden osoittamiseksi ja avaamiseksi kuvaillaan yleisen kirjaston ja kirjastoammatillisuuden suhdetta kaunokirjalliseen järjestelmään, sekä tarkastellaan mahdollisuuksia, joita tämä kulttuurinen ja historiallinen sidos voi tarjota tänä päivänä ja tulevaisuudessa sekä yleiselle kirjastolle että kirjallisen järjestelmän muille toimijoille. Yleinen kirjasto hankkii, säilyttää, välittää ja edistää kaunokirjallisuutta käyttäen eräänlaisina innovaatioina kehittyneitä erityisiä menetelmiä, jotka ovat levinneet maasta toiseen yleisen kirjaston ja kirjastoammatillisuuden institutionaalisen samankaltaistumisen seurauksena. Yleinen kirjasto syntyi 1800-luvulla toteuttamaan tiedollis-sivistyksellisiä päämääriä, mutta nopeasti siitä kehittyi lukijoiden kirjasto. Tämän tutkimuksen näkökulmasta erityisesti kertomakirjallisuuden kirjavalinnan kysymyksistä tulikin yleiselle kirjastolle haaste, jossa jouduttiin tekemään toimintaympäristöstä johtuvia kompromisseja. Myöhemmin 1960-luvulla yleisen kirjaston kaunokirjallisuuteen liittyvät haasteet muuttuivat enemmän yhteiskunnallisiksi. Sen toimintoja ja tehtäväkenttää alettiin laajentaa, ja kaunokirjallisuudesta tuli kirjastossa vain yksi – tosin kirjastonkäyttäjien edelleen suosima – aineisto. Tosin sekä yleisen kirjaston sisällä että kirjallisella kentällä keskusteltiin vielä 1980-luvullakin kaunokirjallisen kokoelman valintakriteereistä. Yleisen kirjaston asema kulttuurilaitoksena heikkeni edelleen, kun 1990-luvulla kirjastolle asetettiin tietoyhteiskunnan tavoitteiden mukaisia uusia tehtäviä. Kaunokirjallisuus ja koko painettu kirjallisuus aineistona alkoivat tässä valossa ja modernin hybridikirjaston näkökulmasta näyttäytyä vanhanaikaisina. Yleisestä kirjastosta alettiinkin 2000-luvulla rakentaa modernia palvelulaitosta, jossa tilan merkitys korostui kokoelman kustannuksella. Tutkimuksessa osoitetaan, että korostamalla yleisen kirjaston erityislaatuista roolia kirjallisen järjestelmän toimijana voitaisiin rikastuttaa koko kirjallista järjestelmää ja sen käsitettä sekä mahdollisesti lisätä erityisesti pienten kirjastojen legitimiteettiä ja resurssien riittävyyttä.

Master's thesis describes the work of Bedřich Václavek in historical and sociological perspective. Bedřich Václavek was leading Marxist theorist, critic, esthetician, Germanist and folklorist. Its individual parts are treated at this thesis, like the evidence of his intellectual transformations over time. Emphasis is placed on a chronological line, which is accompanied by Václavek's work (criticism, theories, reflections, contributions in journals, collections and letter-writer). Thesis focuses primarily on the apparent controversy in his works, where it comes to transitions from one artistic direction of a second, while takes into account the historical background reflecting the social situation on which Václavek responds. Theses tried to offer a comprehensive view of the versatility of Václavek's works, but also for his detailed biography, especially from birth and throughout the study (until 1922), which is the period when constructing patriotic thoughts and relationship to folklore. Master's thesis offers a view of Václavek's contribution to the sociology of literature, what was the inspiration for some colleagues of Václavek and his followers. Key words: sociology of literature, Bedřich Václavek, criticism, social realism, folklore, Olomouc and Václavek.

Master's thesis describes the work of BedřichVáclavek in historical and sociological perspective. BedřichVáclavek was leading Marxist theorist, critic, esthetician, Germanist and folklorist. Its individual parts are treated at this thesis, like the evidence of his intellectual transformations over time. Emphasis is placed on a chronological line, which is accompanied by Václavek's work (criticism, theories, reflections, contributions in journals, collections and letter-writer). Thesis focuses primarily on summarizing on his work, where it comes to transitions from one artistic direction of a second, while takes into account the historical background reflecting the social situation on which Václavek responds. Theses tried to offer a comprehensive view of the versatility of Václavek's works, but also for his detailed biography, especially from birth and throughout the study (until 1922), which is the period when constructing patriotic thoughts and relationship to folklore. Master's thesis offers a viewofVáclavek'scontribution to the sociology ofliterature, whatwastheinspirationforsomecolleaguesof Václavek and hisfollowers. Keywords: sociology ofliterature, Bedřich Václavek, criticism, socialrealism, folklore, Olomouc and Václavek.

Paru en 2010, l’album 4,99 du groupe Alaclair Ensemble est reconnu par la critique comme l’acte fondateur du « post-rap », ou « nouveau rap québ », qui rassemble également les formations Dead Obies et Loud Lary Ajust. Alaclair Ensemble remplace ce terme par le néologisme « post-rigodon », ce qui annonce la dimension ludique de l’écriture du groupe ainsi que son mélange du rap et de la tradition québécoise. Comme le préfixe « post » indique l’emploi d’une « logique de la distinction » (Dubois, 1986, p. 44) par rapport au genre du rap, ce mémoire a pour objectif de décrire la singularité de l’esthétique « post-rigodon » d’Alaclair Ensemble et de saisir l’éthos du groupe ainsi que la « posture d’auteur » (Meizoz, s.d.) que supposent les termes « post-rap » et « post-rigodon ». Pour montrer comment la posture « post-rap » a permis le renouveau du rap québécois dans la décennie suivant la parution de 4,99, l’étude de l’œuvre du collectif grâce à la théorie du « marché des biens symboliques » de Pierre Bourdieu (1992), mise en relation avec l’analyse des textes à l’aide des hip-hop studies, révèle les compromis faits par Alaclair Ensemble entre un éthos hip-hop supposé « authentique » et un éthos d’artistes « purs » à la recherche de capital symbolique. Finalement, ce mémoire s’intéresse à la dimension « carnavalesque » de l’œuvre en se basant sur les travaux de Mikhaïl Bakhtine (1970) afin de comprendre les procédés qui créent l’aspect « absurde » du groupe. Cette approche triple de l’œuvre du collectif permet de montrer comment, à travers une poétique hybride, Alaclair Ensemble se crée une posture originale qui lui assure le succès autant dans la sphère du rap québécois que dans celle de la chanson québécoise. / Released in 2010, 4,99, an album by Alaclair Ensemble, is recognized by critics as the founding act of "post-rap" or "nouveau rap québ", which also includes groups such as Dead Obies and Loud Lary Ajust. Alaclair Ensemble replaces this term with the neologism "post-rigodon", which stresses the playful dimension of the group's writing as well as its mixture of rap and Québécois tradition. Considering that the prefix "post" indicates the use of a "logic of distinction" (Dubois, 1986, p. 44) in relation to the rap genre, this dissertation aims to describe Alaclair Ensemble's "post-rigodon" aesthetic in order to identify the group's ethos as well as the "authorial posture" (Meizoz, n.d.) implied by the terms "post-rap" and "post-rigodon". To show how the "post-rap" posture allowed for Quebec rap’s revival in the decade following the release of 4.99, the study of the collective work’s place through Pierre Bourdieu's theory of the "market of symbolic goods" (1992) and the textual analysis using hip-hop studies reveal the compromises made by Alaclair Ensemble between an "authentic" hip-hop ethos and an ethos of "pure" artists in search of symbolic capital. Finally, this dissertation focuses on the "carnivalesque" dimension of "post-rigodon" by drawing on the work of Mikhail Bakhtin (1970) to identify the processes creating the "absurd" aspect of the group. This threefold approach to the collective's work allows us to show how, through hybrid poetics, Alaclair Ensemble creates an original posture ensuring its success in Québec’s rap scene as well as in Québec chanson.

No description available.

Text in Afrikaans / In hierdie studie word 'n bydrae tot die beskrywing van 'n resente periode in die Afrikaanse prosageskiedenis, naamlik die dekade 1980-1989, aangepak. Die terme ''Tagtiger" en "tagtigerskrywer" word bespreek en gedefinieer. Negentien skrywers word aan die hand van vyf kanoniseringsmeganismes as belangrike Afrikaanse tagtigerprosaskrywers geidentifiseer. Hierdie skrywers en hulle 51 prosatekste wat tussen 1980-1989 gepubliseer is, word dan deur Vanheste (1981) se vier gei"dentifiseerde literatuursosiologiese aandagsvelde naamlik die outeur, die literere werk, die literere kanaal en die leser ondersoek ten einde die posisie van die gekose skrywers m.b.t. maatskappy en skrywerskap, enkele samebindende aspekte in die proefgroep se tagtigerprosatekste, die funksionering van die literere kanaal t.o.v. hierdie tekste en die resepsie daarvan te bepaal. Met behulp van vraelyste aan die proefgroep is hul houdings t.o.v. 'n aantal aktuele aangeleenthede ondersoek. Ses onderskeidende kategoriee in die proefgroep se tekste, naamlik politiek en betrokkenheid; realisme; grens- en geweldliteratuur; postmodernisme; homoerotiek en goeie gewilde prosa word aangedui. Die posisie van verskillende "hekwagters" in die literere kanaal, saam met die invloed van sensuur op die proefgroep, die rol van die Afrikaanse Skrywersgilde en die "little magazines" wat publikasiegeleenthede vir die jong skrywers gebied het, ontvang aandag. J.C.Kannemeyer as geskiedskrywer en 'n verskeidenheid resensente se waarde-oordele word nagegaan. Aan die hand van Vanheste se literatuursosiologiese kommunikasiemodel, gekombineer met sy (aangepaste) analisemodel, word etlike sosiale werklikhede in Alexander Strachan se 'n Wereld sander grense dan onder die loep geneem. Die ondersoekterrein van die literatuursosiologie dek s6 'n wye veld dat heelwat interessante aspekte noodwendig agterwee moes bly. Resepsiestudies van lesers gedurende die tagtigerdekade was nie moontlik nie en 'n resepsiestudie kon ongelukkig eers vyf jaar na die tagtigerdekade uitgevoer word. Die gevolgtrekking waartoe in hierdie studie gekom word, is dat, hoewel waarskynlik nie op dieselfde betekenisvlak as die term "Sestigers" nie, daar wel van ooreenkomste in die werk van Afrikaanse tagtigerskrywers gepraat kan word. Samehang word ook aangedui tussen die sosiale omwereld en die tagtigertekste wat daarbinne tot stand gekom het, veral met betrekking tot tematiese en stilistiese keuses. Terselfdertyd het die literere werke van hierdie dekade 'n invloed uitgeoefen op die omwereld waarbinne dit verskyn het / This study attempts to make a contribution to the description of a recent period in Afrikaans Prose History, namely the decade 1980-1989. The term writer of the Eighties is defined and discussed. Nineteen writers have been identified as important Afrikaans Eighties writers with the aid of five canonization mechanisms. These writers and their 51 prosa texts published between 1980-1989 are then investigated by means of Vanheste's four identified attention areas in the sociology of literature, namely the author, the literary work, the literary channel as well as the reader. Questionnairs have been used to investigate the attitude of the trial group with regards to a number of current affairs. Six distinguishing categories have been identified in the texts of the trial group namely politics, realism, border and violence literature, postmodernism, homo-erotics and popular prose. The position of different gate-keepers in the literary channel, together with the influence of censorship on the trial group, the role of the "Afrikaanse Skrywersgilde" and the "little magazines", together with publication opportunities offered to these young writers, have enjoyed attention. J.C.Kannemeyer as historian, together with the critics as readers of the trial group's texts are investigated. The manipulation of a few social realities in Alexander Strachan's 'n Wereld sander grense is investigated in terms of Vanheste's communication model of literary sociology, combined with his (adapted) analysis model. The field of investigation of the sociology of literary covers such a wide field that numerous interesting aspects had to be omitted. Reception studies during the decade of the eighties were not possible and could, unfortunately, only be done five years after the decade of the eighties. The conclusion of this study is that, although not at quite the same level of significance as the term "Sixties", one could still find similarities in the works of Afrikaans writers from the Eighties decade. Cohesion between the social world and the texts of the Vll eighties have evolved from it, especially with regards to thematic and stilistic choices. At the same time, the literary works of this decade have contributed to the social world in which they were published / Afrikaans & Theory of Literature / D. Litt. et Phil. (Afrikaans)

The subject of this dissertation is the introduction and reception of science fiction literature in Sweden 1950–1968. Apart from considerations on science fiction as a genre and market category, and a brief survey of science fiction published in Sweden before the year 1950, the dissertation scrutinizes the Swedish publishers’ attempts at introducing both domestic and translated science fiction, the reception of the genre in Swedish literary criticism, the magazines Häpna! (1954–1966) and Galaxy (1958–1960), and the foundation of a Swedish science fiction fan culture. Science fiction was established as a category on the Swedish book market in the early 1950s, with several attempts to launch single works or whole series of mainly translated fiction. Between 1952 and 1968, roughly 30 publishing firms published over 160 books marketed as science fiction, with an apex in the late 1950s. Few publishers were successful, however, and most of the series were discontinued within just a few years of their inception. Meanwhile, in Swedish literary criticism, science fiction was increasingly perceived as a deficient form of commercial entertainment. A few of the exceptions were Harry Martinson (1904–1978), with his space epic Aniara (1956), and the translated author Ray Bradbury (b. 1920), who came to be considered as surpassing the boundaries of the genre. With the magazine Häpna!, a Swedish science fiction fan culture was contrived, with fans forming clubs, arranging conventions, disseminating fanzines, and, eventually, starting their own publishing firms and magazines. In the Swedish literary system, science fiction became a semi-separate literary circuit of production, distribution and consumption, and, concurrently, a growing autonomous subfield of cultural production, with its own forms of specific symbolic capital, doxa, and instances of consecration.

Lensemble des revues littéraires « modernistes et davant-garde » parues en Belgique immédiatement après la première guerre mondiale (jusquen 1922) est étudié dans une perspective dhistoire et de sociologie de la littérature. Lexemplification porte principalement sur les corpus des revues bruxelloises (LArt libre, Haro, Au Volant, Demain littéraire et social, Le Geste, Signaux de France et de Belgique, La Lanterne sourde, 7 Arts, Sélection) et anversoises de langue française (La Drogue, Lumière, Ça Ira). Une première partie de la thèse est consacrée à lexplicitation des choix théoriques et méthodologiques. Est dabord étudiée la place réservée à lobjet « revue littéraire » dans différents modèles de sociologie de la littérature (théorie des champs de Pierre Bourdieu, théorie de linstitution de la littérature de Jacques Dubois, études de la sociabilité intellectuelle). Reprenant la terminologie de Christophe Prochasson, lensemble des revues littéraires est appréhendé en terme de « réseau » (tissé entre différents « lieux » et « milieux »). Par sa plasticité, le concept de « réseau » désigne adéquatement lensemble des revues, espace ouvert et aux frontières floues, en permanente reconfiguration, hétérogène et déployé dans la durée. Le « réseau » des revues se développe dans une double dimension humaine (la revue comme lieu de sociabilité, comme milieu) et textuelle (la revue comme lieu de publication, comme instance éditoriale). Une seconde partie de la thèse présente dune part un panorama des revues littéraires belges pendant la première guerre mondiale (revues en Belgique occupée et revues du front) et dautre part la progressive reconstitution de lespace des revues après lArmistice. Dans cette période de transition, les enjeux esthétiques sont inféodés aux questions politiques à propos desquelles se positionnent les revues. Le débat principal (tant politique quarchitectural et littéraire) porte sur la question de la reconstruction du pays, conçue en terme de « restauration » par un pôle conservateur et en terme de « renouvellement » par un pôle moderniste et davant-garde. À travers létude des différentes prises de positions des revues du corpus sont encore abordées les problématiques du pacifisme et de la question flamande, toutes deux au croisement entre littérature et politique. Dans une troisième partie du travail, le réseau interpersonnel et intertextuel des revues littéraires est pris pour objet à travers lexamen des différents lieux et milieux qui le constituent. Létude des différents milieux imbriqués dans les corpus bruxellois et anversois est suivie dun chapitre traitant de questions matérielles concrètes (choix de format, modes de diffusion, financement, types de public visés). Abordées sous cet angle, les revues apparaissent non seulement comme des instances relevant de la vie littéraire, mais aussi comme des instances proprement « médiatiques ». Dans un troisième chapitre sont inventoriés les différents types de lieux où se déploie l« action dart » de ces revues (« centres dart », galeries et lieux dexpositions, tribunes médiatiques, maisons déditions). Le réseau des revues « modernistes et davant-garde » constitue une portion dun continuum plus large : les liens avec les revues et les milieux plus conservateurs sont discrets mais constants, tant sur le plan de limbrication entre les milieux que sur celui des appuis concrets sollicités par les revues « modernistes et davant-garde » pour assurer leurs conditions dexistence. La dernière partie propose un retour sur le modèle réticulaire, notamment sur les questions du déploiement du réseau des revues dans la durée, des enjeux historiographiques et du rapport de la littérature avec les autres champs. En conclusion générale, laccent est mis sur la période de transition de limmédiat après-guerre (1919-1922), où l« effet de réseau » est particulièrement perceptible, et sur lapport de la dissertation concernant les traits définitoires du modernisme et de lavant-garde, en ce qui concerne les revues littéraires.

At the centre of this study lies the question if normative gender thinking affects the way poetry gets reviewed and how the reviews are written, this in relation to both the gender of the reviewer and the poet. The study crosses three academic fields; gender studies, poetry and journalism, and is based on the cultural studies theory of media affecting and even creating the world around it. The study is based on two types of analysis. One quantitative analysis based on the thematic criticism theory about detail studies that shows bigger patterns, this analysis focuses on how the poet and his/hers work are being treated in the reviews in areas such as how much space they´re given in the newspapers, how they are named by the reviewer and the tendency to quote the reviewed work.  And one qualitative analysis based on the new criticism method of close reading, that focuses on the reviewers way of writing and how that may be connected with theories of gender differences, this both connected to the gender of the reviewers and the poets. The material chosen for this study are all the reviews that were published in the same newspapers and that reviewed two specific poetry works by two specific poets chosen with great sensibility to age and career so that their difference in gender would be the most significant difference between them. The works were chosen based on year of publishing, they were supposed to be published as newly as possible and as close to each other in time as possible. The works I ended up with were Dimman av allt (2001) and Svart som silver (2008) by Bruno K. Öijer and Silverskåp (2000) and Nu försvinner vi eller ingår (2007) by Birgitta Lillpers. The results of this study show several differences in how poetry is being judged and how poetry reviews are being written are connected with the gender of the poets and the reviewer. Lillpers got 35% less space in the newspapers and Öijers poetry got quoted a lot more which confirms that female poetry often is considered as less important than the male poetry, and that men in general tends to be judged as more professional than woman. The male reviewers tended to express themselves with greater certainty than the female reviewers who held a more professional tone in their reviews and focused more on the technical aspects of the poetry. This confirms the theory of the male words are being looked upon as the truth but contradicts the theory of women writing more based on personal experience and of women being less skilled in language techniques. In conclusion, there are differences in how poetry gets reviewed and how the reviews are written that are connected to the genders of the poet and the reviewer but these differences are complex and does not show a clear normative way of thinking about gender